Masters of Photography

Lesson 8 of 54

Understanding studio collaboration

 

Masters of Photography

Lesson 8 of 54

Understanding studio collaboration

 

Lesson Info

Understanding studio collaboration

(upbeat music) So today you'll see, basically how I'm putting a shooting together in a studio and how I'm approaching lighting and what my philosophy is. But you have to remember, this is my philosophy. It doesn't have to be your philosophy. Your philosophy should be developed by your self. But, there are one or two things that you can, especially if you're a young photographer, that you can pick up. Because I've been doing this for a long time, 50 years. So therefore there are one or two things you can pick up and there are other things that I can be saying that you can reject. And I think that's a positive thing. You're analyzing what I'm saying. A lot of times with shootings there are three kind of categories that I put them into. One is the test, in other words, you put the shooting together, you're in charge of the shooting. You pick the model, you pick the hairdresser, the makeup artist, the stylist, and the clothing. So that's a test and it's for you and possibly, also for the...

model, as well. But, essentially you're in total control of that. So you have 100% control. Then you move onto editorial, which editorial for magazines. And then, you relinquish a little bit of that control because you're working with an editor, a fashion editor. And a fashion editor is a combination of two things, they're a stylist and also an art director. So they're controlling a little bit to look at the shooting, as well as just providing you with the clothes. So therefore, that's a very kind of, that's a very important relationship, the relationship that you have with a fashion editor. If it is a fashion shooting. And then, as I pointed out earlier, your communication with hair, and makeup, the model, then eventually your assistant. Now, which I'll say many, many time, preparation is the key almost to everything. So, therefore, if you're doing a test, you should have your shooting plan. Because we're doing a test, everybody's doing it for nothing. So you want to make sure that you've got everything together and you're organized, and you wanna get the most you can out of the day. When it comes to editorial, you should have, of course as well, a creative plan about what you want to do. And you're communicating that with the fashion stylist who's presenting to you her philosophy of clothing that day, and what you're setting out to do. Is it the studio, is it on location, and so on. And then, the third category which a lot of photographers find very difficult is the advertising. Now, I personally never have had a problem with advertising. And I quite enjoy wrestling with the clients. Where I'm always respectful of the fact that they are paying me, sometimes a lot of money to do the shooting. But at the same time, you've got to protect the client against themselves. So you have to do, you have to make sure that the client's not making you do really bad work. And then of course, he'll deny that later on. And, therefore, you end up with a bad shot. So you have to protect the client, and you have to protect yourself. So it's really a give and go situation. But, it never bothered me. The fact that I was doing advertising. 'Cause, as I said, I viewed it as a challenge. And if there was a wide gulf between their idea and my idea, sometimes I would operate very, very quickly and do their idea very specifically of what they were asking me to do. And, hopefully, beautifully and executed beautifully. But, then after I finished everything I would say, give me 15 minutes here. I wanna give you something that I think could be better. And I think there's a very good story that happened early on in my career, where I was doing a big advertising job for, it was actually for a cosmetic company. And it was with a well-known model. And, she came down on the set at the beginning, the day I was shooting, a film camera, a 4x5, and we did a Polaroid, and the Polaroid looked quite beautiful. And the creative director said, wow, that looks pretty good. But I'm not sure about the blouse, I'd like to change the blouse. And because they went upstairs in my studio and then changed the blouse, they had to change the hair. So, in changing the hair, they had to do a slight change in the makeup. And, at that point she came back down, she still looked beautiful, and we proceeded and shot for the rest of the day. Now, the point of the story is, at the very end of the day, the original Polaroid was lying there for the shot that we didn't do. And the creative director picked it up, and said, did we shoot this? And my reply was, no, we didn't shoot it, because you... Basically I would say, as the creative director, you didn't like the blouse. And he looked at me and he was very honest and he said, that's a pity 'cause it looks pretty good to me now. Now, the story seems like it's a story against the creative director, in fact, the story is actually against me. And people pay me a lot of money to do it, I've done thousands of shootings. Many more than the creative director's done. And I knew it was a good shot. So what should have happened in that situation, and the case of me shooting film, what I should've done, I should've knocked off five or six frames, 'cause I saw it through the camera as a good shot, and I should've knocked off five or six frames to put it, lay the shot down, as a shot. And it takes that... In five or six frames, I was waiting for the Polaroid anyway. So, I should've shot that. And then I could've said to him at the end of the day, yes, I did shoot that shot. And because I knew it was a good shot. But I let him, in a way, overrule. So there is this give and take that you have to do. So, you have to be the dominant, you have to be at least 51%. That's your minimal. You have to err on the side of being the dominant force on the set. So, I wouldn't be scared of clients, but I would do the prep. I would make sure you know what the client's about. What's their previous campaigns look like? Where the creative director was, that's all very easy to do now. It was more difficult 20 years ago, but with the internet, you can research all of that. And you can now look at past campaigns, look at what they did. It doesn't mean to say you have to do the same, but you can be aware of what's been there in the past. So, three things. A test, editorial, where you have more creative freedom and sometimes the restriction of advertising. But, by working these three areas, you can really, you should approach all three areas with a maximum amount of preparation. But approach three of these problems, as it were, equally and you should be just as positive about your advertising as you are about your editorials, as about your tests. And that way, it enables you to go forward and possibly, you might surprise yourself in an advertising job and you pull off something brilliant. So you should always have that force, the energy, the wind in your sails when you do all three of these different areas. So you remain true to yourself, but somebody's paying you to do it, you have to remember that. You have to keep that in mind. (upbeat 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

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.

a Creativelive Student
 

This is a superb course. An opportunity to "converse" with a truly exceptional photographer. I strongly recommend it to all photographers.