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Modern Women's Portraiture

Lesson 24 of 37

Polaroid Post Production with Q&A

Sue Bryce, Lou Freeman, Lara Jade, Emily Soto

Modern Women's Portraiture

Sue Bryce, Lou Freeman, Lara Jade, Emily Soto

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Lesson Info

24. Polaroid Post Production with Q&A

Lesson Info

Polaroid Post Production with Q&A

The skin is a little bit friend, I have a special polaroid scanner at home, and I also have a answer that I put my polaroids in so you can see here it's a big curvy, which north was just starts at just a little bit, but it still looks nice, so I'm going to go ahead and go to develop in my light room, and these are where the polaroids turned out like, so what I would normally do they be like I said, it would be a little bit flatter than I'm going to go ahead and crop it. I'm gonna go to my props will go and just a little bit with impossible film a kind of varies depending on the box with him, you get sometimes it's, more cool, sometimes it's more warm you guys could see even though I was shooting with the sky looks with a pretty warm image. I'm going to go to my cross tool usually changes toe eight by ten and I'll go in there sometimes with this one. I'm not going to show any of the white border just because it's distorted, but sometimes I like showing a little bit of white, so go ahead...

and just crop in all the way, so you guys confused a little bit blurry, but it's really nice with the with the impossible film, so I have to have the model stand standing really still, but I think that anything that you do with impossible film as characters. So if it's, if it's a little bit of blurry it's finally pal oversee he's is a lot of different kind of lighting techniques and low shutter season his with those polaroids that works really nicely seeing that blur it with the model someone is crapping on this a little bit more. So what I would do after I scanned my images, I'm going to go ahead and bring it over into photo shop. I'm going to go toe added and photoshopped, I always added a copy so that I'm not destroying my original image, so I'm going to go ahead and bring it in here. Do you book? I go ahead and duplicate my layer, and really the only thing that I do with these is I sharpen the image, I'm going to go ahead and sharpen them. I goto filter, sharpen and then I goto unsure mask and you guys conceived to the dust and scratches that are appearing, and this was probably just because of the scanner that was used, so go ahead and press ok, I met my amount of two hundred and four down just a little bit on that. That my threshold is always zero in my radius is three so goddamn press ok on that integrates concede it sharpens up the image once again I don't like sharpening the entire image I'm usually just sharpening the eyes so go ahead and create a math oh everett the mask all zoom in a little bit and then I'll painted in with white the areas that I want to sharpen aiken diskin retouching to what I would do would be I'm going to go ahead and merge my layer together that I have a new one and then I'm going toe paint with lighter color just this area is going to go and a little bit more goto my paintbrush tool got a lighter color good at eight and then I would I'll go ahead and on create a new window as well, so I have this window popped up, but I'm going to go ahead and paint this area so just slightly for my image I'll go down a little bit on the pass ity we'll go down to about for and paint that in the next thing I'm going to do is go ahead and take out some of these this dust and scratches so I'll go over to my spot healing brush tool I'll make it a little bit smaller and go in and just take out those those dusty areas and like I said usually with the with my impossible film is with my scanner is pretty clean, so I just make sure that I clean my images off before I scan them. Um, that's a little bit too messy, so I would you instead, I would use my eye patch tool and just move it around for me. I would prefer just not having quite a much dust right there, so then I see it on the hands, I would just go through and look for any area where it's really destructing the image, and I would move it around by using my patch toller, my spot healing brush tool. And aside from that, I really like this like the image I don't mind the dust up here, the top, the main areas that I'm looking for duster around her face, I love the light leak that it gave. I really love this that's my favorite film, so I but I would just go through and through and play with that and that's all the editing I would really do on this image, so I'm going to go ahead and say that, and then I'll load up a couple of the black and white film photos for you guys, I'm also going teo pull up the ah luis action because I like using it on my black and white film and didn't add it to my own haven't added it to my photo shop case I have that in there go back to my light room folks are asking at home what scanner we used and how we did that what the very very fancy one I called our producers iphone we just took a picture of her with that something actually it's it's a good thing to ask you about because people are do you want to know like should we do? We need a fancy scanner for this do we need like get attachments what's way with impossible films you can buy a special they have a special thing that you you just stick your your images and scan it so that it separates the image a little bit from the scanners so that you don't get were lines and colors you really just need a clean scanner and impossible film box and that will scan a great with the black and white film you can really use any camera when I first started though I would go to kinko's or different stores and a lot of times it wasn't great resolution just because there's their scanner was in that clean so so as I think it's just as long as you have a nice like a newer scanner were really nice thank you yeah we're going to go ahead and open the black and white one so this wass you go to develop he's that this is an example of the negative so this was the negative scan you guys since he was pretty greeny I really like that I inverted it whenever I brought it into light room so let me pull up another one for you guys so we do this one I have just a little uh pretty set over here that I use I'm gonna go ahead and invert it so it's a little bit distorted here but you guys can see just the texture that it gives I love the frame around it it looks really nice and even with it with the negative the dust and scratches don't bother me quite as much I would go through and look for anything really distracting or there's too much but aside from that it's fine so I'm going to go ahead and crop it for this I'm going to do a point five by eleven since since the bit narrower and I'm going to go on a little bit because the images just a little bit distorted so would go ahead and crop that in let me I'm gonna go ahead and look through these two so go ahead and put run the preset and see see how they all looked so for folks who aren't as familiar with perhaps what you're doing, what is it that you are looking for that you're doing using the negatives and inverting them versus just using the print itself so they only way only have one scans of the positive, so you can see. Let me see if I can find the negatives. So you guys can see right here the negative. What I like about it is it just has a lot of dust and scratches, and I like the the borders that it gets as opposed to the positive is a lot cleaner and prettier. So? So that would be the the look in france. So it's, just the mood in the still of the image for a lot of clients stay for saying I was just doing a test with an agency. They would like the positive more than the negative, because you can see the model's face, the negatives will bit more art sees, you know, so that's why I like him one. Yeah, thankyou. So these are a little bit distorted because of the camera, so you would just need to make sure that that you had the had something that you could raise the image up a little bit over the scanner. So I'm gonna go ahead and I'll bring this one back in the photo shop and added a copy so once again on to placate my layer, and then I'm going to run a louise on this one just to show you guys the with a c three thousand b film is a little bit more of a cool color sometimes I like changing it with the alleyways and just making it a black and white shot so going to go ahead and go toe louise press play and this one runs a little bit different than that there are the color actions because black and white it just gives you the basic black and white so what I have here is the vignette I don't like it with whenever I'm using a negative because I like seeing that border, then I have a color curve I'm going to go down just a little bit so with that once again it's just a curve with a little bit of color taking the blacks up slightly and adding some contrast then I added a black and white layer right here so you just have black and white and then there's some film grain I probably wouldn't do film grain on a negative. What I also like about those auction is I could just change and if I just wanted to add some color I could do that but this is how you would at this image I'm also going to go ahead to the go down to the bottom and I'm going to look over the image just for dust and scratches so I would go get my spot healing brush tool and go through just different areas so you'd go through different areas and clean it up a little bit. Like I said before, I don't mind having a little bit of dust on the image, but anything that distracts from the image, I would go ahead and take out I also my sharpen, the image I do shopping in two different ways where my digital images I do use the filter hype I used high path sharpening and then for my polaroids, my color polaroids uncharted and use the un sharp in math. But for the image I like using the the high pass once again, so I'm gonna go over here. I'm going to turn it down just a little bit because it's a little, uh, smaller image on my digital fingerprints, okay trying to soft light, unit one and off and then create a mass once again and invert the math and then paint and the her eyes are in different areas. I would also really be looking for dust and scratches on the face that's the main area that I wouldn't want one destructive, so I would just go through and take take areas out of the face or any any area that your eye immediately is drawn to so that's how I would edit, edit this image and I would do the positive the same way. So with this, when I would go in and do the same thing, I would first crop it would use able in five eleven and go through, and then I would bring it in the same way. I want to show you guys a couple of the lightman process from the actions that I use that used today as well, can't you have any questions? Well, I do have some comments, but yeah, the chat rooms air going a little bit crazy right now. Fashion crime, this is jaw dropping. Addie lg stunning. I'm just amazed I cannot wait to give this a try, and I just leaned over to russ and that I had purchased one of the newer versions of billion cameras eight years ago on and I haven't been I haven't been using it on, so I really want to go home and try some of the u using the negative part photoshopped, not just the positive, yeah, tottering around, and when I first started, I would throw away the negatives, and I like it because it was later when I realized how awesome they were. So so even now, you just you have to. Whenever you have a team, make sure they know they're important. A couple weeks ago, I shot this actress and her mom through away so I'm thinking you had to make sure they know they're not trash they're important I try to keep him safe for you to be careful with them. Okay? So I'm going to go one through and just show you guys a couple of my lightning presets and then if we have any more questions before your rap today, um I'm goingto pull up. Oh, yeah, well, why don't we wait till after they got a mike up? God, so this is all show you guys, the alison one so with my lightning process, I have four different versions of each preset this when I haven't released yet, but I released be releasing it soon, and they're just based off of my photo shop action, so I'm just going to quickly show you guys it's the same method that I would use over and photoshopped so but it's just changing the colors so there's four different options so that you guys can tweak it to your liking I'm gonna shave alison and then I have a new one coming out name alexa that I really like going to go ahead and prove we set that and you can do all the same stuff you do in photo shop in light room for me, I personally prefer photoshopped just because the masks I have a little bit more control over the area's even though you could do that in light room two is just a little more complicated masking certain areas out so this is an example of alexa and these all are based on the color of the skin and the images that you're using so this one charlotte so this is the same as my charlotte action just running through here then I'll show it on I want to show it on one of these and two if you guys are interested in the backdrop I used today there is a discount they just came out with way just released it maybe a month ago so if you are interested in that used the code emily soda and you can go in there and it's my favorite backdrop right now I love the I love the texture in the background I'm gonna show you guys a couple of these does it seamless photo dot com so these work a little bit differently on the studio one as opposed to that as opposed to outdoor photos just because of the lighting and the where you are so so depending on based on your lighting is what action our photo please that you would use I'll run a couple on this one well so this one it's a little bit of a dark image do you see a little bit more of the flare coming through which is what you would see over in photo shop and once again, I I like photoshopped cause I can adjust every layer to my liking, but these weren't great if you're if you're a light, if you're you only use, like when my people come to my workshop and they that's what they prefer his light room so it's a cool way that to get that same kind of effect that the photo shop auctions air giving fantastic, we have a question that was over here. Okay, the audience feel free hi. I'm just a quick question regarding your polaroids. You do work on the collar on your other work and digital work. But on the polaroid, if it comes with a color a little bit gold here than what you want, do you manipulate it? Or do you just leave it us actually just leave that because I just like the rawness of the polaroids so some kinds all change the temperature and cool it off just lightly but apart from that I leave them believe them how they are just good question. Yeah, so just be slightly adjusting the color temperature and apart from that, just sharpening up the image a little bit and also sorry, just a little too that do you, since you look for the vintage look and all the old scratch do you use sometimes, like slightly expire, fillmore yeah, I do. I use a lot of expired polaroid film a swell and sometimes it's a hit or a miss sometimes it turns out really nice and I like the the light leagues are different things about it but I really like impossible fun because it's really consistent so but yeah expired polaroid film was really great too if you can get your hands on some good good so emily we do have a couple of people asking again including myself when? Because I think you've used to pre set to take the negative and inverted the right room yeah can you show us how one would do that without the preset or whatever? If anyone's interested I could go ahead and give that to you guys too so so that we can add that to the to the light to the course to the window when you're just before yeah yeah wait yes no not hearing it so I guess no, no, no no tio like in photo shop you can go right in and do that there's also with your phone. I know would they taking photos back there? You can go in and take a photo of the negative and you khun there's a photoshopped apple in your iphones and you can go ahead and inverted on their tooth of corgis tha you can easily switch it around yeah very cool question here from data forty forty when editing editorial images how do you create consistency and processing across the images when editing editorial in the when you're talking about if I'm using like digital and film or you're just talking about in general that's actually a great point yeah, yes, that just in general ok, so so like I showed you guys when I added a photo, what I generally do is go ahead after I the hardest part for me is the first photo figuring out exactly what I want for it from for it. So as soon as I figure that out, I just go ahead and drag on my layers under the next and then and then go through like I showed you with the actions alternate each layer on and off to see how it's affecting it because like I said, it's images different lighting different, but I want to keep it consistent so it's a good way for me I start off with my skin retouching, then I'll just dragged my layers over and make sure that it flows and it's consistent lately I have been shooting a lot more of it more editorial using both film and digital so what I do is try toe recreate what I have in the film and digital digitally so so it's a little bit tricky sometimes, but if they I shot an editorial in australia a couple months ago, and I used a lot of polaroid as well as digital, and I for me, I really loved the polaroid more, so I tried to recreate that even though they were warmer images, like today, I was shooting with the moola with einstein with constant lights was a lot warmer, but but I really liked it, so I warmed up my images digitally and tried to recreate that by using different curves. So it's a good question, right? We have another good question from a tipster in the chat rooms who apparently likes to use tiffs for, huh? I noticed on emily's website that the slideshow appears as showing the one digital photo and the one film photo. And so again, do you take both cameras to a shoot do? Or do you plan on ly to shoot film? Do you have a clear idea of what camera you're going to use for each photo shop? Con shoots? Yeah, definitely depending on the client, and depending on what I want from the shoot, I generally have three cameras with me. I like shooting a lot with thirty five millimeter color film, especially outdoors, so if I'm in studio, I shoot a lot of digital and polaroids, so my main cameras, my digital camera, as well as my black and white land can't be using that p three thousand b with a land camera I use those pretty often it also depends on the styling of the shoots a it's a really big concept I know that I'm goingto be able to get some really creative shots then I intend to I mean a little more towards polaroid film rather than straight on digital, so it really just depends on the shoe in the client or if it's one of my creative projects what I would use for it. Good question, though yeah, alright, emily so we would love to hear just we're coming to the end of this segment and we would love to hear kind of some final thoughts maybe for everyone out there who is looking to add a little bit of creativity and push themselves a little bit more in the way that you have demonstrated so well yeah, yeah, I was just be creative go out and be inspired for me when I was starting off. Like I said, I really looked at certain photographers and their work and it calls me too to step out of the box and even whenever I first started I would do really conceptual shoots and then I took a step back and try to do more just with the model a little bit more of a raw style so it's figuring out doing different things so that you figure out your personal style and what works best for you. And don't be afraid to step out of the box trying new things. Try. Like I said, I've tried many different ones. Some. I love somebody I'm not so crazy about so, so just developing your style and and not being afraid to try new things.

Class Description

Beauty is an ever-shifting, ephemeral, and crucial element to capture when taking a successful portrait. Learn the art and science of photographing beauty straight from four of the best fashion and glamour photographers working today — Sue Bryce, Lara Jade, Emily Soto, and Lou Freeman. Through dynamic instruction, each of these world-renowned photographers will reveal the many skills and techniques that create their unique, unparalleled styles.

During a live mentoring session, Sue Bryce will push audience members to define their true purpose and set an actionable roadmap to make it a reality. Sue will also cover how to craft authentic marketing campaigns that resonate with women of all generations. Lara Jade and Emily Soto will reveal the choices that define their distinctive, award-winning styles, covering everything from lighting to retouching. Glamour photographer Lou Freeman will teach what women want to see in their portraits and walk you through the right questions to ask your clients.

The four photographers will then reconvene for a grand finale: six hours of posing education. Sue will teach her signature beauty and glamour poses, Emily will delve deep into creative posing techniques, Lara will cover fashion posing, and Lou will walk you through timeless boudoir poses.

Class Materials

bonus material

Photoshop: Alison Action

Mentoring With Sue Bryce

Photoshop: Victoria Action

Pola Negatives

Emily Soto Posing Guide

Lara Jade Posing Guide

Lou Freeman Posing Guide

Sue Bryce Posing Guide

Ratings and Reviews

Student Work

Related Classes


william mazdra

Occasionally, things fall into place, and you end up with the kind of event that we just watched. It was marvelous to see these four amazing individuals contribute their own perspectives and content and to see them interact with one another. It was honest, brilliant and a must have to view many times over. One of the best courses on Creative Live and further evidence that Creative Live is going from strength, to strength and is worth every bit of our investment and time.

a Creativelive Student

This was such a great 3 days! Each one of those women are so inspiring in a different way. Sue Bryce is my absolute role model and it was a great experience to get to watch and listen to her. She makes her lessons relatable and very easy to understand and remember. So many small tips and tricks that will make a big impact on how I shoot as well as how I market! Thank you Sue. I had never heard of Lara Jade and Emily Soto before this started and I can say thank you to creativeLive for the opportunity to be inspired by two other amazing women in the photography business. The unique style and confidence they displayed was great to watch. I don't shoot fashion, but I was able to take good bits and pieces from it all. I am stepping out of my box... starting today! Thanks again to each of the women and cL for putting this all together. Kristin Campbell Journey Images, Alberta, Canada

Kim Sleno

As a participant in the live audience, this is a fabulous course, from Sue Bryce's honesty in helping a person to look within themselves to find your own motivation, her wonderful real examples of posing women, to Lou Freeman's posing for boudoir this is a course that will help a person learn a craft and where they might want to go. I loved Lara Jade's vision of fashion and how she has arrived at such an early age. Emily Soto brings a different dimension to fashion photography that is inspiring, from her use of vintage cameras to her editing skills. This is a course for anyone wanting to learn about photographing women. I highly recommend. Thanks CreativeLive !!