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Modern Women's Portraiture

Lesson 19 of 37

Shoot: Digital Camera

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

19. Shoot: Digital Camera

Lesson Info

Shoot: Digital Camera

So today I'm going to be shooting with the moola demi beauty that I shoot a lot with the moola study the mole ed m e is a twenty two inch dish so it's a little bit smaller than the study but it works great for inst studio I use it a lot in studio it's great it's great reports that can also light full body if I bring it back further from the model the studies a lot larger so it khun can like multiple models that use it a lot on location or when I have a a group of girls together but the lighting is great for both of them I'm using it with the einstein is what I'm going to be starting with I really like the insane because it gets just a really low pop of light which is what I'll be using today I'll go for a little bit more of my equipment today in just a minute victor this is my husband and he's going to go over a little bit about way well, I guess I should introduce myself right? Um I am emily's husband and I'm an artist I went to the art institute um I graduated in media art animation ...

and from there I went into photography just a supplement my my schooling just to get money and stuff so I did that um after that I went into video games and then I went into film commercials and movies sets and lighting and a lot of sculpting and a lot of rendering so yes, a lot of three d work, you know? And so I did suffer bmw and t and a lot of movies feature films and stuff I don't want to know names out but um I learned a lot just threw all the mediums of art and you know, I tried to tell emily that, um that it's you know in your eye what you see you need to train your eye to see our to see light and shadow to see distance perspective, to see composition but not to be set bound by rules. So a lot of the artists of the past you know, aziz, you know, film photographers for vogue, you know, their work is set apart and different from everyone else's because they broke the boundaries, they tried new things, you know, they shot in film they you know, fortunately we still have film available so that's a good thing and hopefully each one of you gets to try that out try tio experiment with that even if you don't use it, maybe you'll pick up some one or two things you can apply to your digital and learn from it, so this is the mola demi uh this is ah panties design with the curvature you see emily using it throughout her youtube's and such and basically it's curved this way just to focus all the available light that's coming out of whatever light that you have so all these ridges capture it and it really clarifies the light and focuses it on to the model or your subjects and so this is very popular in new york and in london as well and so becoming the standard so hopefully you guys have a chance to check one out or try one out um they're pretty affordable too so as far as this model lists um it comes with two diffusers actually won but this one has to has opal glass secondary diffuser that is a creamy opal that kind of warms up your tone a little bit and dampens the interior focus spot so it's uh really nice rich, creamy kind of color if you use it without the diffuser I'm only loves to use it with the diffuser because it's just the nature of you know the design and and the people that she works with so it's you know, up to you more new york styles without it and more soft and creative stuff you could do with it as well as you know all the other tools that she's using so other than that we're going to the other light later when we use it as any other questions with like technical stuff. I'm just helping today as well. Justin's assisted one. Several of my workshop is an amazing kind of eyes and a great photographer to do, innit? Oh, yeah, sure. So it was funny when I heard felix introduce himself. I figured I'm similar to felix, but I'm the flute. The blue collar version of felix he's. Ah, a little prettier and he's got a nicer accent, but mine's a baltimore accent, not an english accent, but yeah, I'm a portrait photographer. Um, uh, lighting nerd and an educator as well. So anyone feel free to network with me at novak? Photos at on every social media network. So n o v a k. And today we have shawnee badger here modelling for me, my designer for today it is penny adams at p s I love you she's over in australia and melbourne. And she we talked a lot about the concept that we wanted to dio and she created a beautiful look. She she designed the crown and the the next piece of the necklace and is amazing. So you should find her a swell p s I love you. She did my workshops in australia and is a really awesome to talk I mean, awesome designer. So today, I also have the seamless my backups by seamless photo dot com I worked with them for a while on the stock drop, I designed it for them, and we went back and forth until we got the right texture that I wanted for for my work in new york, so I'll be show you guys that today as well, I'm starting off by using the einstein I'm shooting with the cannon five mark three in the eighty five millimeter one want to lend today I'm shooting pretty white open I'm at one point too, but I have an indian cultural my lens so that I can go down that low because I'm firing my light even though it's a fuse it's a little bit too bright without the indie filter, so I'm going to do a couple test shots shawnee take one step over this way, perfect, cool! So I'm I'm shooting at a really low aperture as well as a low shutters beef. I like to shoot through a lot of fabrics and toll on different materials, so I'm going to show you guys in a minute me shooting without it and then shooting with it and you guys concede the difference also we have the light up and set a little bit dramatic the more you tilt it, the more dramatic it is. It's not rocket science so you know you've seen a lot of other photographers do a lot of different kind of stuff like that but she uses it uh you know, mainly center and tries it tilted a little bit depending on the model's features as well, you know you want teo adjust that accordingly and samantha here didn't hear and makeup today she's going to talk to a little bit about what we talked about you guys samantha gone again uh gun glamour here makeup in bridal out of atlanta s o emily and I this is our first time working together when she sent me the inspiration I was so super excited number one because I'm obsessed with her work and I love her like a serial just beautiful style and she sent me first the crown and that was kind of like the inspiration from everything else I didn't even see the rest of the wardrobe until today, but I do basically I wanted to plan everything around the crown and really drawing in her like a serial style create like a hairstyle that would really complement that and not overwhelm it. Um, you know, we wanted to make it interesting and not you know, um basically just keep it interesting as faras the makeup goes, I used a lot of golden neutral tones and kind of smoked it out to really make it very romantic and dreamy, and this is what we ended up with sound pretty awesome job e close over my settings. I'm going since I have an indie films for one, like I said before, this is solely so I contributed a lower aperture, but I have to raise up my s o just slightly, so I'm shooting right now, my shutter speeds one sixty one sixtieth and my iso's at five hundred. So I'm going to take another shot without the material, and then I'm going to add the material and show you guys the difference that creates and all this is it's called chul. I don't I don't pronounce it well, but it's to you, ellie everyone's like, what is that? And I have a rubber band on it. So it's totally a d d a y kind of thing that you can deal that you're on your own so shiny. Look right through the camera. Perfect. Beautiful. Perfect. Okay, so you guys can see up here? The color is just a little bit different on the screen, but it's very a very soft kind of filled today and you guys can see it without the material. Then I'm going to add this on, and what this will do is just create a little bit of haze. Since I'm firing, the light, you don't is not as noticeable, but you'll see a little bit of grady and coming up from the bottom what I used sinner focused with my wind, so I focused on on the eyes since I'm treating a one point two on the night, I recomposed my image also something very important if you are shooting with a one point two lens is that have it calibrated? So they did that whenever you want to talk a little bit of everything. So one of the biggest questions that she gets is how do you focus? How do you get the eyes and focus? And we're looking at every single image and it's like razor sharp, focus on the eyes exactly where she wanted were like, wondering, you know, how did she do that? Right? And it took some growing pains to get that right in that the manufacturing I was off just to buy a tad bit on the lens, so you know, you have to go into your micro adjustment settings on your five d or fighting mark three whatever, and change it or get it calibrated professionally, or you khun download a template and set that up on a tripod and just like do it yourself, if you know that you're off like two or three notches, try it out. So other than that, you know the tool is ah great thing for outdoor use is well, depending on if you're in this direct son it's going to flare up and like, be super hazy and so you just gotta watch out where you point that and what kind of light is hitting it? Because you can overdo it really quick? Yeah, so when I'm outdoors, I really like to work with my with natural elements, so say have like I'm shooting outside and it felt I try to shoot through trees or flowers or plants, but I'm going to show you guys with my fashion actions I have a way to do this is well and photoshopped so sometimes that you have less control over it and whenever you're outdoors but it works created in studio, especially with constantly, which I should be sure you guys in just a minute I'm shiny could stand a little push in the side look over your shoulder, take one step back so I want the light a little bit more on her and turn around and face me there's a little bit more with your body of perfect so you guys can kind of see now there's just a little bit of ah softness on the bottom of the screen there we go, I'm shiny turn a little bit more towards me with your faith and I'll try putting your hands kind of together a little bit, a little bit more ethereal looking perfect. So yeah, she's using pocket wizards as well, she uses many different kinds of triggers um, depending on where she's at more expensive ones we leave at home for, you know, not the outdoor activities and stuff she's in the oceans or in the mountains for so, but we have our pocket wizards as well for the studio and and also, whenever I'm using this, I have to make sure that I can still focus on her face, so I'm focusing in on her face and then I move this around where it fits with my shot right now, you guys will see it a little bit more with the next with the next look with the constantly so you guys might not think that there's like much of a big difference, but there is a huge difference. If it was off, you would see clarity all the way down, and it produces a nice radial dark days, an inverted hayes basically, from what you would do outdoors, it would be nice and soft, and most of the common uses for that is actually going from the bottom up, so they even have filters that you can buy they made in the eighties that would have, you know, a radio are a top down or bottom up radiant that you could put on there so this is nothing new everyone's been doing it for a while so it's just your preference so the main thing was shawnee what I'm looking for with this slut is really soft hands really affair e o to go with the crowd in the concept so I'm not having her do too much with as far as our movement just subtle movement usually with my models I tell them every time they hear a click just to move a little bit since I shouldn't wide open I can't get too much movement sometimes I'll change my teeth my lens and use a wide land so I can get a little bit more because some girls just want are really good at it just like dancing or doing something constant throughout the whole shoot but something shooting at one point to today I tried to get them to hold the pose and then move after they hear the click here the shot of it and tomorrow we'll be going over opposing I'll be telling you guys a little bit more as well do you want me to get the film camera ready? Yeah let's go ahead to get the film camera ready and I do a couple shots we can wait let me get one profile shot to come this way a little bit you have a little more light perfect and look a little bit more this way shiny so I have a little more light on your face and give me just a really good maybe close your eyes and tell your perfect, beautiful and now try putting your hands up again like you were doing earlier. Gorgeous, beautiful, perfect. Now turn around and face me just a little bit more than a couple portrait. So with the eighty five linda's well, I usually have to have a lot of space in my issued in my apartment in new york city. I don't have too much space, I can get really long shot, but I love window light, so when I should be with the window light a lot of times I switched my seventy two two hundred linds, I can get a little bit more room to the very tight squeeze, but this is my preference in my favorite little issue with it is a little hard to focus. Sometimes when you have fabric ones, you just have to once again make sure you're using centerpoint, focusing on the face and moving the cloth around and manipulating it however much you need beautiful and for me today what I tend to do is especially studio I really like fortress, an upper body shot. If I have a client that they that needs full body shots, I do more I do like it when they have, like really long flowy dresses will have a model just spin around and throw it up and in those cases I get a lot of full body shots as well as if I have a card do you look like our client or I'm outdoors, eh? I get a lot more full body will you actually do a full body shot with just the one beauty dish like here? So if I have if I wanted to I would just pull it back a little bit I'll get back further in my eyes it's not going to be completely full body so what I would do is well is whenever I'm doing full body I like to get down really low to get a nice long angle of the model and make her look taller so I'm usually I'm pretty tall so I'm usually pretty close to the models heights so I don't angle too much is just like I'm usually shooting straight onto the model maybe just slightly angling up I don't really want to do down because then she looks a little bit distorted we have to get that I don't know if I can do it, we owe yeah, I don't think one so I'm just going to do it a little bit above her ankles and up okay actually I can do one for me here perfect so they're light would need to be up just a little bit justin, you know what you're doing with the tool basically you're pulling it aside so that you can focus and then re covering once you got to focus correctly yes I'm pulling it apart I don't want it to cover the faith so I'm using it in just around around her body and around just add a little bit of haze to the image more really working out I think also I'm using for this segment my white balance I used kelvin so right now I'm using I'm going to change my white house because I'm a little farther from her but I'm a thirty one hundred so I always adjust that based on the light that I'm using so the reason I use it as it cools the image a lot I usually like my image is a little more de saturated and a little more blue perfect this fire that time buying no no firing well um so you can't yeah is the insane I would just pull it back further from the model and then you see the light that it's giving so it's doing its covering her entire body and usually the pocket was fired sorry about that so we'll go ahead and I'm going to show you guys how I use my land camera and then I'm going to show you the sky look the skylights is a constant light because a really nice day light light so I'll show you guys that in just a minute as well just really quickly one more thing before you move on there are a lot of folks in the chat room wondering about that nd filter rand how many stops it is is that we're using basically toe let you shoot at one point too with the studio stroke exactly so I use it a lot outdoors too with the moola it overpowers the sun but so I construe any time of the day mid afternoon but while I'm doing that I have used I need andy filter to darken the whole scene that's the purpose of it which I used to have voted for once this is the b plus w b plus w and the eight I believe yeah yeah three starts so yeah basically just cuts down so you can shoot at lower aperture indoors or outdoors pending on the sun so much so that the whole point is that it's just darkening the scene so that I can shoot with the light firing at a really low aperture all right wait take the indian filter off and explain so now we have the skylark this is a new light by westcott and you guys can see I really really enjoy shooting with constantly this shot they actually have the marie antoinette shoot that I did inside it was inside like a prop house. And the whole time I was shooting at wisconsin light and shooting through material to add just a little bit of haze to the image and make it more ones. The cola. Supposed thio, more it's, more high fashion if you're just firing the lights, so so for my style, I really that's what I really prefer.

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

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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 !!