Swimwear Photography: Creating Beautiful Images of Swimwear Models. | Warren Marshall | Skillshare

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Swimwear Photography: Creating Beautiful Images of Swimwear Models.

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 12m)
    • 1. Introduction

    • 2. Your Project

    • 3. Preparing for your shoot

    • 4. Working with your Model

    • 5. Equipment

    • 6. Lighting Skills

    • 7. Jasmine's Midday Photo Shoot 2

    • 8. Using the Location

    • 9. Zoe's Shoot at Caves Beach

    • 10. Viewpoint and Composition

    • 11. Rachel's Sunrise Shoot

    • 12. About shooting in a Pool

    • 13. Pool images

    • 14. Conclusion

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About This Class

Skillshare student Mika Tal said:   "PRACTICAL EXAMPLES very usefull tips and the models are gorgeous so this motivates you too look for a model take your camera and put this in practice. I recommend" 

In this course you will learn the right way to take swimwear photographs on location.



The global swimwear market is valued at close to 20 Billion dollars per year.  Every swimwear manufacturer needs great product shots but also the consumers of these swimwear brands often are after images of themselves wearing any number of the swimsuits that they own.


The photographer who can shoot flattering images of swimwear has a great advantage in this market.


Warren will explain the intricacies of this style of shooting including:

Preparation and planning

Location selection

Lighting options




Working with models


You will also see over one hundred example images from various swimwear shoots and some “behind the scenes” videos of recent swimwear shoots that Warren has done.

This course is not aimed at teaching you to shoot the same as Warren, it is aimed at giving you the information and the tools to create your own style and produce images that you are proud of.


Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

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1. Introduction : good. I My name's Warren Marshall, and this class is about swim way photography. Could I? As I said before the intro, my name's were on Marshall. I've been a photographer for 40 years, have been a full time professional photographer for 26 years, and I've been teaching for the last 10 years in my Newcastle Photography college teaching face to face thousands of photographers in our local area about how to improve their photography. Now this class is about swimwear. Photography in Australia were very lucky. We've got a beautiful coastline. We've got lots of great beaches. We've got a climate that allows us to go out and do swimwear photography. Just about all year round that you may not be in that same position, but the information and the tips that you learn in this class. They're going to be relevant for not only swimwear photography but for any kind of fashion or portrait photography that you like to undertake. We're going to give you lots of tips and techniques about things like lighting posing your model, choosing your location, the gear that you might need working with your model helping you to feel comfortable. You'll see hundreds of my swimwear photographs throughout these videos. Lots of different situations. You'll see sunrise shoots. You'll see midday shoots. You'll see shoots in a swimming pool, all types of swimwear photography, so that it will give you an idea of the sort of results you can achieve. If you follow the things that we tell you in this video, your class project is to produce a swimwear photograph or a fashion photograph. Using the tips and techniques that we've torture in this class, you're going to be able to lift your photography up to a higher level. If you use these techniques, you're gonna learn a lot of stuff in this video. It may be worth watching it a couple of times because it's packed full of good information and you may not catch it'll first time around. It doesn't matter what sort of camera you've got. You can shoot with a smartphone you can chew with a compact camera. You can shoot with an SLR, the results that you get a less dependent on the equipment that you use and more dependent on things such as working with your model, getting your lighting right, using the location in the right way. So all these things will be explained in this class and you'll learn them as you go through . It's a long class, but there's a lot of information in here, so let's get into it. Let's get wet. Let's get some great swimwear photographs and join me in this class. 2. Your Project : your project for this class is to produce a flattering swimwear or fashion photograph of your model using the tips and techniques that we teach you in this class. Think about the preparation. Think about the time of day, the lighting, working with your model, helping her to feel comfortable suggesting poses to her so that she knows what's expected and what you want. It's a collaboration. It's a team effort, so you'll get much better results if you both work together that any. If you try and do everything yourself, coach her through supposes, show her what you want. Don't be afraid to mirror the pose yourself so she can see exactly what you're looking for . It maybe a little bit embarrassing at the beginning, but you'll get used to it and you get better results. If you can communicate properly with your model, you can use any style of lighting where the use available light will flash for a combination of the two. Whatever you feel most comfortable with and whatever you're confident with photography is a learning process, so don't think that you're gonna come up with perfect results straight away. But please post a few of your your best results or your favorite pictures in our project section. And if you have any issues, put them in the discussion so that we can help you with any of those problems that you might have and make it easier for you next time you attempt the same sort of shoot when you post your project. Put a little bit of information in there about what you did about how you felt about the sort of things that you learned and the sort of things that you might do better next time. All of this information will help all of our viewers and be able to help them to produce better results themselves. Most of all have fun. The more fun you have, the more fun your model has. The better the results tend to be her expression on her face horizon. Gonna show that she's having fun. She's enjoying herself, and she's feeling comfortable. Everything else will fall into place if those things happen, so give it a go on posters projects below so I can see them and I'll get back to you and give you some feedback 3. Preparing for your shoot: now preparing for your shoot is a big part of the success off any fellowship. I like to prepare as much as I possibly can before my shoot. Things may not go according to my plan, but at least it gives me an idea about what direction I can head in. And also if I run into any issues where I can't think of what's happening or what's going on next, I can refer to my plan on my preparation sheep, just to make sure that I could get things back on track. Now, in preparing for a photo shoot, think about things like what location you plan to use. If you use a location that's good at low tide, then you need to make sure that you're going to be there at that time. You need to make sure that the lighting that you're going to use will correspond to the time of day when that low tide is happening. There are lots of APS that you can download onto your phone that will help you with this preparation. You can get tied shots you can get APS that will tell you the position of the sun at a particular time of day. It will tell you the sunrise the sun set times the position that the sun is going to be at any particular time of day. You can get the wind conditions of whether all of those sorts of things that allow you to pick a day that's going to line up with all of those scenarios. A lot of the locations that I use around my local area depend on being there at low tide to access the places that I want to shoot. So I need to find a low tide generally early in the morning because that's when the lights best at this time in this place in Australia. So I need to find out when the location is going to be at its best and arranged to shoot for that particular time. Think about how many other people are going to be in that location to a busy beach or a busy area can be a bit of a pain trying to shoot without people in the background, so try to pick a location that's not too busy. You don't want to be too deserted either, particularly for shooting a model who you haven't shot with before. She might feel a little bit uneasy if you're going to a place where there are no other people. But trying to photo shop people out of the background of your shots is a bit of a pain and is better to shoot without them in there. I always have a Plan B just in case you get to the location and things aren't the way you thought that would be. There might be a an event happening at that part of the beach, or there might be some issues with wind. Have another option that you can go to as a Plan B Just in case these things happen, rather than just pack up and go home and admit defeat, it's great to have some other option available. And just on that point to, it's good to have spares with you as well. Have a spare camera if you have one, just in case something goes wrong with yours lighting equipment. It's good to take some spares with you. You don't want a lumber yourself with hundreds of kilos of equipment, but just maybe keep it in your car or keep it close by so that it's available to you so that you don't have to abandon the shoot. If something goes wrong, think about what props he might be able to use in the photographs. I'm not a big fan of using too many props because I want my model to be the main subject to the photograph. I don't want anything too distracting in the frame as well, but things like beach towels, some hats, sunglasses, beachy types of props that might help you with some ideas about poses or things that you can do when you're getting into your shoot. Most importantly, check the weather forecast. You don't want to be out on the beach when the storm comes in or you don't want to be there on a really hot day. That's going to cause a problem for your model and yourself. Think about the weather conditions. Try to choose a day when things are going to be quite comfortable and you're not gonna have a problem with whether the ice with your model two. That's a big part of preparing for your shoot, making sure that she knows what's expected of her and that you know what's expected of you think about the purpose of the photographs, the reason why you're there. The reason may be that you want to get some great shots for your portfolio. It may be that you want to also get some shots for her portfolio. You may want to pay the model just so that you've got access to those photographs, and you can use them for whatever purposes you prefer. If you are going to use these photographs for particular purposes, you may wish to get a model release signed so that she knows beforehand what these photographs will be used for. If there's going to be any payment, you need to make sure that she knows that, that she knows how much she's going to be paid if she's going to be paid in images or if she's going to be paid in money terms. So make sure she's well reimbursed for the time and effort that she puts in models. Put in a lot of effort and time getting ready for these shoots, and it's not an easy thing to be in front of the camera, particularly with the photographer whose learning so make sure that she gets reimbursed either with fantastic photos that she can use, or any other way that you feel that she will appreciate. Think about the lighting that you might be required to take. If you're using flash, are you going to use direct flesh? Are you going to use flesh on camera going to use flash off camera? You're going to soften that light with a soft box or with an umbrella. Think about that researcher beforehand. If it's an important shoot and you don't want to make any mistakes, maybe go out of previous day. Take somebody with you and just practice those techniques so that on the day you're going to be better prepared to shoot the shots that your model wants and the shots that you want also think about any assistance that you might need on the day. Maybe take a friend along or ask your model to bring a friend, which will talk about a little bit later. Anybody who's there can help you in situations where you might not have enough hands to do the things that you need to. You've got to operate the camera, but if you've got flash off your camera, you may need somebody to help me with that to help you carry the equipment to help you hold it in place. Toehold reflectors or any other aspect of a shooting may be made easier by taking an assistant along. 4. Working with your Model : Now we're going to talk about working with models, the person you're photographing, maybe a model. She may be experienced or inexperienced. She may be a friend or she may be a client. Who's paying you to have these photographs taken? In any case, she is the most important person at your shoot. She needs to be looked after. She needs to be comfortable, and she needs to be a bit excited about having these photographs taken, because it's a big experience for somebody having these sort of photographs taken. She needs to be looked after and coached through the session so that she feels comfortable discussed beforehand what sort of things she can expect at the photo shoot. Talk about the sort of outfits you would like her to bring along. Talk about the style of posing that you would like. Send her some examples of the sort of images that you would like. Ask her to send you some examples of the sort of things that she would like so that you both can get the photographs that you're after. Discuss compensation. If she's going to be given a selection of images from the shoot or she's going to be paid for the modeling that she's doing. If you are compensating her with images, make sure that they're good quality. Make sure that she gets a decent amount. I know photographers who give one or two images to a model who spent hours getting ready and a lot of time at the photo shoot on. They end up with one or two images. Make sure that she's going to be compensated. Well, you want her to be happy with the results. You want her to want to do it again because you want to shoot her in the future. So the happier she is the most. You're going to talk about you, the better it's gonna be for your photography and the most positive experience. It will be for both of you. Now everybody is different personality. Some people are more outgoing and confident. Some people are less so, so be a bit sympathetic to the top of personality that she is. Don't push her too hard. If you can see that she's struggling a little bit, give her arrest. Make it easier for her. Speak to her nicely. Don't be too rough and demanding in what you expect from your model. She is, as I said, the most important person, and you need to keep her happy. Don't go into her personal space. A si photographers quite often moving in close to models, adjusting here and adjusting clothing and things. I would never touch a model, and I would never come into her personal space. There's a lot of trust involved in this relationship between Model and photographer Ondas. Soon as you do anything to get in the way of that trust, then the shoot can be affected quite badly, so make sure you stay away. Make sure you treat her with respect. Don't go into her personal space. Danko indefinitely. Don't touch her. Ask her to bring a friend with her. It's often a much better experience if she brings a friend along because she feels more safe, she can feel more confident and maybe a friend that she can have a bit of fun with. I always ask my models to bring a friend with them. If they feel more comfortable. It makes it easier for you as well, because they can help you with things like reflectors or with lighting or to carry gear to the shoot, so having a friend along will help immensely. Try not to check out your cameras screen every time you've taken a photograph. It's very distracting for the model. When photographers do that, I know it's a difficult habit to break, but when you're looking at your but your image on your screen, every time you take a photograph, you're pretty much saying to the model that you're really important while I'm photographing you. But now I'll ignore you for a while and you really important again, and now I'm going to ignore you for a while. There's no reason that you need to check every image on that screen. Once you've established your exposure and your focus and your composition in the 1st 1 or two shots, there's no reason to look at that screen again. You can see your image through the viewfinder, have the confidence that everything else is working properly, keep the flow off conversation, going with your model, making sure that she's confident and your attentions on her all the time. And she knows that she's important to what you're doing. So avoid looking at that screen after every shot. It really makes a big difference. Don't just take thousands of photographs in the hope that one is going to work. I see this all the time with photographers. They might take five or 6000 photographs that a shoot in the hope that they're going to get one or two good ones. Now. I've always told my photography students that there needs to be a reason to press that shutter. You need to be able to see a good photograph, a well composed image that is worth taking. Before you press that shutter, you're much better off shooting. Ah, 100 images, indecision and getting 60 70 80% good ones than shooting thousands and hoping that you might jag one or two. So take your time, compose your image, shoot the shot when you're ready when everything's in place. And also, by the way, try to let your model No, when you're about to take that that shot, because if she's standing there trying to look beautiful, not knowing if you're about to push the shutter or not, it's very tiring for her. So get into the habit of saying ready click OK, click so that she knows the instant that you're going to take the photograph so she could be in the post, but she could be quite relaxed. And then she knows that the instant that you're about to take it, it's so much easier for her. And she's not going to Tyrus quickly. Safety is always a major consideration when we're shooting near the coastline or in any situation, really. But the coastline has particular aspects that we need to be safe for. About. If we're in a situation where we're on the edge of the water every now and again, you'll get away. That's bigger than all of the rest. So be careful. Maybe have someone keeping a lookout so that they can alert you if there's any big wave coming along so that you can be ready when that comes. Things like slippery rocks don't expect your model toe walk, especially in heels on slippery rocks. If you do ask your model toe, walk out on rocks, have somebody to yourself or somebody with them, just in case they slip. So try and avoid those situations. Slippery rocks can be very dangerous, and it can really affect your shoot negatively. If your model has a slip or has an injury during the photo shoot of the dangers that you might face at the beach, maybe sunstroke. Make sure your models got shade. Make sure she's got water available to her. Food is sometimes a good thing to take along as well, particularly if you're going to be at the location for a long time. Also, when we're shooting swing way photography, your model may feel a little bit more vulnerable, a little bit more nervous about how she looks because there is more skin showing, so speak to a nicely be respectful of how she may feel. There are also issues that we face with 10 lines. Stretch marks creases when she poses in a particular way, tattoos as well. So any sort of skin blemishes or any problems with skin are amplified because there is more skin showing in a swimwear shoot. So be conscious of these things. Don't make your model aware of these issues because she may feel more self conscious because of that. Just use your skills imposing and in lighting to maybe hide these issues and make your shots look that much better. Another issue is if you do put your model in oppose. That doesn't look particularly good. Shoot it anyway, because we don't want her to feel that there was anything wrong with her in that particular post. If we say Oh, no, we won't do that will change back to this post. Then she thinks immediately What was wrong with that? Why didn't I look good in that purse? Shooted anyway, You can delete it afterwards if you need to. But try to keep the models confidence up. Try to keep the flow of the shoot running. It makes such a difference to the success of the shoot. Now the last thing I want to talk about in this video is the posing aspect. It's my opinion that the photographer needs to be responsible for posing the model. I know a lot of photographers cop out, and they just let the model run through poses and just click the button when they think it needs to be clicked. The problem for me in that situation is that the moral can't see what she looks like through the viewfinder. U S a photographer, the only one that can see how she looks through that viewfinder. So she needs to be able to trust you to coach her into poses that are going to make her look attractive. This is where that trust issue comes into a hand as well. So you need to practice the posing. You need to practice communicating, opposes to it. We're going to talk a little bit about that in a future video. But it is your responsibility to do that. Otherwise your images are not going to look as good and you're not going to get a high percentage of good shots. 5. Equipment: Now we're going to talk about equipment, the gear that she used to produce these photographs. As I said in the introduction, It really doesn't make a lot of difference. You can just use the gear that you have available to you. You can use your smartphone to get reasonably good quality images. You can use a compact camera. You can use an SLR being 1/2 frame or a full frame or a muralist camera. It's all up to you. With whatever equipment you have, you can do these photographs, the results that you get a more dependent on skills such as lighting and posing, then on what sort of equipment you get. I know a lot of photographers have fantastic equipment. Spend a lot of money on the gear. But all those things will be totally useless if you let down in these other areas, areas that take a little bit of time, a little bit of practice and a bit of knowledge to know the lenses that you use when you photograph swimwear. Photography, traditionally a telephoto or a short telephoto is the go to choice for most swimwear photographers because that can stand at a fair distance zoom into their subject, helped to separate this subject from the background with a little bit of blur in the background. And also, a telephoto lens tends to offer a more flattering perspective. Wide angle lens used in close come sometimes distort on. It's more difficult lens to use. I use both types of lenses. I use standard lenses. Sometimes I used white angles, and I used tele photos just depending on the situation and the environment that I mean, I love to use wide angles for a lot of my photography because it gives me such dramatic images. It gives me images with big skies. It gives me images with dramatic perspective, but they're difficult lenses to learn. So maybe starting off with a short telephoto lens or a standard leans is going to be the best option for you. A tripod or a mono pod can be handy. I know they're cumbersome to carry around, but if you're shooting in low light, particularly before sunrise or after sunset, then a tripod may be the best option because you don't want to be shooting at those slower shutter speeds to get your exposure correct and having camera shake coming to the issue. I usually take a tripod along to all of my shoots, just in case it's needed. It's always there because I don't want to get into a situation where I need it and I don't have it. Um, on a pod can be a handy accessory toe. Have more NEPAD's obviously a much less weight to carry around. They can probably fit in your camera bag or attached to your camera bag. Quite comfortably. Amman apart allows you to shoot slightly slower than you would be able to with a hand held camera. It also allows you to pivot quickly because it pivots on a single point, so consider using Amman apart. I think they're one of the most underrated photographic accessories I used my modified quite often. Think about your lighting equipment that you need. When I go out, I tend to use off camera flesh quite a lot. I got a large, off camera, flash battery powered unit and I like to use it in a soft books. If I can. The soft boxes large. It gives me a softer light, which is a bit more flattering for people shots, but it can run into a few problems when there's wind, particularly carrying it to a location, moving it around at a location. I need somebody else to come with me to handle that soft box toe, hold it in position and to carry it, so that may not be an option for you. Using flash on your camera is a quite good lighting option. Flesh on camera doesn't have a great reputation amongst photographers. Nowadays, everyone's talking about off camera flash, but flesh on camera can be amazing. If you control it properly and you understand the principles of using flash, we're gonna talk about that later on in one of their other videos in this class reflectors . If you're using available lot, then a reflector can be a handy thing to take along. Now, reflectors are quite difficult to use, particularly in windy conditions. They take a bit of knowledge about how to use reflectors. I constantly see photographers holding reflectors down low when they using it as their main light and getting up light on the client's face. If you've got light coming from below, it looks gruesome and it looks scary to us because we're not used to seeing lighting coming from underneath our subject, so a reflective needs to be above eye level if it's going to work properly. Reflected needs to be flat because otherwise is going to throw. Speculum highlights onto your subject, and you have bright areas and dark areas. A reflective needs to be bright enough to throw that light into the subject's face for the front of their body. But not so bright is to make them squint, which is a reason why I tend not to use reflectors in the bright sunlight. I use them in the shade, but I tend not to use them in the bright sunlight because it's it's too much for my subjects eyes to cope with, and they tend to squint too much. So think about a reflector or what talk of reflected going to use. I would prefer what reflector rather than a silver one, for the reasons that I just mentioned before using off camera flash, you need some way to be able to trigger your flash from your camera. I prefer radio triggers. There is a few methods, depending on your camera brand that you can use to use your camera or your on camera flash to trigger your off camera flash units. I just find that BA tedious. So I would much rather just throw my trigger on my camera went on my flesh, and it just fires very reliably. Think about other supplies such as water, water, feel model just in case she gets a little bit parched food, maybe shelter umbrellas and things like that Don't take too much space when you're carrying a long, but they can be a godsend when you're out on a really sunny beach for a long period of time . 6. Lighting Skills: Now we're going to talk about lodging. Lodging is one of the most critical things when we take a photograph, because all the photograph is is light reflecting off things. So the light that we use has a huge impact on the results that we get. Now. We can choose two main types of light. We can choose available light, which means the natural light that's occurring at the location that you're in. Or we can use flash or some other artificial light when we using available light. We need to be careful about the level of light on a model and on the background, we don't particularly want to face their model towards the sun or towards any bright light , because she's going to be squinting the quality of light that we get from that hard light source. The sun is going to be pretty unattractive on her face. In most cases, we tend to turn our models back to the light so that we've got that nice relied effect from the sun being behind her, and we get nice soft light on the front of her body and her face from this section of the sky that doesn't have the son in it. Now, when we're shooting out official light, we can balance that like quite well, because if we turn that model away from the sun, it means that the front of her body is in the shade when we're using natural light or available light. If we don't have any other light sources, we need to compensate for that boy turning up air exposure, increasing our exposure on her so that she's exposed correctly, which means overexposing that background to some degree. So the problem arises when we want to shoot on model against the sky because the sky is so much brighter than their model is initiated position. We tend to blow out and get very white skies when I'm shooting natural light and you'll see some natural light shots in the videos that we've got the behind the scenes videos later on in this class, when I'm shooting, available like I tend not to include the sky in the shot. I should my model against the rocks or against some sort of solid object that means that it's not as bright as the sky. I can expose that object quite cleanly and quite easily and balance it with the light on my model. Quite well. Now, I don't particularly want a sunlit background, either, because if the sun is on those rocks, then that's gonna be a problem for me as well. But generally, if I've got my model turned away from the sun when the sun's behind her, that background is going to be in a similar light to my model. So that's Jim Lee. How we get around that issue now. The other option for us or the other main option is to use Flash Onda. As I said previously, I used Flash for just about everything. I shoot outdoors. I use flash Maurin bright sunlight than I do in darker conditions, simply because of the fact that I've got my model turned with her back to the sun so that she is in the shade. I use my flash to increase the light on her so that she is exposed correctly, the same as the background. The advantage of using flash in this situation is that allows us to control the light on their subject and a lot on their background so we can turn that background down darker. If we want to or weaken, brighten it up in relation to the light on their subject simply by changing our camera settings or a flash power. And you'll see in some of the behind the scenes videos that you're going to see later on when I've been shooting models on the beach. We can do that. We can get that beautiful sunrise in the background or weaken dark in that sky down so that we get the actual sun in the sky simply by using this technique. So flash enables me to be so more for so much more versatile with the exposure of various different parts of my image. It takes a little bit of practice, but it's well worth learning. Now you can use a speed like flash, which is one that fits on top of your camera speed. Light flash is great for a lot of situations. When you're shooting outdoors, you can even use it off your cameras well with radio, Trigger says. I've described before issue with speed like flashes is that their limited with power when you're out on a bright, sunny day, but lots of sunlight, your speed like flash will struggle to have enough light to light your subject correctly against that bright sunlight. So speed lights really come into their own later in the day or earlier in the day or on overcast days when the light level is is lower so that the power of the speed light is beat . Gonna be adequate to be able to expose your subject correctly in that environment. So speed lights of great Andi. I work with a lot of speed lights. Ah, lot of the time. But if I'm shooting in the middle of the day or I'm shooting with bright light, I have a larger battery powered flash. Some people call them strobe units, but it's a battery powered unit that I can take anywhere with me. It's a little bit more heavy, but it gives me five or six times more flash power. Then my speed lights do. So again. I could be more versatile with that. I can turn it up and use the full power where I can turn it right down to 1 1/100 power so I can be very subtle with the flesh that I use. We can do that with speed lights as well. It's just that the maximum power is not quite as much as this battery powered unit that I use now when you are using flash, particularly when you're using unsought, often flash, which means flash from a from a small light source on your shooting in shallow water, you may get some reflections up onto your subject. It can be a little bit of a problem. You'll get the ripple lines reflected up onto your model. Skin the ways around that maybe to reduce your flesh power, move it away from the camera a little bit, or soften your flesh down using umbrella or a soft box to do that. Or maybe not shoot in that in that environment, because any sort of light that reflects off that water is going to reflect upon to your model. So keep an eye out for that. You don't want a lot of your shots ruined by that reflected light coming up onto your model skin Now, as I said earlier, lodging is crucial to us. It's photographers, particularly when we're shooting people because the way we like people has a bearing on how they look. If we shoot someone on, we like them directly from the front. It could be a very flattering light because it tends to make people's faces look smoother in this skin look smoother when we're shooting swimwear photography. Generally, the goal is to show off the model's figure as best as we possibly can. So generally lighting her from the side or from off the camera away from the camera tends to give us a better result because lighting her off the camera means that we've got highlights and shadows across the bumps in the contours of her body. It allows it to show the shapes and the contours off a figure so much better than if we had light coming directly onto the front of her. So think about moving that flesh away from the camera. Think about moving your model in a direction where the lights coming across her body rather than directly onto her. But also we need to make sure that her face is looking as attractive as we possibly can. So, generally speaking, I would turn my model's face towards my light source. If I have my light source up here, my flash or my available light, I would tend to turn my model's face towards that area simply because we get nice light onto her face. We get short side lighting, which means we're lighting this short side of her face. Her face looks a little bit narrower. Most people benefit by having their face look a little bit narrower. It's so much more attractive that way. Generally, I like to have eye contact with the camera. So the model looking at the camera, but occasionally I'll ask her to look away from the camera. If I do do that, I'll give her something to look at. Oh either, Say, look at my hand and I could move my hand around wherever I want her to look or I'll give us something specific to look at because then I'm still in control of how far Horizon move past it to look to the left. Chances are she's going to go like that, and I'm gonna have too much watching. There's are so being control. You're a photographer, you need to control your image, control the post, control her eye line, control her expression. All of those things are going to make to give you a better photograph 7. Jasmine's Midday Photo Shoot 2: this behind the scenes video that you're about to see was a shoot that I did with Jasmine at Port Stephens, which is just north of Newcastle. Just been contacted me and asked if we could go to this particular location to do some photographs of the swimsuits that she designs. The time of day that she chose for the time of day that she was available was not ideal. It was midday. We shot from about 11 o'clock through tool about three o'clock in the afternoon. So the lighting was not going to be fantastic. Because Australia is in the Southern Hemisphere. I know that the sun never gets into the southern part of our sky. So if we could shoot towards the North, which we could at this location, it means that we could always back like Jasmine. It means that she would never be facing the sun, which is going to be a great advantage. And this location suited that particular lighting style. So I used flesh, as I normally do in a large soft books, to like Jasmine. We started shooting at high tide, and we shot around some driftwood trees, which we posed jasmine on Then we continued at various different locations around the area or within a couple of 100 meters of their starting point. And as the tide went down, we ventured out onto the sand flats and did some shots with some boats out on the sand flats. Now, because Jasmine is a very happy, bubbly sort of a personality, we wanted to get that sort of feel to the shoot that we did so with shots of very light and airy and fun types of shots, judgments of fantastic model and the swimsuits that she had were terrific and allowed us to get some great images. I took a couple of assistance along with me to help me with the lighting because, as you know, I'm an old man and it helps me to have somebody else to carry the equipment for me and to hold those lights because I love using off camera flash. The soft box that we used was 1.2 meter around soft box that's quite soft. Using it in close allows us to get some really nice soft light on jasmine, which is quite attractive and quite flattering. Now as we move through the day the sun sank lower in the sky, so I was able to shoot some shots with Sun actually in the frame. Now to do that normally with my normal camera would be an issue, because I'm limited in my shutter speed because I'm using Flash and I need to synchronize with my flash. So I switched to a camera that had a higher flash synchronisation speed. This camera allows me to synchronize with my flash at full power at 1 1/1000 of a second, which means that I can control my background and I could drop my exposure on my background down very low, which allows me to get the sky very dark and allows me to actually capture the sun in the shot. So the shots at the end of this video towards the end of the shots that I did with that particular camera. It's a technique that I use quite often now. It's quite an old camera, but it allows me to do this and no other camera would allow me to do it. Hospitals sink wouldn't let me do this same situation because hospitals think, as I said previously, would limit me to using larger apertures and a lower flesh power. So have a look at this video. Have look at the results that we got and I'll see you on the other side. 8. Using the Location : Now we're going to talk a little bit about choosing your location. The location that you're shooting has a huge bearing on the results that you get. As I said earlier, I love to shoot in interesting locations. I'm lucky in the location where I live. There are lots of great beaches and lots of interesting areas that we conduce. Swimwear, photography, the location that you shoot will determine the feel of the shots that you get. It will also determine the light that you use on the day. Some locations are better shooting in the morning. Some are better shooting in the evening. Unfortunately, I live on the east coast of Australia, which means if I want to get out and do swimwear shoots, I need to do it early in the morning, which means getting up in the dark, which I hate, driving to the location in the dark and being there ready for when the sun rises. Those lucky people who live on the west coast of countries can go out in the evenings on get the same sort of result shooting over the water with that sun sinking into the western sky. So getting up early in the morning is one of the things I have to bear now. Your location makes a big difference to, obviously to the background of his shots, but also the posing options that you have. Think about your location in terms of what posing options it gives you. Are there some nice rock platforms? Are there large rocks that you compose your model against? I think caves are there. Jetties are the seats or furniture in the location. There are lots of different things that we confined around the area that can help to suggest poses to us and to make their shots look that little bit more interesting when you're choosing a location. Obviously, things like tides and swell wave conditions make a big difference. Beach can look totally different at high tide than a doesn't low type. The beaches around my area tend to work better at low tide. Think about using a beach that's not too steep. A shallow beach is much more easy to work with because you can get out in the surf on. Do you don't have those shore Brexit a crashing on the sand? It's not as dangerous. A shallow beach allows you to move out into the water and only have the water up to your models needs so that you can shoot some amazing shots in that water with waves coming through. That won't be dangerous and won't be a problem for you or your model. Think about using your APS to pre determine where the sun's going to be at a particular time of day when you get your sunrise that corresponds with your low tide or whatever situation you need to be in. There are lots of options out there for photographers to help. In the planning of the chutes, the wind can make a difference to your swimwear shots or any shots. When you're shooting someone with long here, you don't particularly want to be shooting into the wind because the wind is going to be blowing that here back over the model's face and could be a problem. Ideally, if you can have the wind blowing from behind you onto the model's face, then that tends to blow that here back away from her face and will be less of a problem aside. Wind can be useful to, but you just need to be careful that that wind is going to correspond with your lighting are dealing. Having wind blowing towards the sun is going to be a better option in most situations. It's something that you really can't plan for too much. But if you understand a little bit about whether predicting the clouds in the sky will make a big difference to the results that you get as well. If you're planning on getting up for a sunrise shoot, check out the weather forecasts and check out if there any heavy cloud predictions. Because you may get to that beach and you won't even see the sunrise because of those heavy clouds. Often it's a case of just get there and hope for the best, which is often what I need to do because the weather predictions don't always come true. But if you can get a son writes with a little bit of cloud, as we have in some of their chutes lately, it really makes a difference. It gives you so much more color and more detail and more interest in that sky. Shooting with sky that's got cloud in it often tends to be better than just having a clear blue or white sky, depending on if you're shooting with flash or available light footprints in the sand To be a bit of a problem, try not to shoot with too much mucky sand in the foreground. If you've got a lot of footprints in the sand, then it's gonna really distract from your model. So in that way, a receding tide can work in your favor. So because the water's been up on the beach and has cleaned up all of the footprints in all of the marks on the beach and it's receding back, so you tend to get a smoother sand surface, which makes it look more pristine and looks as if there's that's not such a popular beach. So think about your location. Plan it beforehand, maybe gun. Visit that location at the same time of day when you're playing on shooting just so that you can be prepared for what's going to happen, and you can plan your shots so much more fully 9. Zoe's Shoot at Caves Beach : Now, this next video, you're going to be seeing the behind the scenes video of a shoot we did with so it at cave speech, which is a beach just south of Newcastle. Que speech is a great location because we've got very being caves, some small caves, and we've got a very shallow beach that allows us to get into the surf and do some shots. There's a great rock platform there as well, but most of these features air only available at low tide. Any other tired. You be struggling to get into the caves and to get around the headland. So he had to plan to shoot for a day when we had a low tide at sunrise. Because sunrise is the time of day that I really love to shoot on the beach because we get the sun coming up in the background. A model is backlit by that son, and I can like the front of her with my flesh with my large soft box. As you'll see now . We got there in the dark. We got there an hour before sunrise. We went down to the beach and we just set up a gear and waited for that lot to be brought enough for us to shot start shooting. We began shooting in the caves, which is a great option because that light was coming directly into those caves. We went out onto the rock platform to do some shots and we finished up in the surf and did a few shots in the surf and further down the beach. We were lucky enough to get a quite a nice sunrise. We had some cloud in the sky in the eastern part of the sky, which gave us a bit of color. We had some times when the sun was behind the clouds, so we had a bit softer light on the background. We had other times when it was directly bright, so that gave us a bit more spectacular light on the back of their model. We shot for a couple of hours until the sun got up too high to be in the frame and until Zoe wore itself out pretty much. It's quite a quite a difficult thing modeling and it does take a lot out of you. People think that it's quite an easy job to do, but it's quite exhausting, particularly in these sort of locations, particularly when you need to get changed into different swimsuits and move up and down the beach and look your best for two hours. It's not an easy thing to do, but so he did an amazing job, and you can see the photographs that we got are quite varied and quite unique because of the location, but you'll see all of this in the video. 10. Viewpoint and Composition: The viewpoint that you use when you take a photograph has a big bearing on how that image appears. Most people in the world take their photographs from their normal height, so most images air taken from about 1.6 to 1.8 meters from the ground, which gets very boring. It's very easy for people to do that. They don't need to crouch down or get up high. But if you can change the viewpoint occasionally and do some unique shots from a different viewpoint, it can really make a difference to your images. Now I've mentioned before that if I'm shooting a model who's standing, I tend to shoot her from low down. I tend to shoot it from about waist height to give her that extra height and make her look that little bit more elegant. When I'm shooting people head and shoulders, I tend to shoot from a slightly higher angle, so I would tend to ask model to sit down somewhere or get down to a lower viewpoint so that I can shoot down on her. That gives me a more flattering head and shoulders shot because I'm looking down on her giving her a little bit more of a slimmer face because of that viewpoint and making her look more attractive in that way. Now I wouldn't shoot. I wouldn't generally shoot a full length shot from, Ah, higher position because it's going to make her legs look shorter and it's going to make her look shorter. Overall, I wouldn't particularly shoot a head and shoulders shot from low down because I'm going to be shooting up under her chin and up her nose, which going to be, which is going not to be particularly attractive. Those are the basic rules that I go by. If I'm shooting a head and shoulder shot, I'll shoot from above, or even down to the waist. I can shoot from above, but if I'm shooting a fooling shot, I'll get down and shoot upwards. Now these rules are made to be broken. Obviously, as are most rules of composition, we can use any of the rules of composition in our images to take our our swimsuit shots, but basically what we need to do is try and keep it as simple as possible. There's a rule that says a simple photograph is a good photograph and I believe that to a lot of degrees. There's also a rule that says, if you think you're close enough, get closer, which I don't always agree with. But it is a major problem for most photographers, but I'm making their subject to small in the frame. I love to include some environment in my image, and sometimes I include too much environment in my image. But I like to mix it up or getting close and shoot my model in close, and then I'll move further back to get more of the environment in the shop. So think about how you want to do it. Usual leading lines Use your rule of thirds usual left hand entry. All of those sort of compositional rules are going to apply to your people photographs. But most of all, your main subject, which is your model, needs to be obvious. It needs to be obvious that she's the center of the attention, and she's the person that you need to focus on. So whatever is else is there. You can show quite a lot of her environment by still getting in quite close to us. You don't need a lot of huge, expensive beach to show that you're at the beach. You don't need a big, big blue sky to show that you've got a great great day to shooting. So think about your composition. Think about your viewpoint and don't be conventional. Don't do the same as everybody else. It's fine to do a few shots like that and get some safe shots, but then experimental little bit. The only way you're going to learn is to experiment. The only way you're going to get better is to make mistakes. So get in there and try things, but do it with uneducated more and do it with uneducated moron. Sit so that you're not just shooting stuff is gonna look horrible. Think about why you're doing it on. Get in and give it a go. If it doesn't work, you can always modify you take, make and do it next time 11. Rachel's Sunrise Shoot: this next video that you're about to see is a behind the scenes view of their shoot. With Rachel. We took Rachel down to Catherine Hill Bay, which is a great location south of Newcastle. Catherine Hill Bay is, ah, terrific location to use at low tide because it allows you to get down underneath large coal loader jetty. This coal loader JD is very spectacular, is being there for many years, so it's starting to decay and corrode a little bit. There are also great big change rusty chains from Thea, anchoring of ships in the past that have come up out of the sand and over the rocks that allow you to get some great textures and some great leading lines in those images. Some of the rocks there covered with moss, and we'd so that you get that fabulous green color in the foreground as well. It's a terrific location and quite a popular location, but as in the previous shoots that I've mentioned, we needed to arrive early. We needed to get there before sunrise and be down at the beach, just ready for when that sun was starting to like the sky, right? - Rachel is a fabulous model. She looks fantastic in a swimsuit. She had a number of different swimsuits on the day, so we got a lot of variety of shots. Most of the shots that we took her within about 100 meters of each other. So it's only a small location. But the low tide allowed us to get down to that location and to shoot the places that we could. Now I had a couple of assistance with me again to help hold my lights, because I love to use that large soft flesh. We did shoot some shots with available light after the sun came up a little bit, but I made sure I didn't include the sky in those shots because with available light, as I've mentioned before, the sky tends to blow out toe white because of the difference between the light on the model and the light of the sky. So I tend to shoot. There's available light shots against the rocks or against some solid background that's not going to blow out like the sky did. I use quite a few wide angle shots in this shoot with Rachel right down to maybe 15 or 16 millimeters. I love wide angle shots for shooting general photography. I don't often use them for people shots, but it just gives me a really unique perspective. You need to be careful when you're shooting wide angle shots of people because the wide angle lens will distort quite a lot. If you place people towards the edges of the frame, particularly, they tend to be distorted. So try to keep a subject relatively in the middle of the frame. The thing I love about wide angles as it allows me to get that big sky in the background. It allows me to get some really good stuff in the foreground as well, because there's so much there that I can put into the frame. Your subject needs to be relatively close to the camera, but it still allows you to get some shots that look quite attractive without too much distortion. I also use the telephoto lens for quite a few shots to I wanted to mix them up a bit and make sure I got some great shots that Rachel was happy with. I got quite a few shots with the jetty in the background. It's quite an imposing structure. So you need. Do you need to be careful that it doesn't take over the shot and take over the prominence of the model in the shot? Because Rachel always needs to be the main center of attention in the image because she's the reason where there position your model, light your model, position your background so that it's in the shot and applies relevance to the shot but doesn't take over from your main subject. So have a look through this video. See what you think, and I'll see you on the other side way. 12. About shooting in a Pool : shooting in a swimming pool has its own challenges. It's completely different to shooting on location at a beach or any other location because we've got a limited area that we can work with. We've often got a background that we may not prefer background. That may be distracting. We've got a situation where a model is either in deep water or out of the water. Altogether. We can have a sitting on the edge of the pool. We can have her in the pool, not in the deep end, preferably because we don't want a picture of their models head sticking out of the water and her body under the water. So shooting in the shallow end of the pool is probably a better option. We've got ah, lighting situation, where, depending on where we're shooting for shooting in an outdoor pool, then we've got sunlight weaken back like their model, the same as we would in a normal location. We would fill in the front of her with a reflector or with a little bit of flash, depending on your situation and your experience. At a previous studio, we were lucky enough to have a large indoor pool where we could shoot at any time of day, the A daylight or evening. We could position our model in a number of different positions because we were totally in control of the lighting. It was a fairly dark room so we could control the lighting quite well so we could shoot on the edge of the pool. We could shoot outside the pool. We could shoot in the water. You need to be a bit careful when you're shooting with your model half submerged in the water because of the magnification off the water, like passing through water, travels more slowly and it is deflected so that your model will look larger under the water . Then they are on top of the water, which can be a bit of a problem. So, generally speaking, we would crop our model at the water line and not show too much of that underwater part of her body. When we're shooting in a pool. There are other options that we can use. We can use pool furniture, we can use blow up beds, we can use beach balls. We can use other things that are relevant to a pool situation. We're lucky enough to have a couple of showers in our pool room as well, which we could use. We could put the model underneath the shower. We could back like the water using flash, because that always looks more spectacular. If you can back like those droplets, we could silhouette the model or we could like the front of her, depending on how we wanted the image to appear. When you're shooting outdoors at an outdoor swimming pool, you could shoot with that shower with sun behind it. Shooting with that son behind will give a similar effect to the flash. It will highlight those droplets and make the shot look a little bit more spectacular. That way, when we're shooting in a swimming pool, we've got the option off getting down to water level and shooting along the water, which will give us an unusual perspective. It's not the sort of thing we can often do at the beach, but the swimming pool allows us to do that. We can also get some really nice reflections, particularly for shooting late in the day or in a darker environment. We can light our model and have really nice reflections in the surface of that water. So have a look at these images that, accompanying this video see the sort of things that sort of options that are available to you shooting in a swimming pool. And if you get the opportunity to do it, give it a go and see opposing the lighting about very similar to the shoots we would do outdoors. But you just need to be conscious of the limitations and the extra possibilities that are available to you by a shooting in a swimming pool. 13. Pool images : 14. Conclusion : in conclusion, I would like to say that I really appreciate you watching this course. I hope that you've learned a lot from the course. I hope that you will watch it multiple times just so that you can pick up on the things that you may not get the first time. There are lots of tips and techniques and good information contained in this course, So I hope you can get out, practice this stuff. I hope you get a chance to upload a project. Put your project in the project section with a little bit of a blurb about how you felt on the day. What sort of things you learn from the course. What sort of things you'd like to do in the future as well. Feel free to leave a review as well. If you appreciated the course, or if you've got any suggestions about how we can make it better, we always want to get better, and we're always learning and always trying to improve. If you have any questions, post them in the discussion section. I'll get back to you as soon as I possibly can on and answer your questions. We're planning to create quite a few new courses over the next few months, and we'll be uploading them as soon as we can. I hope that we can inspire you to get out and shoot more images. I hope that you get out there and do it because it's fine sitting. Watching me talking about these things and looking at are images. But the way to learn is to get out and shoot. The more he issued the quickie learn and the better the photographer you'll become. So get out and should try these techniques. Try something a bit different. Don't be afraid to make mistakes. Mistakes of the things that make us better. Learn from your mistakes. I'll see you in the next video and thank you for watching.