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Modern Women's Portraiture

Lesson 20 of 37

Shoot: Film 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

20. Shoot: Film Camera

Lesson Info

Shoot: Film Camera

These are quite popular back in the day the land cameras polaroid land camera you confined these at flea markets and everywhere so they're easily accessible. The only thing that's not cool about these is that they uh deteriorate the battery compartment city ari ate with the batteries in um you know, usually ah lot of the you know, people who previous owners for these left the batteries in there so you know, finding a good one is kind of tough and also the batteries themselves are hard to find they still carry them at the battery stores it's just that they're super expensive and so you have to get him converted so this one is converted teo use triple a I believe some other ones are using a different type of battery but equal three volts so it works so you can hack it yourself if you want to but yeah, this is the four forty this is a plastic lens elements eight point eight on dit takes uh black and white f p three thousand d film which she said that they recently discontinued um you coul...

d still find this at being h and any of your local camera stores but that's probably the last time you're ever going to see it so and they're decent prices still unless you go to amazon or ebay but um see here what else this is automatic exposure on this? It has a lightened dark and dial is pretty easy pretty straightforward that's why they were popular back in the day on dh that's why she she loves to use it it's pretty easy straightforward it's three thousand eso film so it's versatile in studio outside um and it's it compensates for you as faras because all automatic it's got a pc sink too if you wantto teo hook it up to a stroke as well so um other than that here is the one ninety five is the rare model this's fully manual so it's uh goes to three point eight um a ce faras the aperture and um it can go down to bowl o one second to five hundreds of a second so this one's no battery it's all manual and this is a great one it's a tad bit more expensive but are actually a lot more expensive but you don't necessarily need it but if you want to shoot low apertures this's the camera to get so um there they also make color film for it this is not this continued so you can pick this up anywhere as well um, amazon or wherever you want uh there's a site call fashion ah gopher dot ceo that carries this as well as refurbished cameras is probably good to get him refurbished because you can't get the wiring wrong and mess it up and or uh get some dirty elements or dirty lenses and stuff for it so just be aware of film cameras they deteriorate over time and it's good to get one that's refurbished anywhere you want so emily is not going to be shooting with thirty five millimeter today, but this is her cannon et uh range finder they call it a range finder because it's two images that when you're focusing and uh in here in the glass um that it has two images that focused in the center that you can see that you're focused so it's different from the prisms in a thirty five millimetre a one let's say we find that, uh her shots were a little bit more blurrier and those so this one's were really tack sharp and it's really light weight and it's a one point seven lens and it's beautiful and it's lightweight and it's fun to use and she takes it everywhere so thirty five millimeter she uses uh oh, yeah she's uh this one in her on one of the photos I showed you guys earlier that was part of my slide show. I used the porch a hundred so it's a color film it's really grainy and really I love the grain that it gets it's really pretty yeah, if you see on her facebook page that main photo with her that um makayla model and the other in the marie antoinette thing yeah this is the film that was used for it so it has that awesome green the awesome tones you know no photoshopped needed it's just like comes out amazing and this this is readily available anywhere um and this is one of the most beautiful films available. So four hundred t x is a classic black and white film that you see emily's work a lot lately on dh it produces you know large green because it's a thirty five millimeter not medium format which is more artistic for her because the large grain just kind of brings it all together and stuff medium format of course it's going to find a green and it's up to you guys what you want to shoot but she left thirty five millimeter for that and as well as we have the sx seventy very popular polaroid land camera from back in the day it's so amazing just the way that it was built the way that it collapses it's just ah I don't think there's been a camera more beautiful than this one that edward land created and designed so it has manual focus for this one they also made models with auto focus it sends out a little sonar blip it tells you how far your model is away and automatically focuses for you and you have your lytton and dark and dial and it's um you know, the impossible project still self sells film for it now um and you confined expired ones on ebay for cheap or for expensive, depending on how good you are. Even so. So yeah, this is an awesome camera have fits anywhere your preference but, uh, it's good inspiration to try all kinds of film while it's still here, so yeah, she may be using this, uh, this one right now I said I'm going to give the land camera with a p three thousand b film, which is the black and white pull apart film I showed you guys earlier. So with this camera I traffic whatever this but has two different viewfinders one eye focused with and then the other one I compose my image so shiny really fell let's. Teo, oppose. Take one step back this way. Yeah, a little bit more facing me with your body. Perfect and let's do your hands up is just something really looking away. Yeah. That's pretty. How about closing your eyes like that and troll your face to slightly more towards me? Yeah. There you go. Perfect, right. Same focusing on shaunie. Just click I pull it out, I wait thirty seconds, so you know, set it right over here and then I'm going with this one with us this camera, it doesn't have a light meter. The other one does. So I usually tested out there's a knob. So you lighten your dark in the dark in your photo. So the first one's a little bit of ah, test, but usually I know about what setting positive negative film I can't pull it yet with wait thirty seconds. But this film, um it has emotion that gets spread through the packets here. A lot of the photographers that emily is inspired by a lot of you guys. Maybe paolo diversity. Kathleen non dorf. Uh, they these polaroid cameras and four by five cameras, same method, uh, where the peel apart, where they have a pocket of emotion that get spread over it and it develops overtime color found more black and white and it's uh, you know, you can't find the four by five ones anywhere, but these ones are still available, and they're amazing houses in that you just peel it apart after the temperature. After you look at the box and see what temperature at and it says basically the different times, usually thirty seconds is enough for this one at max. So so you can pull it. Chatroom age and el bebe artie why wondering whether the polaroid was tethered and no it is not a way will actually be scanning some of these images during the break and then during the next segment emily we'll be showing you how she re touches these thes images and so you'll be able to see the images that yes definitely so yeah you guys saw mei mei presentation I showed you a couple images because I know that you couldn't see it from here really well can we take it to a portrait lens so I have a wide lens and I have a portrait lens for my cameras so I'm going to change that to the portrait lens but it turned out really nice I don't need to change the lighting all scan these later show you guys um I can't really still right there yeah thank you great beautiful trip okay, so this is the spectrum camera it's a polaroid cameras well, I'm using impossible film with it today. I really love the colors that I guess and just the kind of the texture the possible phone does um with impossible film it usually takes maybe twenty to thirty minutes minutes to develop so you guys won't see this one for a little while but I'll have it for you this afternoon so take one step closer also like you guys see now I have my constant light on this works great with my polaroids, especially with the impossible come if I'm using I like this because it's daylight so the cooler light and if I'm using a warmer light it makes the polaroids really yellow and so this one this is the light that I use when I'm shooting polaroid or or window light basil it's perfect how about with just a little bit away like right here? Okay, wine stay really still with this when you have to make the models sometimes it takes a couple seconds to fire they want teo well, time to put this to the side and then they have battled oh, yeah, this is the negative. So what I do is that what I should do is a kind of what it should you guys earlier I go in and I scanned this than I invert it, and I really like this even more than the positive. A lot of times the only thing is that it takes a while to dry, but you guys can see right here it doesn't really look that great, but once a scan it and put it into the light room, I can invert it and it looks really nice hold it still okay for the folks at home who, by the way, angie says, gorgeous start talking it's lovely dbs photo just all caps. Wow, good, yeah, I like it. I'm glad you let me explain a little bit about it, right? So, yeah, it's a pack film it's a positive and a negative you could see here. Um, the cool thing about it is that you have to be one of the biggest things you have to do with this to save it is to not put it in dust or in conditions like you're outdoors a lot of twigs and branches everywhere and just like, fallen stuff all over it. So that's the hardest part when you're shooting with these outdoors just keeping it clean. Um, which sometimes it's cool because it it comes out even more amazing, right? You got dirt and scratches all over. It happens to me a lot. Yeah, yeah, yeah, and it can come out even more amazing. And so you just gotta watch out for it. Keep it dry on dh keep it in a you know, a nice location don't put him on top of each other because they're going to stick to each other and then it's going to ruin it even if you like, touch it with this or the edge of it on it it's going it's going to ruin it so you can use a hairdryer which we're going to dio or just wait till it dries out and some people put it in sodium sulfide teo that's what did in the past to preserve it so that the the negative and the positive are pretty close match so in this case it's more artsy so it's up to you guys if you want to continue, you know, put it in sodium sulfide but, um chemicals they're usually you know, kind of dangerous so way preferred we prefer to stay away from you know that but it's pretty cool process and we'll just continue to drying off this cool so I'm going to dio show you guys a couple more with my digital camera using this I changed my calvin white balance tio forty one hundred earlier it was that thirty one because I had the the insane, which is a much warmer light. This was a lot cooler, so I upset a little bit let me put let me do again showing you guys within without the fabric. This is where you noticed that a little bit more because it's constantly so you'll see a little bit more grain than you did previously. Okay, let me do what attack and soft in your hands, okay darken it just a little bit, so I'm still shooting at a wide open opportunity at one point to my cheddar sees one to fiftieth in my eyes so is it two hundred right now? Beautiful perfect gorgeous take one step over here. I'm changing her a little bit because of the shadow we move it just slightly this way. Yeah. So you guys see now without you I just change it so that the little a shadow behind you guys concede now the photos without using material and I'm going to add it back on hey, so you guys can see it a little bit there's a little more hayes on the bottom of the photo's a little less sharp which I prefer take one step forward shawne perfect gorges and you really just have to manipulate at your liking so sometimes you wanted to cover the face if you want it just a really artsy kind of photo it's definitely softens the image a lot so it's totally based on your personal profits and your creativity and what you like? Yes okay, I'll do a few more with us and then I want todo a couple more polaroid is perfect so you guys can see the the light it's a very cool light it works great for constantly really mimics window light I don't have that too much and new york has been so snowy there lately and I whenever I'm shooting with the polaroids I need a lot of light because they're because of the s o with the impossible film so it works great for shooting indoors with impossible film or if you just need a really nice constant light great let's do one more profile shot perfect and take one step over here I want a little more light on your face there georgia's perfect beautiful and now shaunie turn around and face that way so you can see the back of the dress a little bit more a little last the other you go perfect let me okay and turn back and look right here in my hand and show a little bit more there put your hand a little too slightly closer there how about try putting both of your hands up one more time where you know I like crossing arm so usually with posing to him really working with the model sean he's been modeling a while she's really good at her movement but depending on the stage of the model I was like doing a few tests and I'll be going over s'more that with you guys tomorrow all right so we got the polaroid camera with the portrait lens attachment they sell these portrait lens attachment you can still find them they're kind of rare though but basically it allows you to take a more portrait shot because it's I believe a three foot distance with the land so if you want to get in closer they sell plus three ones this is a plus one die optics so um it's good enough for portrait shots and um what that means for people yes so they're like me and I I don't know what you just said yeah so it lets you zoom in further I think so you'll notice that the constraints of this are pretty limited in the photo that she took right here um this is pretty much you know as close as you can get um with the current lens so you can buy these attachments that would allow you teo zoom in on it says right on their nineteen to forty two inches so you could get really close and rather than the three foot so it's it's pretty simple they just attached right on top they sell them for all types of land cameras so if you get one of the you know manual ones or ah plastic one the three fifties or the four fifties or four sixties the fifty sixties of all the ranges so two fifty two sixty three fifty three sixty for fifty four sixty are all glass zeiss lenses so they're sharp and uh they're sharper than the plastic ones so um it's your preference if you want to go more sharp try to get less hayes and less softness go with his ice which is the four fifty or three fifty to fifty um other than that, you know they have a lot of more features on emma's well um despite that better glasses is key better view finder it's not split the viewfinder because this one has to show you see in this one so basically has a uh uh a viewfinder where you compose and then one where you focus right here has got a little dot uh I mean a little hole right here and this is the focus area and then you re composer and you finalize your shot ewing this one so it's kind of weird you gotta go like this use these knobs to focus right here and you line up your two images and when it's all set then you make sure you cock the shutter and then you fire everything's numbered to it's got like, a uh ah pretty easy system where one close it here you go one is toe open so you just open it to, um right here this is the shutter uh, I mean, this is too cocky shutter and this is to fire it so in your I s o you can sit here at the bottom three thousand speed or you can change it teo three hundred one fifty and seventy five so you probably have to go the seventy five to use the one hundred film because they discontinued all the other types of films so only two options available unfortunately so that's that now she's ready to shoot with there are some questions coming in about the constant light that you're using here could you talk a little bit about that and then are there any differences between the two beauty dishes that are on the way first street there's a good question these air actually exactly beauty dish is they're both a mulligan needs the twenty two inch beauty dish and the difference between the lights the einstein is a warmer light and I was I can use the einstein is a constant lights who I've done that before but I have to change my calvin a lot to cool off the image because it's such a warm light this is a really is the sky like where this is the westcott sky locks and it's a really cool light so works great for film it's a nice constant light against that ethereal kind of style so so I really this is really my favorite kind of like when you say works great for film you mean is film usually warmer exactly yeah so with the impossible film is very warm with it along with the with the mole and the einstein because the einstein so warm so so if I'm outdoors the film's great the colors are very nice natural but with artificial lighting having a cooler light works a lot better this is fifty six hundred k it's the new sky looks I believe it's ninety four cr I one of the closest uh temperatures to daylight available so this is led and it produces pretty much no heat so that's a good thing and you can pop your bag of on battery or any kind of battery source and take it with you ever you want um the er but mainly it's used for you know indoors and for her film because it has to be you know the right temperature for you know these films are also is going to turn really muddy and really orange and yellow if you use your constant light on your modeling light on your stroke so that's the reason why you know sky like sent us this so it's great explain the process I'm thinking if I change my lens so portrait lens and getting a few last portrait so this is what lands I have to be a lot closer to show me in order to focus the other one I have to be further away because it's a white ireland so I'm gonna get a little bit closer quite to the camera for this one here a little bit closer so the model has to stay very still for these tilt your head a little to the side perfect gorgeous do a couple more seconds candies for you guys and I'll fill them in just a minute and show you the results you can take a little bit sometimes depending on your available light so um you know, if you have an iphone handy, sometimes I put on the flashlight and I hold it right to the model's face that way, you know, you can focus perfect and not waste a shot, so if you have an assistant iphone flashlights are handy with focusing. Tell us again exactly where you where you're focusing on where where will you think on that? Yes, I usually try to focus on a point in the face with a lens of with my wife, the focusing point there's, a little tiny box who is so it's, very specific where you focus, but I always tried to do something on the face, so that it's really clear for me. So I think that let me go ahead and kill a couple more of these for you guys and show you the difference between the portrait and the so here's I only did one with the wide lens because with the dress and the crown and everything I wanted, I wanted a closer image. So this is kind of the difference between this one's, the wide lens and another to report with the portrait lens. So it's really depending line this style that you're going for, whether you're wanting a full body shot or a really nice, close up beauty kind of shot, so the cool thing about this film is that's three thousand I s o but you almost see no green that's like one of the most amazing technology go feet chemical feats I guess at that time you know that they did this with instant film appeal part film um and you know it's very different with thirty five millimeters. So it's great to experiment with the have fun and just shoot wherever because it's easy to use. Yes. So what? I want you guys really toe to go away with its trying out new things, trying out different kinds of films and making it finding what you like. Like I told you guys earlier, I've shot with so many different film cameras, I probably only twenty two forty I don't even know anymore, but I've tried different kinds of home some I love my daughter so it's finding what you're finding your style, and if you don't want to go out and do film, you can also look, just look at those photographers that use it and see if you can incorporate some of that into your digital work as well. So just finding techniques that work for you.

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 !!