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One day with Kate Moss

Lesson 18 from: Masters of Photography

Albert Watson

One day with Kate Moss

Lesson 18 from: Masters of Photography

Albert Watson

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Lesson Info

18. One day with Kate Moss

Albert explains his ideas and how he created his iconic images during a day photographing Kate Moss.

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

One day with Kate Moss

(synth music) I had done, in 1993, a day with Kate Moss. The remarkable thing is, I have so many well-known pictures of Kate Moss. But the really remarkable thing, which I think is really remarkable, is that all of the shots of Kate Moss, of which there are lots and lots, they were all done in one day. I only ever in my life worked with Kate Moss for one day. And all of these shots that I had taken of her were all done in one day in a villa not far from the house we're in right now called Dungtamsner. And I had her for one day, they flew her down from London. And she was up and coming model. And it was for German Vogue, and they wanted it all to be beauty skin-oriented. And we started the day at 7:30 in the morning, and we worked until ten o'clock at night. So, we actually worked with her for almost 13 hours. She was the only model. That's why there were so many shots. She was a fantastic workhorse at that time. She was just, she did shot after shot, and I always asked her, "Are you ...

alright, you alright?" And in fact, at the very end, when it got to time, and we were breaking down dinner, she actually turned around and said to me. She said, "Today's my 19th birthday." So if you ever see any of these shots, on that day, Kate Moss was 19. So, of course, I did, as I said, many, many shots of her. The shot that we are looking at right now, we had a henna artist come in, a local Henna moroccan artist, who painted the tattoo onto her hand. And I, just showed her the tattoo. She actually showed it to me, and then I saw the shot from that 'cause she held it up to her face like this, and she said, "Here's the tattoo." And then I just devised the shot from what she had almost given me. And I used a very simple clean light with that, sunlight. And she closed her eyes to the sun, it was probably in the mid-afternoon that I did the shot, and then later, when I processed that shot, had a good look at it, I decided that it would probably be, much later, that it would make a good candidate for solarization, which I did. So, of course, I've done solarization before in the dark room, so it wasn't really a problem. So, we did that shot in the dark room much later. So on that day, we started with, you know, natural light. I worked all day with natural light. I did a little bit of strobe. The well-known nude of her. I worked with her on that nude and it was something that I've used several times since. It was the idea of a nymph, a fairy, in the woods, almost Midsummer Night Dream. And I said to her, I said, "Maybe you could get into a position there," of course, she's nude, and I said, "Maybe you can get into a position there "where you're almost like an elf in the woods "or a fairy and about to pounce, or something like that." And we worked that out, and she actually did it very, very well, and that's where that well-known nude shot came from. Even at that time she was a good model, you know. So, the day went on, and that shot that I just mentioned was done in a simple natural light on the roof of the building. The sun then went, and then I built a small studio indoors, and there was also quite a well-known shot of her back. That was done with strobe light against just a canvas. So it was a very classic, almost really classic, nude shot, and completely different from the earlier, natural light shot. But, as I said before, just one day, and I think, in the end, we did about 28 shots in the day. So, sometimes you get lucky. (synth 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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