Lesson Info
18. One day with Kate Moss
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
One day with Kate Moss
(synth music) I had done, in 1993, a day with Kate Moss. The remarkable thing is, I have so many well-known pictures of Kate Moss. But the really remarkable thing, which I think is really remarkable, is that all of the shots of Kate Moss, of which there are lots and lots, they were all done in one day. I only ever in my life worked with Kate Moss for one day. And all of these shots that I had taken of her were all done in one day in a villa not far from the house we're in right now called Dungtamsner. And I had her for one day, they flew her down from London. And she was up and coming model. And it was for German Vogue, and they wanted it all to be beauty skin-oriented. And we started the day at 7:30 in the morning, and we worked until ten o'clock at night. So, we actually worked with her for almost 13 hours. She was the only model. That's why there were so many shots. She was a fantastic workhorse at that time. She was just, she did shot after shot, and I always asked her, "Are you ...
alright, you alright?" And in fact, at the very end, when it got to time, and we were breaking down dinner, she actually turned around and said to me. She said, "Today's my 19th birthday." So if you ever see any of these shots, on that day, Kate Moss was 19. So, of course, I did, as I said, many, many shots of her. The shot that we are looking at right now, we had a henna artist come in, a local Henna moroccan artist, who painted the tattoo onto her hand. And I, just showed her the tattoo. She actually showed it to me, and then I saw the shot from that 'cause she held it up to her face like this, and she said, "Here's the tattoo." And then I just devised the shot from what she had almost given me. And I used a very simple clean light with that, sunlight. And she closed her eyes to the sun, it was probably in the mid-afternoon that I did the shot, and then later, when I processed that shot, had a good look at it, I decided that it would probably be, much later, that it would make a good candidate for solarization, which I did. So, of course, I've done solarization before in the dark room, so it wasn't really a problem. So, we did that shot in the dark room much later. So on that day, we started with, you know, natural light. I worked all day with natural light. I did a little bit of strobe. The well-known nude of her. I worked with her on that nude and it was something that I've used several times since. It was the idea of a nymph, a fairy, in the woods, almost Midsummer Night Dream. And I said to her, I said, "Maybe you could get into a position there," of course, she's nude, and I said, "Maybe you can get into a position there "where you're almost like an elf in the woods "or a fairy and about to pounce, or something like that." And we worked that out, and she actually did it very, very well, and that's where that well-known nude shot came from. Even at that time she was a good model, you know. So, the day went on, and that shot that I just mentioned was done in a simple natural light on the roof of the building. The sun then went, and then I built a small studio indoors, and there was also quite a well-known shot of her back. That was done with strobe light against just a canvas. So it was a very classic, almost really classic, nude shot, and completely different from the earlier, natural light shot. But, as I said before, just one day, and I think, in the end, we did about 28 shots in the day. So, sometimes you get lucky. (synth 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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