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Masters of Photography

Lesson 12 of 54

Studio session with a model - set up 2

Albert Watson

Masters of Photography

Albert Watson

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Lesson Info

12. Studio session with a model - set up 2
Learn how Albert creates his iconic beauty shots. See and listen to Albert as he explains his thought processes when creating this type of shot.

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

Studio session with a model - set up 2

(dynamic music) Let's go back to where we were and come right down on the table. Taro, if you can life this up a little bit for her so she doesn't have to come down so far, we'll lift the table up a little bit and you're a little bit more like this, so the table should be pretty high. Yes, sure. How does that feel? Good, so like this? So you're not, I would say more like this, so the elbows are, exactly. So, higher? Yeah, a little bit, yeah, there. Perfect. Thank you. So when you look at something like this and you begin to look at her face, you should have a concentration on what's going on with what fashion she's wearing. So I'm going to make a slight adjustment here, grab the sleeve here and we pull the sleeve down a little bit. The sleeves are quite short, we just pull them down. So as you work with her, you've got to, at that point you know, somehow begin to examine what the clothing is doing, how everything is working here, you know? Just come towards the ligh...

t here, there. Now, let's just possibly, and I'll do this Louiz come on my other side here, and maybe we can give you, don't move I'm going to slide this board out. I'm going to give you this board here and from this angle over there you can give me just a little bit of movement. So we turn this shot more once once again into a beauty shot here, you know? Come down, then come up a little bit. Now she's come down, I still think the light is good so try just that little bit of movement in the hair. You can be closer Louiz. And sometimes the hair will fall into the same position here. It's very good there so just hold on a second, it might just stay, you know? Let me get back in here. Ah, Taro? Yes, Sir. I'm just gonna come up to here. Also very nice a little bit up like that, not quite so far but. Okay, now let me see the movement in the hair. Go a little bit back Louiz, that's it. Little bit lower with the eyes, about here. (camera clicking) Stay there. Now don't move at all. Right there, hold steady. Hold steady, hold steady, don't move. (camera clicking) I've done two hits here, there we go. Okay. Just relax there. I'm sure most photographers realize that, but, in here, I've got a medium telephoto lens, a 1:10 and I've done two hits here and the computer now allows you to splice these two shots, so why not just move back and do this shot as a complete shot and risk a split? Well of course you don't risk everything, you don't put all your eggs in one basket to risk that it matches. But what we're gonna do now, we're gonna splice these together so why do it as split there is a compression value of the lens because I'm so close to her and there is a slight sense of immediacy because I'm so close, so let's try, I think Adrian, you putting the two of them together? Yes, Sir. So there's a program in the computer which most computers have where you can splice these two together and you can get a slightly more powerful image when you splice the two of them together as opposed to moving back or changing the lenses. But it is a way of making perhaps a simple beauty shot just a little bit more powerful and more immediate, so now we'll crop this. You can see the close out, I'm actually working on a 100 megapixel camera so therefore I'm now essentially working with about 180 megapixels here. And of course I've changed this now into basically a landscape format and we can come in a little bit on the top. Keep coming in there, and a little bit on the sides here. On the left side it can come a little bit more. And we can, that's pretty good right there. So you can actually create a more powerful shot so, at first glance, it doesn't look perhaps a lot different to the way that you say might say put on a 150 or 180, but if you keep looking at this, you'll find that the shot actually for me anyway, has more power because of that double hit on it because there's something about the compression of the lenses and the closeness here, and it's just different if you move the camera back. So it's just a little extra thing that once in a while you can consider as something additional. But we'll actually, we can move this shot over now and we'll move it onto a Photoshop system and you can have look at how I would maybe analyze some of this and how I would put together this shot if I felt it was kind of strong enough. So we can do that. (vibrant 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.