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Masters of Photography

Lesson 19 of 54

Learn to have your ideas ready

Albert Watson

Masters of Photography

Albert Watson

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Lesson Info

19. Learn to have your ideas ready
Albert encourages you to have faith in your own creative instincts and how to always think creativity to persuade a client toward agreeing to your photographic ideas.

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 to have your ideas ready

(upbeat electronic music) Just to explain sometimes how certain projects that I worked on, how they happened, there was a group of people that flew in from Italy for a project for me for Lavazza coffee. Wonderfully nice people, super people, and they wanted me to do a calendar for Lavazza and they came in to have a meeting with me a week or so before the shooting, and they said we have an idea for you to do it. I said, well, what's the idea? And they said, we'd like to do small tables outside of cafes around New York with kind of, supermodels having a coffee, and they were gonna do 12, 14 of these shots. And I was like, immediately I was very busy at that time and you never want to, it's always nice when somebody wants to give you a job. So, you try and always be nice but I hated the idea. I didn't think it was so strong and I could almost see the thing and I would say it's okay, but it almost looks like, strange kind of People Magazine advertising. It was kind of not what I fancied ...

at all, and I'd already thought of something else that I had a rough idea, and I said to them, I have another idea for you. I said, rather than just getting models and you know, basically sittin' 'em outside, and I said, you've gotta do all the clothing and all of that, what are they wearing? Are you then gonna be very tricky and do the winter months in fur coats and the summer months in bikinis or something? And then, of course, the sad thing was one of the people said, that sounds good. So I think that, I just wasn't keen on it. So I had this idea of scale and several times throughout the years, I've often quite liked this idea that originally came from Sir Arthur Conan Doyle who actually was the writer of Sherlock Holmes and the funny think about Arthur Conan Doyle was he believed in fairies. Seriously, he believed in fairies. And for some reason, I always liked this idea of fairies and tiny people and the woods and so on. In fact, there's a project I'm working on now that's that way, and I also mentioned that I once did a shot of Kate Moss that's like that. Anyway, so I had this idea of basically, I said, doing nude girls with gigantic coffee cups, saucers, spoons, and lumps of sugar, and the scale change is huge. The coffee cups can be 15 feet high and I could have somebody make them, and then we just simply have them sitting around the cups and saucers, and they'll look like tiny little elves and little fairies, you know, kind of around coffee cups and sugar lumps, et cetera, and they were kind of shocked, a little bit, and I said, why don't you talk amongst yourself and think about that and I went downstairs and did a print in the dark room. And I came back about 20 minutes later and they said, we love it. And I said well, hold on a second, and I knew a prop guy, cinema prop guy, and I called him up and said, how much to make a cup and saucer and spoon and all of that and he gave a figure and we need it in a week and nine days or something, and he said he could do it. Built of fiber glass. And he built this huge coffee cup, spoon, sugar lumps out of fiber glass and other things, and I got these fabulous models and I basically it was, once I got started, it was not so hard to do and it was a project, that in the end, they loved and the reason I tell this story is how, you know, a photographer sometimes can control his own destiny a little bit by coming up with something that's a strong idea. Now, sometimes, you, I was lucky that the people let me do that. In order words, they would pay several thousand dollars to bring props in to the studio. But in the end, an art director said to me, he said it was cheaper for him to do these coffee cups than it was a pay a location fee for all the cafes. So it worked out very, very well, and the people at Lavazza when they got the stuff back, they loved it. They loved what it was and they loved it as a, you know, the calendar as an object. So, I think it's just, you know, try and find something original. Try and do some homework, so when you walk into a meeting like that, you've got something prepared. I actually have lots of stories like that, by the way, of things that we offered people so if you ever get your foot in the door, the creative door and then force it open, you can actually produce some very good stuff, you know. But planning, once again, and thinking about what you're doing is of course the key issue. (upbeat electronic music)

Class Description



IN THIS CLASS YOU'LL LEARN:

  • Albert’s tips and tricks on landscape, fashion, portraiture and still life photography.
  • Simple lighting techniques using natural light and studio light
  • Simple tips on preparing for portrait shoots
  • How to create incredible portraits using just two $10 bulbs
  • Albert’s tips and tricks on landscape, fashion, portraiture and still life photography.
  • Simple lighting techniques using natural light and studio light
  • Simple tips on preparing for portrait shoots
  • How to create incredible portraits using just two $10 bulbs


ABOUT ALBERT’S CLASS:

Learn how Albert creates his amazing photographs on location and in the studio using simple explanations.

Albert reveals his shoot secrets on how he photographs Presidents, Hollywood stars, music’s greatest artists, landscapes, nudes, chimpanzees and still life. We follow him on location in Morocco, Paris and in his studio in New York. You will find out where he suggests you look to get inspiration, how to approach a portrait session, see how to light like Albert.

We show you exactly how Albert works on these images after the shoot, it’s all about Albert giving you his ideas and advice and helping you see and create better images for yourself.

It’s not about what camera to use, it’s about how to see and develop ideas, concepts and narrative to make stunning photographs.

As Albert says..."You have to stay switched on"

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.