Lesson Info
42. Creating intense colour in a photograph
Lessons
Meet your Master
01:26 2Learn from the journey
15:24 3Using inspirations
08:43 4Photography is stopping time
09:27 5Albert's library of ideas
08:30 6Tips on preparing for a portrait shoot
12:10 7Setting up the studio
04:56 8Understanding studio collaboration
07:35The importance of casting and hair & make-up
08:59 10Foreground studio set up
08:46 11Studio session with a model - set up 1
11:23 12Studio session with a model - set up 2
05:55 13Studio session with a model - set up 3
08:01 14Picking the best shot
03:36 15Working with photoshop
13:14 16Creating a portrait of Alfred Hitchcock
04:18 17The gigantic question... Colour or black and white?
07:55 18One day with Kate Moss
05:06 19Learn to have your ideas ready
06:14 20Using Polariods
06:29 21Creating beautiful photographs of hands
04:45 22Controlling natural light
05:38 23Shooting a monkey with a gun
06:27 24Choosing your format
07:13 25Composition and lens
04:47 26Shooting landscapes. The Isle of Skye
15:18 27Planning and ideas for a landscape shoot
06:32 28Creating still life images
13:48 29Photographing the Lost Diary
10:53 30Shooting album covers
03:09 31The Strip Search Project
10:28 32Shooting Las Vegas landscapes
08:24 33Photographing Breaunna
07:21 34Balancing daylight, God bless America
03:45 35Creating the Maroc Project
10:21 36Creating the Maroc shoot
08:11 37Photographing sand dunes
04:09 38Photographing Moroccan children
10:42 39Advice on making portraits
10:12 40How to be alert to finding photographs
07:35 41Making a portrait of Mike Tyson
02:39 42Creating intense colour in a photograph
03:04 43Portraits of rap stars and a Golden Boy
08:40 44Photographing Jack Nicholson
04:20 45Creating a portrait of David Cronenberg
02:14 46How to light only using two $10 bulbs
07:29 47Studio fashion set up 4
10:47 48Studio session with a model. The geography of a face
13:05 49Look inside the picture
02:56 50Creating memorability in an image
02:54 51Combining nudes and landscapes
04:52 52A perfect print
07:50 53The business side of things
06:50 54Conclusion and farewell
03:55Lesson Info
Creating intense colour in a photograph
(energetic music) I was working on a project for a German magazine, Stern, and I ended up in Ouarzazate in Morocco, south of the Atlas. I was working with a well know model at the time, Waris, she's from I think, Somalia. She's a beauty, wonderful, good personality, strong model that you can really do something with. I'd had this idea in New York, that kind of, I actually kind of stole a little bit of the idea from a German illustration from the 1920's. I kind of prepared the shot in this way. I was going to do it in color, so I prepared what I was going to do in color. I arrived there with a nice piece of red fabric and I put back lights on my red fabric, with red lights, red filters on the lights. So not only was the fabric red but the light hitting was red. When you do this, you get a rather wonderful neon effect, so the color looks neon, not just red, but neon red. (energetic music) So, then with her skin, we used a very light, kind of matte moisturizer on her skin. So I wanted a...
certain amount of shine but not too much. I also brought from New York, a food dye, and the food dye was in red and I wanted to dye her tongue red for the shot. So I brought it with me from New York. The other thing I brought from New York, was a gold tooth that I found in a souvenir shop in Times Square. So I bought it and you just clip it on. So it's a gold tooth. The other thing that I had brought is some gold paper, which I rolled into horns. So, it was always about the gold tooth, the tongue and the horns and her attitude, of course. The red was just what I chose, I mean it could have been a different color, it could have been gold, pink, something else, but I chose red. I always preferred it when the skin was a little bit desaturated later. It was a strong looking shot and was shot on a Hasselblad, with a 150 millimeter lens. Fairly straightforwardly shot, you know? The front light was actually natural sun light. So I protected the background a little bit, for the strobes, and then went ahead and used the natural sunlight in the front. So that's how that shot was done. (energetic music)
Ratings and Reviews
Richard A. Heckler
"Unless you're Mozart"...this course is an invaluable asset. I'm a pro, humanitarian/documentary photographer, & wilderness...and I've learned much from the 40+ sessions here. This is truly a Master Class...next best thing to being with Albert. And although I could watch studio sessions forever, this course offered a very balanced curriculum of technical information, artistic encouragement and guidance, and a open, generous window into the thinking of a gifted artist and photographer, sifted from decades of first class experience. Kudos to all involved. Excellent!
a Creativelive Student
I purchased my first CreativeLive class in 2011 and have continued to purchase many classes over the years. I have learned so much from the many great instructors. This one is not a technical class that will tell you to set your camera at f4, 1/60, ISO 400 and you can get this shot. If you are looking for that, there are many other options. If you have a solid working knowledge of photography, this class is so much more. The way it was filmed is like you are there with him in conversation or in the room with him watching him shoot. To see and understand the how and why he does what he does. Not to take anything away from other classes that have helped to give me a strong understanding of photography, this is my favorite CreativeLive class so far.
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