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Masters of Photography

Lesson 18 of 54

One day with Kate Moss

Albert Watson

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.


  Class Trailer
Now Playing
1 Meet your Master Duration:01:26
2 Learn from the journey Duration:15:24
3 Using inspirations Duration:08:43
4 Photography is stopping time Duration:09:27
5 Albert's library of ideas Duration:08:30
7 Setting up the studio Duration:04:56
10 Foreground studio set up Duration:08:46
14 Picking the best shot Duration:03:36
15 Working with photoshop Duration:13:14
18 One day with Kate Moss Duration:05:06
19 Learn to have your ideas ready Duration:06:14
20 Using Polariods Duration:06:29
22 Controlling natural light Duration:05:38
23 Shooting a monkey with a gun Duration:06:27
24 Choosing your format Duration:07:13
25 Composition and lens Duration:04:47
28 Creating still life images Duration:13:48
29 Photographing the Lost Diary Duration:10:53
30 Shooting album covers Duration:03:09
31 The Strip Search Project Duration:10:28
32 Shooting Las Vegas landscapes Duration:08:24
33 Photographing Breaunna Duration:07:21
35 Creating the Maroc Project Duration:10:21
36 Creating the Maroc shoot Duration:08:11
37 Photographing sand dunes Duration:04:09
39 Advice on making portraits Duration:10:12
44 Photographing Jack Nicholson Duration:04:21
47 Studio fashion set up 4 Duration:10:48
49 Look inside the picture Duration:02:57
51 Combining nudes and landscapes Duration:04:52
52 A perfect print Duration:07:51
53 The business side of things Duration:06:51
54 Conclusion and farewell Duration: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)

Class Description


  • 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


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"


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 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.