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Masters of Photography

Lesson 31 of 54

The Strip Search Project

 

Masters of Photography

Lesson 31 of 54

The Strip Search Project

 

Lesson Info

The Strip Search Project

(rock music) After I completed the book Maroc, I was looking for another project, but of course, when I say looking for another project, I'm always doing projects, I'm always looking for sometimes a day shoot, a two day shoot, working late at night, experimenting in the darkroom, so I always have projects. It's never that I do one project, and then wait another five years to do another one. I'm doing projects all the time, but a lot of the projects are quite small, and intimate projects that are quite simple. So after Maroc, I was looking for another project. Now, a place that I know quite well in America is Las Vegas, so I've been going to Las Vegas off and on, I've shot there many times, but I kind of thought after Maroc, that I needed something that had a lot of color in it, because I had decided to do mainly black and white in Maroc. And Las Vegas gave me that. I also wanted to go lot further than that, so it wasn't just that I saw Maroc as a black and white book, and then let me...

do Las Vegas in color, it's a lot more than that, and what I was really looking for was decadence, because Las Vegas can be quite a decadent place, so I was really searching for something after the classicness of working in a country like Morocco, I was looking for something that was a little bit more down and dirty, that was a bit more sort of rough and raw-looking, and not so elegant, and it would force my photography into a slightly different direction. So the reasons for doing it were a lot deeper than just color. So I began the research of how I would do it on Vegas, I had pretty good knowledge of Vegas and what it was, but it's a different story when you're going there to do a serious project. So basically in 1999, I started a whole series of visits of going into Vegas for periods of time of, the shortest was five days, the longest was 14 days, and over the next 3 1/2 years, I did countless trips into Vegas, and I would travel to Vegas with an 8x10, a 4x5, a 2 1/4, and 35mm, in other words, everything. So the idea there was to use every format, so I didn't get hooked on one of the formats as being the dominant one. And I just really thought, how can I make this interesting, how can I find people there that are interesting, and, you know, which I knew I would be able to do that, what was the format of the book gonna be, how was I gonna do it, so, of course, I went down the usual route that I go down, which is landscapes and people, celebrity, a touch of celebrity in there, street people, photographing everybody that I thought was interesting, and, you know, musicians, performers, Cirque du Soleil people, dancers, strippers, and so on. So I began writing all of this down, so the writing process, of course, photographers are visual people, and they're not writers, very few can write well, and I persevered with that, 'cause when I first started photography, I wrote very badly, but I actually did work on my writing to improve a little bit. And I felt it would help my own communications with myself, that I wrote things down. So I began making endless lists of things, and I began going over maps of Vegas, and really looking at the desert area around Vegas, looking at the casinos, looking at every single possible aspect, looking at adult motels, and lots of the decadent parts of Vegas, which fascinated me, and the suburbs of Vegas. So I began the project, and I had this kind of endless list, and bit by bit, I started ticking off things on the list, which, of course, were sometimes revisited. I didn't go in and just do landscapes every trip, I managed to do some landscapes, the architecture, I did architecture. Was I photographing new Vegas, like, say, the Bellagio Hotel that was new at that time, or was it a motel that had been built in the late '50s, you know, early '60s. So I continued with the Vegas project, photographing everything, ancient motels, huge casinos that were about to be demolished, I photographed every swimming pool in Las Vegas, and then I got in touch with underground people there, drug dealers, all kinds of people, I photographed Cirque du Soleil people, and bit by bit, the book Strip Search took form, and it was just, it was a great project for a photographer. And a project like that for a photographer, can really establish if you find the right one, and it's a lot of work, it took me, off and on, of course, three years and about a year of preparation to get the book done. So it's a long process on a project that big. Now, just to emphasize, you don't have to do a project that is the Lawrence of Arabia project, it can be a much smaller, simpler project that you start with, and I would recommend that, that you start with something that's intimate as a project, something that you like and find interest in. Obviously, I was fascinated by Morocco, and I was fascinated by Vegas, and both of these things gave me an opportunity to expand what I do. (rock music) I was working pretty much with two assistants and a producer. The producer was important because the producer was just really managing some extra things, the producer was somebody full-time working for me, but they kind of almost became at times a third assistant. And assistants on a project like that are very, very important to me, and sometimes people say, oh, I just walk around with a camera, you know, but I have a bigger set of things that I travel with, a lot of lights, a lot of cameras, and so on, which I like doing at this part of my life, and the assistants enabled me to move quickly. I don't need the assistants to do the shots for me, I use the assistants to help me move around, to build a set quickly and to break it down quickly, and to keep tabs of what we're doing. Remember, I was shooting this on film, this whole project, Vegas, so there was no digital. And just to keep tabs on all of the film, sometimes an 8x10 to load all of the 8x10 film, the assistants did that, 4x5 film, so the assistants were always working very long hours. But essentially, they made me, as a photographer, more efficient, and they made me move along at great speed, because when you go to Vegas, and you stay out there for a certain amount of time, it's a very expensive proposition, so, therefore, you can't go out there and do two shots a day, you have to go out there and you have to work, and you're looking for multiple, multiple shots a day, and all aspects of Las Vegas. But the project was great, it was wonderful, it really sufficed this idea of approaching essentially a lot of color, of course, some black and white, which worked very well, a lot of decadence and a lot of architecture, a lot of landscape, and also still-lifes. We went to the Liberace Museum and photographed a lot of strange still-lifes belonging to Liberace, so there was lots of kind of strange, odd, surreal things like that. But it was a great project, so you should really look for projects like that. And the project can be anything, it can be your local town, it doesn't necessarily have to be something as grand as Vegas, it can be something quite small and intimate, it can be a village. But as long as you're approaching it in a way, I think my suggestions are good regarding the planning and the writing and laying down what you want to do. Think about the history of the place, how does that play when you come to photograph it, and so on, so it's research, research, research, and planning, planning, planning, so it's a lot of work to do a project like that well, but no pain, no gain, again. (rock 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"

Lessons

  1. Meet your Master

    Albert welcomes you to his course.

  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.

  3. Using inspirations

    Albert teaches you how to use inspiration from your past and present to form you work. Learn his tips on the relationship between technique and creativity, and how to create work that shows your own personality.

  4. Photography is stopping time

    Learn from Albert how he discovered his passion for photography and how to apply his "stopping time" ethos to your own work.

  5. Albert's library of ideas

    Join Albert in his own library where he shows you which books and artists he suggests you look at and study for inspiration and motivation. He also reveals his tip for buying inexpensive photography references.

  6. Tips on preparing for a portrait shoot

    Albert teaches you how to work with your subjects to get a great portrait shot. Learn his tips for putting people at ease when they are in front of your camera.

  7. Setting up the studio

    Learn to control the shooting environment. Learn how Albert begins to set up a studio session. Albert shows you how he begins to approach a portrait session in the studio.

  8. Understanding studio collaboration

    Albert teaches you about his different types of work ranging from test shoots to editorial shoots and advertising shoots. He explains his thoughts and techniques to help you understand how to make each a success.

  9. The importance of casting and hair & make-up

    Albert teaches you the importance of communication between yourself and a team. Albert also explains his tips on working with hair and make up to create a look.

  10. Foreground studio set up

    You will learn how Albert moves out from behind the camera while setting up for a shoot. He shows you how to look at your light from a variety of perspectives.

  11. Studio session with a model - set up 1

    Learn how to work with your subject. A unique insight, Watch and learn Albert working in the studio, explaining his thoughts and showing us exactly how he shoots.

  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.

  13. Studio session with a model - set up 3

    Albert teaches you another of his lighting techniques. Watch and learn as Albert explains exactly how he creates a beautiful portrait.

  14. Picking the best shot

    Albert discusses and shows you his techniques for selecting the best shot from a shoot.

  15. Working with photoshop

    In this lesson you will learn how Albert uses post production to further refine his images.

  16. Creating a portrait of Alfred Hitchcock

    Discover the idea and thought process behind Albert's iconic image of Alfred Hitchcock and what it was like to photograph one of the world’s greatest filmmakers.

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

    Which should you use? Albert explains his own ideas to you on how and why you might use one or the other.

  18. One day with Kate Moss

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

  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.

  20. Using Polariods

    Discover ways to go back and create projects and new images from your older work. Albert shows us the technique he used to create his iconic Running Man image.

  21. Creating beautiful photographs of hands

    Learn to appreciate the expressive nature of photographing hands. Albert explains some his most defining hand shots.

  22. Controlling natural light

    Discover Albert's tips on how to make the most of natural light and how Albert controls it in his images.

  23. Shooting a monkey with a gun

    Albert teaches you to always be on the look-out for new projects, and to recognise the power of conceptual thinking. Learn how monkey and a gun came to be created.

  24. Choosing your format

    In this lesson you will learn about formats. Albert describes different examples from various formats he has used as guidance, discover tips on how to use each type of format and his camera of choice.

  25. Composition and lens

    Get tips and suggestions on which lens to use and when. Albert gives you his thoughts on using the compositional elements available to you in order to produce a better photograph.

  26. Shooting landscapes. The Isle of Skye

    Albert teaches us how for him, its essential to raise landscape photography above the "picture postcard" shot and give the images more meaning. Albert explains the approach to his Scottish landscape series of images, one of his most unique, personal projects.

  27. Planning and ideas for a landscape shoot

    Albert details for you how he carefully prepared for his Isle of Skye project: taking care to be as organised as possible, whilst also remaining open to taking advantage of the unexpected.

  28. Creating still life images

    From shooting bed pans in L.A., to photographing Tutankhamen’s possessions, Elvis Presley’s iconic gold ensemble, and Neil Armstrong's space suit. Albert teaches you to persevere in the face of difficulty, and to always inject your still lifes with meaning.

  29. Photographing the Lost Diary

    Albert shows you how one simple idea can blossom into the creation of true art. An entire advertising campaign was based on his magical concept: that of an intergalactic anthropologist’s photographic diary, depicting tribes on earth 30,000 years ago. Discover how he brought this unique vision to life.

  30. Shooting album covers

    This lesson we go behind the scenes of a shoot with musician Sade. Albert reveals how he produced her beautiful Love Deluxe album cover, and how important it is to make your subject feel comfortable on set.

  31. The Strip Search Project

    Albert tells you how he prepared and created this immense project. He suggests ways for you to create projects and images that document your own corner of the world in images.

  32. Shooting Las Vegas landscapes

    Albert tells you how he prepared for the Las Vegas project, how he approached and shot his landscapes there. He passes on to you how the difficulties he faced helped him, and will help you, to develop as a photographer.

  33. Photographing Breaunna

    Albert tells you how to always be alert to chance encounters. He tells you how he met and was inspired by Breaunna. He explains how some of his most recognisable Strip Search photographs of her were created .

  34. Balancing daylight, God bless America

    Find out why Albert stopped to shoot a bill board. His serendipitous discovery reaffirms his main piece of advice: always remain “switched on”.

  35. Creating the Maroc Project

    Learn how Albert put together his exquisite Maroc book. You will be inspired to create your own projects and to look for potential in every aspect of a project, giving added meaning to your photographs.

  36. Creating the Maroc shoot

    Albert describes his own, personal methods and ethos in creating the Maroc project. Find out what equipment he used, how he documented his journey, and what he shot to create this iconic book.

  37. Photographing sand dunes

    How did Albert capture the breathtaking, rippling sand dunes of Laayoune, Morocco? Find out as Albert encourages you to be innovative; to always strive to add something new and different to scenes photographed by others before you.

  38. Photographing Moroccan children

    Preparation is not the death of spontaneity. Albert explains some his most breathtaking, impromptu shots of children in Morocco, Albert shows you how he suggests you intertwine careful planning and impulsivity to ensure you never miss your shot.

  39. Advice on making portraits

    Learn from Albert that the way you communicate with those you’re photographing is always visible in a shot. In this lesson Albert suggests tips to capture your perception of a subject into a single picture.

  40. How to be alert to finding photographs

    Learn to take advantage of chance situations and moments. Listen to Albert reveal how some of his most famous photographs were created by remaining flexible and alert to what you are seeing around you.

  41. Making a portrait of Mike Tyson

    Albert delves into the inspiration behind his famous Mike Tyson photograph, reaffirming that preparation before a shoot is often key to transforming your vision into a reality.

  42. Creating intense colour in a photograph

    Albert creates intense colour in an image. Listen to Albert as he takes you through his preparation process, and the techniques he used to construct one of his most well known images, Red Devil.

  43. Portraits of rap stars and a Golden Boy

    Discover the relationship between a subject and the camera itself. Legendary Rap stars and Albert’s Golden Boy photograph feature in this lesson. Albert discusses facial geography.

  44. Photographing Jack Nicholson

    A Jack Nicholson photoshoot for Rolling Stone. Albert explains how the legendary snowy shot came to be, and gives you an insight into how he photographed the iconic actor and filmmaker.

  45. Creating a portrait of David Cronenberg

    Be inspired to get creative. Ingenuity and inventiveness take centerstage in this lesson as Albert describes how he produced his unique photograph of David Cronenberg for Rolling Stone — the old-fashioned way.

  46. How to light only using two $10 bulbs

    This is a incredible lesson where Albert demonstrates to you that expensive lighting equipment is by no means a necessity! Discover how to use two $10 bulbs to create a dramatic, high contrast shot. Simply genius.

  47. Studio fashion set up 4

    See the fashion photography master in action as we watch each step of this shoot. Watch and hear how Albert manages the body language of the model and the simple set up and lighting to create a fashion shot.

  48. Studio session with a model. The geography of a face

    See how Albert creates art with the profile of a face. Learn how to work the geography of a face with Albert's simple lighting techniques.

  49. Look inside the picture

    Albert gives suggestions on how to progress and review your photography. Find out his tips on how to look "inside" the picture.

  50. Creating memorability in an image

    Learn Alberts tips on the skill of quick thinking and analysing your surroundings. Albert uses an example where he used his surroundings to create a unique and surreal shot for Italian Vogue.

  51. Combining nudes and landscapes

    In this lesson we reveal one of Albert's very latest projects. Learn as Albert teaches you how he created a stunning series of images by combining nudes with different landscape textures.

  52. A perfect print

    Albert explains where the passion began for printing his own work and how it has developed. Listen to his overview on how critical it is to print an image on the right type of paper in order to create the perfect print.

  53. The business side of things

    Learn how Albert runs each aspect of his business. We travel with Albert to one of his exhibitions in Italy where he explains the why and how of the prints on show.

  54. Conclusion and farewell

    Albert summarises some fundamental learning points he has acquired over his 40 year career. He leaves you with some poignant tips and bids his farewell, "onwards and upwards".

Reviews

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.

Viellieb
 

interesting insights from one of the greatest photographers alive. I love that he talks a lot about his thought process. The demonstration of what you can achieve with just 2 light bulbs and a flag is absolutely remarkable.