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Learn from the journey

Lesson 2 from: Masters of Photography

Albert Watson

Learn from the journey

Lesson 2 from: Masters of Photography

Albert Watson

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Lesson Info

2. Learn from the journey

You will learn how to use your passion and dedication to get to where you want in photography. Albert explains to us how his own journey developed from early days in Scotland to creating the biggest photography studio in LA, and then establishing his studio in New York.

Lessons

Class Trailer
1

Meet your Master

01:26
2

Learn from the journey

15:24
3

Using inspirations

08:43
4

Photography is stopping time

09:27
5

Albert's library of ideas

08:30
6

Tips on preparing for a portrait shoot

12:10
7

Setting up the studio

04:56
8

Understanding studio collaboration

07:35
9

The importance of casting and hair & make-up

08:59
10

Foreground studio set up

08:46
11

Studio session with a model - set up 1

11:23
12

Studio session with a model - set up 2

05:55
13

Studio session with a model - set up 3

08:01
14

Picking the best shot

03:36
15

Working with photoshop

13:14
16

Creating a portrait of Alfred Hitchcock

04:18
17

The gigantic question... Colour or black and white?

07:55
18

One day with Kate Moss

05:06
19

Learn to have your ideas ready

06:14
20

Using Polariods

06:29
21

Creating beautiful photographs of hands

04:45
22

Controlling natural light

05:38
23

Shooting a monkey with a gun

06:27
24

Choosing your format

07:13
25

Composition and lens

04:47
26

Shooting landscapes. The Isle of Skye

15:18
27

Planning and ideas for a landscape shoot

06:32
28

Creating still life images

13:48
29

Photographing the Lost Diary

10:53
30

Shooting album covers

03:09
31

The Strip Search Project

10:28
32

Shooting Las Vegas landscapes

08:24
33

Photographing Breaunna

07:21
34

Balancing daylight, God bless America

03:45
35

Creating the Maroc Project

10:21
36

Creating the Maroc shoot

08:11
37

Photographing sand dunes

04:09
38

Photographing Moroccan children

10:42
39

Advice on making portraits

10:12
40

How to be alert to finding photographs

07:36
41

Making a portrait of Mike Tyson

02:40
42

Creating intense colour in a photograph

03:05
43

Portraits of rap stars and a Golden Boy

08:40
44

Photographing Jack Nicholson

04:21
45

Creating a portrait of David Cronenberg

02:14
46

How to light only using two $10 bulbs

07:30
47

Studio fashion set up 4

10:48
48

Studio session with a model. The geography of a face

13:05
49

Look inside the picture

02:57
50

Creating memorability in an image

02:54
51

Combining nudes and landscapes

04:52
52

A perfect print

07:51
53

The business side of things

06:51
54

Conclusion and farewell

03:55

Lesson Info

Learn from the journey

(bright music) I'm just gonna give you a brief history of me, where I came from. I was born in Scotland. I went to a school just outside Edinburgh and I pretty much had a straightforward, ordinary upbringing. My father was a professional boxer and my mother was a professional hairdresser. And I went to Lasswade High School, just as I said, just outside Endinburgh. And one of the major turning points for me was that I went to a dance once in Edinburgh and I met this wonderful girl. And we began dating. And the strange thing was we actually found out that we'd gone to school together, primary school together, and we found one of the original photographs, which I have, and there's 36 kids in the class and we're actually sitting together in the front row. Well, she was already going down to a job in London, we were 17 and she already had a job down in London at the Foreign Office. And of course, I decided to follow her down there and I got a job in the Air Ministry working on Blue Streak...

missiles of all things. And she was across the street from me, we had lunch every day, and bit by bit, we got engaged, and then got married. Came back up to Edinburgh, got married, and went back down to London. A year later, our first son was born. And I decided to go back up to Edinburgh and I got a job in a chocolate factory testing chocolates. And Elizabeth, my wife, she decided to go back to college and to become a teacher. And I started to go to night school and I went to art classes for two nights and mathematics two nights, which are kind of an odd combination. And life was quite tough, but after one year in Edinburgh, I got a position or I got an entry into Dundee College of Art. and Elizabeth transferred up to Dundee College of Education. And that was the beginning really of our post education as it were. I spent four years in Dundee, really loving every minute of it. And I decided really to specialize after two years in graphic design, Elizabeth qualified as a teacher, and we had our second son was born. And I really discovered graphic design at that point. Through graphic design was really my first real connection with photography, super connection with photography. And I have to say that when I got my hands on a camera, things changed for me. I loved graphic design, I loved art, I spent a lot of time with paintings, museums, and my courses entailed a lot of drawing, a lot of painting, even pottery and silversmithing. And I had a very good photography lecturer that was brand new in the school and he was a fanatic in the darkroom, he loved darkroom. And he really instilled that in me, the importance of the photographic print. So at this point I really became obsessed. And for my 21st birthday, my wife got me a small camera, a simple camera called a Fuji. And I really, as I said, became obsessed at this point. And I can't emphasize enough the importance of my art training and the graphic training that I received. And to this day, I still rely on that, really. Because a lot of the teachers were forcing you to think about what you were doing, not just how the graphics played. And I completed my course there, Elizabeth by this time was qualified as a teacher, and I applied to get into the Royal College of Art in London to the Graphic Design School. And I passed the exam, which was not easy back then, it was a two-year course. And we moved down to London, Elizabeth got a teaching job, and I began studying, not graphic design, but they thought I was better suited to the film school. So I went in to film school to come out as a director. So once you put together all of this art training and things like sculpture, painting, drawing, and of course graphic design, album design, a book jacket design, posters, then three years in London at film school, it was the time of The Beatles and The Who and the Rolling Stones, it was kind of a wonderful time. It was very hard for us, we had two children, but I kept up during my film school days, I kept up my love of photography. I was over in the Royal College of Art Photography School in the evenings printing, and still I was always doing photography work, as somewhat on the side, but I was always passionate about it. And then I actually managed to get one or two jobs photographing some catalogs and store windows for an American company. So I even began to make a little bit of money doing that. And in the summer between Dundee College of Art, which was then St. Andrews University, and going down to the Royal College of Art. I actually won a scholarship with IBM to America for a month. And I was flown over to America and I went from New York to Aspen in Colorado to LA to San Francisco, Chicago, and then Washington DC. And that was very formative, because I went to the Aspen Design Conference. I met a lot of interesting people. I had dinner with John Cage, the composer, and all of this is affecting your future way of reasoning and thinking and putting your life together, really. But it was an odd environment. So by the time I finished three years later at the Royal College, I was really interested in going back to America. And Elizabeth got a teaching job in Los Angeles and I actually went in as her dependent. So the four of us arrived in the states with not a lot of money. But one of the kind of slightly stupid things I did, I had done an advertising job before I left London photographing a rental catalog. And with the money from that, I bought a Mustang in Washington DC and we drove across America in the summertime, which was a little bit foolhardy. And we arrived in America on August the 28th, 1970. (cars honking) I really began in LA, I had a little portfolio, I had my Hasselblad with me and with one lens. And Elizabeth began teaching and we were in Los Angeles, just outside of Los Angeles. Things were tough, we didn't really have much money at all, and we had this brand-new car, but not a lot of money. And I had one connection in Los Angeles with this art buyer at a advertising agency. And this art buyer, I met him 'cause he was the only connection I had and he said well, I can introduce you to somebody at Max Factor. And he introduced me to the head of Max Factor, which is a cosmetic company, obviously. And he introduced me to the head of international Max Factor. And the guy looked at my portfolio and said you don't really have any shots of women, it's a women's company. And I said well, they're kind of on the boat coming over, which was of course was a fat lie. And he said well, I'll tell you what I'll do for you. He said, I'll give you an hour's booking with a model and we've got some dresses leftover from shootings in the closet. So you can take the clothing and do an hour's shoot. So I went to the advertising agency, picked a girl that I thought was good. Excuse me, the modeling agency. Picked a girl that I thought was good and spoke to her and said would you like to do a long shooting day and I'll give you some of the shots for your portfolio? And I went out with my one camera and my one lens and picked her up at 7:30 in the morning and I shot until 7:30 at night. And all of the money I had, I put into the film. So here I was going around shooting her in long grass and shooting her in the beach, shooting her in adobe houses and et cetera, et cetera. And she brought along this male model friend of hers and I did pictures of them together. So three or four days later, I went back into Max Factor with my meeting with all of this film. And of course I produced the film and the guy was astonished and he said, oh my god, how did you manage to do this in an hour? And I said well, I actually talked the girl into doing it, but she's just charging you for an hour. And he looked at it and then I wasn't even sure that he liked all of what he saw, but he said give me a minute and he went away with three of the rolls of film. And he came back and he said I've good news for you, he said I've just sold three of these images for you and he said we'll buy them from you. And he said let me know the cost of the film and the processing and he said I'll give you a PO. And of course in those days I didn't know what was a PO was, a purchase order. And I got into the elevator and ripped open the envelope and I was kind of looking at them thinking $150 a shot. So that was $450 plus expenses and I thought that's fantastic. And when I got home and we had to type out a bill, Elizabeth who was typing out the bill on a school typewriter, she looked at it and said you know it's not $150, it looks like it's $1,500. So I said $1,500, that's impossible, because we did three of them and that's $4,500. At this point Elizabeth's salary was about $1,500 a year, so how could it possibly be $4,500? And we thought shall we just bill it anyway and hope for the best? And I said we're gonna get deported or something for some sort of crime. And so I had a meeting with this guy two days later and I spoke to him about this. And I said I just wanted to clarify the money that was on the purchase order and I said it was actually $4,500. And he looked at me and he said well $4, is all we can afford at the moment, he said, but I'll get you more money the next time. So of course at this point $4, was like just a ridiculous amount of money for us. You have to remember this was 1970, 71, and $4,500 was really a lot of money, it was more like probably 40,000 today. So, of course, that was really my first large, decent paying job that I had done. And within a year, I had a very good studio. Within three years we had the biggest studio in Los Angeles. So that helped me, really, was a major turning point for me that, that job. And I was really putting into play all of the things that I had learned over these previous years, even silly things like missile research or chocolate, analyzing chocolate, and then seven years at art college. That all of these things really came into play really at that point. Plus, the dominant thing, my absolute passion and dedication to photography. It never seemed like a job to me, it just seemed like something you wanted to do. So after three years I was in this beautiful studio in LA, and then the next thing was we got lots of calls from New York. I was in LA between 1970 and '76, but in 1974 I opened a small studio in New York. I actually did 40 roundtrips in my first year and bit by bit I established myself as a New York photographer. And that's actually where I am today. And we shut down the LA operation and I moved into New York and began working at that time for New York magazines, Vogue, Harper's Bazaar, GQ, then later on Rolling Stone. I always kept an interest in still life, portraiture, and fashion, and I was running all of these things together. In fact, a lot of people I did still life with didn't know I did fashion, and the people that I did portraiture of celebrities really didn't know that I did that and they thought I was a fashion photographer. So I've been now in New York now for 40 years working, always doing my own projects, really holding on to all of these things from the past, but always look for the future. (bright music)

Ratings and Reviews

Richard A. Heckler
 

"Unless you're Mozart"...this course is an invaluable asset. I'm a pro, humanitarian/documentary photographer, & wilderness...and I've learned much from the 40+ sessions here. This is truly a Master Class...next best thing to being with Albert. And although I could watch studio sessions forever, this course offered a very balanced curriculum of technical information, artistic encouragement and guidance, and a open, generous window into the thinking of a gifted artist and photographer, sifted from decades of first class experience. Kudos to all involved. Excellent!

a Creativelive Student
 

I purchased my first CreativeLive class in 2011 and have continued to purchase many classes over the years. I have learned so much from the many great instructors. This one is not a technical class that will tell you to set your camera at f4, 1/60, ISO 400 and you can get this shot. If you are looking for that, there are many other options. If you have a solid working knowledge of photography, this class is so much more. The way it was filmed is like you are there with him in conversation or in the room with him watching him shoot. To see and understand the how and why he does what he does. Not to take anything away from other classes that have helped to give me a strong understanding of photography, this is my favorite CreativeLive class so far.

Student Work

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