Lesson Info
13. Studio session with a model - set up 3
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
Studio session with a model - set up 3
(slow, rhythmic music) What I'm gonna do right now is to change the shot to a slightly more dramatic lighting, less beauty, more portrait light, and I'm gonna switch the light to almost, the light almost behind her. And then, I'm gonna look at a profile shot that has a much more dramatic lighting in it. So that's what we're gonna do now. Let's move the black flat here further back a little bit. You move it back. Let me have this here and we'll take this down and put it in there. And the same, you're still gonna rest on the point of your wrist there. Come this way a little bit. It could back up. It would be delightful for me if it could go further back just soften a little bit. Put her in a little space like that. Okay, hold on. Just put the side panel over a little further. That's it, good. Camera is good? That'd be, you want him clean? Come forward a little bit more, stretch forward. That's it. That's perfect, just looking down a little bit. As you see from the angle of ...
the light right now, it's a lot, not a lot, but it's a more dramatic light. It's still on access to her, it's still coming at her, but we've chosen a different vantage point, which makes the light appear more contrasting. There you are. It's not on, right? Just think about a smile there. Just a little bit more of a smile as you look, you see the boyfriend coming over the hill. There, okay. (camera clicking) Hold on. Now, I want you not to move. Just there, just for a second or two. (camera clicking) Just bring in a small card and we'll flag this just a little bit. We're gonna take a little bit of the weight off of the ear there, which is a little bit bright. I need a small flag. You'll soon see what it's doing. Let me have it in my hand here and then we can fix it. You gonna stand there? No. Okay. So we look at it here. Okay, well, it's better you fix it. Sorry, difficult for you to get in. So, usually, when you put a flag in like this, the thing that you would do is you'd cut the light completely. When you cut the light completely like that, then now you can really introduce that light and see what it does. Now what you can do sometimes with that, which is a lower light level, you know, I'm holding the flag, but you can have a look and see if there's something interesting happens there with it. Let me pull it back a little bit. So all of this work has just been done by the flag. So now, just stay in that one position there, Clara. Stretch forward a little bit. There. So bit by bit, just by the simple use of a flag, you can increase the power of the shot. (camera clicking) So what I'm gonna do now is just, I wanna fix this flag so it's a little bit more permanent, so now you can bring in the stand to hold this. So stay right there, Clara. It'll be over very quickly. Taro. Yes, sir. Just hold still there, Clara. I'm sorry. And then it will be very quick. You're gonna do-- I'll drop the stand there. Okay. (crew speaking) So what you wanna do here, is you absolutely wanna make sure that when you put your flag on a stand, that it's doing the same thing as it did when you held the flag. So we'll hit this again, the eyes a little bit lower. It makes it a little bit more romantic looking down, just a little bit more, up. There, perfect. That is good there (camera clicking) and so you can check that it's doing the same thing. So now, that, I think, works very well. So just stay there so I can get the second hit. Yeah, I'm gonna do, once again, a double hit, which I explained a few minutes ago. So hold on to it there. Taro. Yes, sir. Can you come over here to stand where I am here. Just stand next to me. Sure. I need to move that quite a bit over and take out the flat here for my second frame. So hold steady. We'll get the shot very, very quickly. A little bit more if you can do it. Don't worry about the top. Here we go. Okay, that should be enough. Okay, I'm gonna do the second hit on this. Let me do one more from the front for it's a perfect match. (camera clicks) Good, think about a smile again. There, good, (camera clicking) there you go. So let's go ahead, and you can relax, Clara, just... My hands are getting numb. Your hands are numb, the face is numb. (Clara laughs) Look natural. Here you can see how the computer spliced it. It's a very simple process. You can even do this kind of splicing, I think, even on an iPhone, you know. The reason, once again, for the splicing, Why splice? Why not shoot it in one? The reason for the splicing is that the shot has an additional compression value when you do that. It has a more immediate frame. It makes the frame look more powerful when you do that. And the sharpness level, you may not need 180 megapixels. The sharpness level can be controlled with noise and grain and so on, if you want to reduce that a little bit. So just come in with a crop on the right hand side a little bit, that's it. And then a little bit from the bottom. It's got a little bit too much black in it right now. Then come in a little bit on the left side. A little bit, hold on. And a little bit from the bottom makes it slightly more landscape. There, okay. Now you really have an option here. You could keep the original vertical shot here if you wanted. I think the panoram's quite good, because you have the shape of the head coming down here in the back. The camera's at just the right level, so the focus is entirely here. You have a little bit of texture coming through from her blouse that she's wearing. You don't need, in my opinion, a lot of detail here. We may open this area a little bit up on the neck and the ears here and Photoshop just a little bit. You know, I could have let a little bit more in with the flat, but it let's you see the drama of the shot right now. So I think what we'll do now, now that we have the splice like this, which I think is quite good, you're better doing this splice not by the computer, but doing it manually, if you know Photoshop. But the computer does just as, demonstrating it, I think the computer does a good job of splicing it. And we can see it now. (slow, rhythmic 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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