Master The Art Of Fitness Photography | Paul Aiken | Skillshare
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Master The Art Of Fitness Photography

teacher avatar Paul Aiken, Fitness Photographer/Content Creator

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

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

    • 1.

      Introduction To This Course

      3:49

    • 2.

      Is this course right for me Video

      3:18

    • 3.

      Equipment Video

      10:24

    • 4.

      Udemy lesson Hygene

      1:29

    • 5.

      Appearance 2

      1:43

    • 6.

      Id customer 01

      1:20

    • 7.

      Id customer pt2

      1:31

    • 8.

      Id clients 3

      1:44

    • 9.

      Lighting muscle 2

      3:06

    • 10.

      Magazine cover shoot in the desert F

      7:22

    • 11.

      Photoshoping Beach Volleyball

      17:33

    • 12.

      Photoshop Lesson 1

      15:25

    • 13.

      Commercial Shoot Narrated

      3:47

    • 14.

      Dark Gym Shoot01 final

      3:49

    • 15.

      Photoshop bodybuilder 1of3

      6:25

    • 16.

      Photoshop bodybuilder 2of3

      3:11

    • 17.

      Photoshop bodybuilder 3of3

      6:12

    • 18.

      VolleyBall Photoshop 1of3

      6:59

    • 19.

      VolleyBall Photoshop 2of3

      4:57

    • 20.

      VolleyBall Photoshop 3of3

      5:00

    • 21.

      Shooting a Martial Artist in the Desert

      3:33

    • 22.

      Run & Gun on an outdoor shoot

      7:15

    • 23.

      Shooting Studio showing how I instruct models

      14:17

    • 24.

      Skillshare Posing Update

      4:20

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About This Class

This is an in-depth photography course teaching you the fundamentals of fitness photography. An intermediate to an advanced photographer who understands off-camera lighting will gain much more from this course than a beginner. You should have an understanding of basic camera setting, lens types, aperture controls, remote flash triggering. I will demonstrate how to produce great work with the least expensive equipment and to do it quickly to save time.     

We will cover, the fundamentals of lighting athletes for drama, action or art, essentially to either highlight his or her physique to sell themselves, a product or a business. Also covered will be some basic marketing techniques that I use to get athletes to work with me and how you can get started. 

At the end of the course, you should be able to produce expressive photos with little effort and also start building a new revenue stream with your new photo genre.  

Meet Your Teacher

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Paul Aiken

Fitness Photographer/Content Creator

Teacher

Hello, I'm Paul.

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Level: Intermediate

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Transcripts

1. Introduction To This Course: Hello, my friends. Welcome to my course. My name is Paul Achin and I'm an international fitness photographer born and raised in the Caribbean, the Cayman Islands, to be precise, however, I'm currently working and living in Dubai now. I've been capturing images very fit athletic individual for over 17 years. However, I've been involved with the health and fitness industry for over 30 years, starting with being a gym owner. My first business of age 18 becoming a trainer. A black belt martial artist. Andan International Federation of Bodybuilder Judge for the Caribbean just to name a few of my fitness related skills. Now I've shot for fitness magazines, Bollywood action movie posters, health supplement companies, international cricket teams, American football teams, fitness and clothing brands, CrossFit athletes, ballet dancers, yogis on hundreds of personal trainers, bodybuilders and fitness expert from around the world. Yes, I've been in this business a long time, and I'm here to share this knowledge with you. No, I'm sure you've heard of the table sports photographer and light eyes. What makes a fitness photographer and a different Well, they are a few differences, but here's a quick one. In short, a fitness photographer can usually shoot sports, but he's an expert of capturing muscularity and movement of all times. But rarely can a sports for torture for shoot fitness effectively, as he or she tends to focus on capturing action while a particular sport is in place. But I will go mawr into this in debt in the subject coming up in the course. A fitness for torture for is not that popular term, but you will see a lot of his or her work in your everyday life or work is showing and covers off muscle and fitness magazines. Running magazines, bodybuilding supplement adds Jim ads. Billboards for action movies on the list goes on and on pretty much any image that involves showing a person's muscularity or agile physique is considered a fitness shoot, and it takes some skill to get it right quickly, my friends. The fitness industry is huge and continues to be one of the fastest growing and most lucrative industries. As more and more of us become health conscious, this industry will continue to grow on. You should be growing your photographer business with it, so I'm excited to share my knowledge with you. I will take you through hours off videos and audio lectures behind the scenes of some of my past shoots and show you step by stuck from what equipment to buy. How to light your subject, how it opposed them for the camera, how to get great action shots from someone who can't even jump. More importantly, how to attract capture on work with small, medium and large companies. Without ignoring the individual athletes, you will be given assignments and assessed and critique on your projects. Yes, I'll be there with you. But in the end you will have the knowledge needed to build or expand your photographer skills, the same type of business that allowed me to travel around the world and meet some of most beautiful, fit, healthy people on this planet. So sign up today, let's do this together, and I will see you on the inside chairs. 2. Is this course right for me Video: I'm assuming the first question you laugh is this course right for me? Well, I don't know for sure, but I do know that if you're here you're interested in exploring or improving your fitness photography skills on my right. So let me tell you what I can offer you. My first goal in this course is not only provide you with knowledge to create great fitness photos that will sell, but to also show you how I built a strong portfolio ultimately attract clients who are willing and able to pay for my work. My second goal is to always be budget conscious, meaning I will show you the best at least expensive way that I've discovered to create powerful image. Third speed, as in my second goal of being budget conscious. Time is money. And I'm not into doing elaborate lighting setups That takes time, ever. Should. I do should not take me more than 15 to 20 minutes that set up. That is, from the time it takes to move equipment from the car to testing my first shot. If you're taking time to set up every shoot, you're wasting effort effort that you should be spending on all the other aspects off your photography business, and I can assure you your plants will also appreciate you for you will be assigned specific task that will indicate and track your progress. And I will also suggest which photos that you can use to build a strong portfolio. Remember, your portfolio is your only source of effective marketing for getting paid work. If a client can't see what you've done, they will move on to the next photographer. Like me. I come from a strong entrepreneur background, focusing on sales and marketing, which is what I was doing before photography. This is what my friends call my Rio job. Before I started making real money with this passion of mine with other doubts, this marketing background contributed to my for target for business on its success. I will share some of this knowledge with you. Hey, it doesn't matter if you're capable of taking the best photos in the world if you can't market them. You are just starving. Artist. If you're struggling as a working photographer and not making enough money, start learning in marketing and sales. This is my first great tip to you. So if you'd like to know more about what makes me qualified to teach you. Then please watch my promo video. If you haven't done so yet, this course for an intermediate to advance photographer, you must at least know how to use a camera in manual mode on how the huge off camera flash with a remote trigger. You should also understand what it means by the terms stops off light basic for target for composition. If you'd like to really benefit from this course, I would strongly encourage you to submit your images for me to critique on the fall of my recommendations. Toe one fine models to shoot for practice and bill your portfolio and to use that portfolio to find on attract pain plans. So if this is something you're interested in, please sign up. Joined my course, and I'll be happy to share my knowledge with you. Until then, cheers 3. Equipment Video: Hello, my friends. And welcome back today we're gonna talk about equipment, the photography equipment that I use. Well, I also like to refer to them as my tools. No, I tried to keep it a simple as possible, and I tried to keep it as inexpensive as possible. I realized a long time ago that I could get a lot done with very inexpensive tools. Yes, there were those days when I had to pro photo lights and all the expensive year. And I realize that as I got MAWR into this is a business I'm constantly looking at return on investment. Please remember that one simple thing. So with that said, I'm a Nikon guy. I worked with two cameras, two camera bodies. One is that the Nikon D 800 a Nikon D 8 10 The only reason I use them are simply for their file size. They have massive raw files that I love. The reason I want large files are simply because sometimes I do a lot off action shots from afar, so usually have to crop out a lot of distracting things around athlete Andi. So even if I'm cropping a lot in the photo to get rid of distractions, I still end up with a pretty good file size. There's only one camera higher on the Nikon range than the Nikon D 8 10 and that is the D five and it's Nikon premium sports camera. However, the prices almost Oh gosh. 62762% 2% more, which I found absolutely ridiculous because the file science is smaller. It is fast. It is extremely fast. So I sacrificed speed for file science. That was more important to me. Now we'll move on to lenses. No, lenses are literally the key to great image. I like to keep it sharp. You got to keep those images sharp. I love working with shallow depth of field as well. So how do you keep it inexpensive on get great glass. You work with prime lenses, so I have a whole host of prime lenses. Some of them I rarely take over the buying, but because I've gotten great, secondhand prices on them have accumulated the full range from 14 millimeter right upto 105 Um so primarily I worked with the 24 millimeter one point heat on the 35 millimeter, 1.8 and the 50 millimeter 1.8. These are my three major primes that I work with, but when I need to work a light, I will always pull out my 72 200 and a time. I need to work with distance Onda, also my 24 to 70 all Nikon brands, but I do have a few Sigma's as well. So these are the two brands that I work with. Nikon and Signal Sigma. You can get much, much cheaper under just a sharp. With regards to lighting, I prefer to keep it as usual. Inexpensive. It's possible on also used equipment that I can really get up and running. Fuss Simple. Is that so? This is what I have for ticks for ticks. Indra 500 TL I love this light. It runs for about 1300 on Amazon Azi. You can see here. Um, you know you can get it with the trigger. This is the recent trigger that they just came out with on. You know, the reason I love this life is because I can get around three, sometimes 400 shots from this on a full charge on it overpowers the sun. It comes with a battery pack, and I love it. This I follow up with 29 10 These and icons flagship flashes on. I always have some backups with that as well. I used the vortex metros, which also comes with encase receiver as well, so I have to carry like I don't have to carry extra trigger. Now I should warn you about the metros. Have had to actually take those back a few times to get them repaired, so they're not the most reliable lights. So this is why I like to stick with lights that are reliable into feel. And so sometimes I'll care my Nikon as backup, just in case I work with about seven speed lights on. These are different generic brands. Hey, they they work. They really work. It's just sometimes I like to just throw a little extra light into certain areas. I work but grid spots. Andi, I like accenting the body with light, so there you go. Keep it simple. They're easy to set up in easy position and easily to get out of the scene. So that's why I work with speed lights. But my main light is absolutely Indra 500 As you see here, that's pretty much it, uh, working with modifiers. My modifiers are primarily the four takes Luna folding beauty dish to 70 centimetre one on the four decks, lunar falling off to softball. I like these because they they were just like umbrellas. You fold them down, you pull them up, they're up and ready to go in no time at all. So these air might to go two boxes that I work with If I'm working in studios or even on the goal, I have the s s strict boxes. I have two of those just to do that strip lighting on each side of the athlete on also small octagon umbrellas with great on their shown here. Nothing fancy. Nothing to actually possible. Keep it simple. Keep it simple. Keep it simple. That's my motto. Then I work with a bunch of suits for my speed lights on all toe bunks, reflectors as well. So miscellaneous items like our, in my case, always carom a pack off color gels. Now these gels are well, that's sort of became my trademark as well. I wanted to try to separate myself from the arrested of fitness photographers coming from the Caribbean, I guess sort of, you know, contributes to my love off color. And, of course, sometimes you go into these gyms on. It's pretty cold. The colors are not the best, usually dark simply to keep the dirt known. And most gyms, a lot of them, are pretty dark. So it's easy toe, you know, get just end up with the sort of dark images. So it's good to just kick some color either on the walls or on the sides are accent to it, the models here in color, etcetera. So you'll see that in some of my work here. Besides that, make sure that your have a bunch off gaffer tape Velcro tape on, uh, cutters. Yeah, just to stop the light coming into your lens. All the miscellaneous items would include my yoga mat. A lot of the times I work in the sand out on the beach. It's great to just be able to put down your bank and not have the beach sand coming back into the car or getting into the equipment. And, of course, a double. Sometimes the sea spray will get on your face. Get on your lens. Well, don't think it with your trouble, but you know it's always nice toe basic to brush the tar, the sand off your body as well. So just these things that you will probably not think about as a beginner. But, um, it's good time someone tell you this before you go and make these mistakes as an amateur. Besides that, Um oh, yeah, something we didn't mention was the absolute key to getting my photos done well and toe lighting muscles. Your overhead boom Stan. Absolutely essential in order to like muscle. And, of course, we will go through this much more in the lesson on lighting. It's essential to carry a really good strong boom stand and make sure you have adequate wait, hold it down as well, especially if you're outdoors on your shooting on uneven surface. So I have ah, number boom stands, but a couple of them, I would recommend, would be the four ticks, for It's quite inexpensive, but I also have a longer one and a bigger one made by man photo. So if you have an extra money, definitely go for the man photo. If not stick with the four takes, its easily are toe. It's much more compact. You can fold it up and stick it in the back of your car so the definite parts are or is always toe have fall a ble compact equipment. I always keep these. These are my absolute beautiful favorite type of stands there. Fooled upwards. I can easily put three or four these in a bank, and you got to remember that I'm always shooting as a one man show. I'm constantly shooting alone. So this is why it's essential to be fast and efficient. And Compaq? Sure, you can smell You can spend money on bringing us assistant with you. But you know, if you have clients like that type of budget short otherwise I am referring toa just being a one man show here on this is equipment I always use, and a time I'm shooting where the team. It's a whole different story, but this is equipment I'm recommending to you simply as shooting alone. Okay, so next we'll move on to I think we're done. Actually, yeah, we're done. So I'll see you in the next section, then chairs. Until then, 4. Udemy lesson Hygene: So welcome back now. We're gonna deal with a little issue that's a little bit more sensitive. I don't have to say much about it, but it's It is important. Once again, it's because I've gotten a few complaints from clients about all the photographers. Please, we're under arm deodorant. There's nothing worse than subjecting your clients. The whiff it off your animal natural smell while in close proximity to them. This is usually while showing them their photos on the back of the camera. No, remember, it is difficult for you to smell your own body order, so ask your wife, girlfriend or mother to give you a with. If you're not sure if your deodorant is working, sometimes you'll be working in sweaty gyms. But even so, even if you're not, you will have to be very active, either demonstrating or moving to capture different angles. Producto process the perfect photo. This activity can produce sweat and energy, and with that comes smells. Hygiene care is important. Also, what should be mentioned is something you'll be dealing with when it comes to athletes with poor hygiene. So be careful of your reaction to this issue as well, so I think that's all I have to mention that I think we're all grownups. And it should be something you should be conscious off in a way. So see you in the next segment chairs. 5. Appearance 2: hello and welcome back to this segment on appearance. So this should be standard information for most photographers who have been in the business for a while. But it is important enough for me to mention it here. Just in case you're not aware of the simple fact. It is very important for you to fit in or to at least I appear to identify with their claim , just like you wouldn't show up to a corporate client. Shoot where? In shorts and T shirt, please don't walk into a fitness shoot at the gym wearing jeans and dress shoes. Bite some workout gear and use it. Your hard body clients will feel more at ease with you, even if you're holding a few pounds or kilos around your midsection. As long as you're dressed the part, it's OK, but make sure to buy outfits that fit your physique. Don't walk into the fitness environment, where in a body hugging under armour shirt with a bare belly straining to get out, it would be just much more appropriate for you to wear a loose fitting T shirt and jogging pants. Try not to do the shorts thing where sneakers with appropriate socks. Tight booty shorts with long socks are a big no, no. Even if you're a female ex trainer with a smoking hot body and years of fitness training behind you keep it professional. Long tights are just a sexy, but much more appropriate. Keep it professional. I'll repeat it there again. Hey, you never know this investment in some fitness outfits. My just motivate you to start a serious diet and exercise. Plan yourself, but that's all I'm going to go into with that particular section. I'll see you in the next section. Cheers. Bye bye. 6. Id customer 01: Welcome to the session on identifying your customer base. If you're looking to be successful as a fitness photographer, you have to understand the different clients in this industry, I will know, identify the major ones that I have worked with over the last 17 years on the pros and cons off each of them. Number one magazines. That's an amateur. This would be a dream job to be published anywhere. Then, as we get better, we become more selective with the magazines we would like to be published in on eventually to score the ultimate price. The cover shot. Yes, the pros. Great for your portfolio and bragging rights. Cons. Magazines don't like pain for photos and like to take advantage of photographers desire to be published on, they make the most of it by just giving them for their credits. I'm thinking that sufficient to get their content for free, their excuse is always that they're not making any money. Due to the rise off the online content on the Internet. However, this varies depending on the country or region you live. Some countries have standard prices, paid the photographers based on readership, and if you scored on inside, short or cover, the prices will also change as well 7. Id customer pt2: health supplement companies. They are a great source of revenue, and they don't mind pain for great dramatic images that will push your creativity prose. Most will pay well. Cons. A lot of them would like to pay you in products. They would like to give you free supplements, and I'd like to use your photos of ready captured by their sponsored athletes instead of using fresh photos, large commercial retail product brands, example, shoes and clothing brands. These are the golden tickets for the fitness professional. The work is usually consistent if you can maintain your creativity. Cons. Very difficult to break into and usually have to make contact. True, their marketing agency, who more than likely have a few talented prose of ready on their books. Next sports team. Those are football, volleyball, rugby teams. They're usually another great source of consistent income. They're if they're regional or international teams. Beautiful. It's best approach your local teams if you're practicing but more about practicing on a lot of the section cons you might have to spend long. Or is it games and covering events for the team for little or no money just to get in their good books 8. Id clients 3: next Jim chains on private gyms. Both are consistent sources of income. However. Gym chains tend tohave stock photos distributed by their head office on their marketing team. Private gyms are much more lucrative, and we'll hire to create great photos and videos as, well. Private trainers. They're some of the most lucrative claims you can have. They usually have small budgets, but they're plentiful. Their market is becoming more and more competitive, so they're seeking out great professional photographers to set them apart from the mobile phone competitors. Fitness competitors are also a great and massive group that loves greats, creative photos for themselves. Their world is all about image in order to capture more social media followers, their budgets a small but a little creative marketing. You can make a substantial income from this group. Note. Most fitness competitors are personal trainers, so both are interconnected. Next group are mild stone athletes. This group is growing verifies. These are the nun competitive office workers who have been working with a trainer on a serious journey to getting in shape under reward or motivate themselves the Booker shoot in advance to keep that gold in front of them. This has been a lucrative market for me, and I would really encourage you to market to these individuals. So that is my lineup or group of individuals I think you should be looking to work with. So until then, I'll see you in the next segment chairs by. 9. Lighting muscle 2: So in this section we're going to talk about a few different lighting techniques that I use using literally to strip boxes. And in this case, it's one strip box and the light. It's coming from the the athletes right side on its sort of pointing downwards to create the shadows under his muscles. Onda primarily. This will be a common theme throughout this entire lecture, simply because that's the best way for you to capture muscularity. These guys work extremely hard in their mess clarity on its your job to show it here. I'm using to strip boxes, and it's literally casting a shadow on both sides of the person's body. Now these lights coming from the sides, our only most effective on individuals who are extremely muscular. If this person was holding a little bit more body fight, then it would be harder to shoot from the sides, and you have to focus the lights from the talk. Here's another example of using to strip boxes on the side on also with ladies. I like to do a here light on insert also fan on. We have a dramatic pose with this on, but we couldn't create some beautiful shots. So it's simple. Of course, I've also done a color grating on this particular shot as well. It's just sort of contrasting with our bathing suit. So this client was extremely happy with this particular shot. Now we'll movinto another type of shot, but it's pretty much the same basic concept. Use your boom stand here. What? I'm showing you a close up on the way muscles on light works. So be shooting from a high position. You're gonna get a highlight on the top of the muscle. And then the shadow created underneath actual assures the muscularity of the individual. And from there, these three techniques all it is is just you being creative. You know that you have the lighting, you can simply come in and set up this lighting at any time and you'll be able to shoot creative shots. All you know have to focus on is just how creative can I get the opposing on It works anywhere, inside or outside. So here I am, in the desert. There is the lighting set up lighting. It's coming from overhead. And in this particular case I got more creative with some gels and shooting and tungsten. So pretty much that's it. Shoot high or from a high position on. Be creative and you get great, muscular, muscular shots. So that's all I have to add in this section, so I'll see you guys in the next section chairs. 10. Magazine cover shoot in the desert F: Hello, my friends. And welcome back to another session. Yes, it is 4 a.m. And I'm on the edge of a desert wearing a bowler hat on. What we're going to do today is we're gonna go through the logistics on the set up Onda shooting off a magazine cover and also some shots for the supplement company who has sponsored while who is a major sponsor for that particular magazine. And I'm technically just using my trusted Indra and the speed light with a blue gel and I It's one of those shots or chutes where you know you're in the middle of a desert on. Do you have minimal visibility on? You have to keep it simple as usual, and it's me alone on my videographer. So meeting all the players in this particular shoot the model the magazine editor, so that she can pretty much confirmed on my shots that she would like Onda model Andi, also a designer on These are the individuals that you'll have to always be corresponding with to be involved in a shoot so that everything would go smoothly so that you don't have to do a lot of the work on. So I'm working with two amazing athlete on. Make sure you get enough pictures for social media. This is a marketing. They can also help promote you as well. Don is about to break, and this is the beautiful but grown that I would like to shoot on. So we'll start with creating some images for the supplement company on. Some of these shots would also be inside the magazine as well. So I got a rim light on also my overhead Indra, making sure I get as much muscularity as possible and keeping it as edgy as possible. So right here I'm a bit of playing around, but also serious as well. We're looking for some energetic images, and I'm looking for the athletic ability off my models. So here you can see where the rim light hits the edge of his arm on. Also, I'm well exposed, so I'm not gonna work with John Onda. Reata is a rugby player as well. She's not in the least bit. What's the word I'm looking for? She's not one that's a beautiful dancer. I'm looking for something that will flow, and it's amazing if you could just do a few little movements with a great smile. I'm this is what you can end up with so back now to Yes, sir, on. He's gonna be showing his muscularity. And if you look on the side of his pants, that's the name off his sponsor on this is their supplement company here. So this is some great shots for the company making sure the products are well highlighted on. Also, make sure that opposed that. He does sort of shows that this is what he has made him to this point. And this is another shot with both of them. They're both being sponsors off limitless. It's a supplement company. So this is just two of the shots that we got from here of the sun rises. You can see that the mood on the colors have changed significantly. So now I'm gonna work on the magazine cover, we playing around testing the lights, making sure that I got a proper exposure. But it's the still the same lighting set up. I'm working on different poses. It's a lot more challenging, trying to find poses that worked for couples as opposed toe on individual, because both bodies have to be highlighted. Of course, on also working with the the artistic ability of each individual can be a bit challenging and then trying to make it work together in all the words, they must look like they're they're together, but not so much that they hide each other's body. So this is always the challenge that you have When you're shooting with couples, both of them have to be highlighted. One shouldn't overpower others too much. Andi Yeah, These something like this is is a great shot, but still not enough. I felt that it did not have the power for the magazine cover, so we kept going on. And here we're I'm looking for something dramatic, dramatic, but simple. If you if you look at most covers, they're pretty simple. I'm here. I trying to put in a few a prop which is a big, thick rope which is used in CrossFit gyms on it just so happened that one of them had it in the car. They're both personal trainers. And so we pulled it out and see if we could work with it. And I'm just trying to make it look artistic. Ultimately, these are two different shots with the cord and without the court and notice the wide stance I wanted That stands to be powerful to be different. But in the end, this is the shot that we ended up with the cover something dramatic but simple. Because remember, we want to be able to put information and undersides so that my friends is a quick run. True on how easy it was to shoot for a magazine cover. All right, beautiful on that's the end of the tutorial. No, I'm going to just do a quick video that will pretty much go through that entire scenario on some marsh images from the shoot in less than two minutes. Andi, enjoy and out soon an exception. 11. Photoshoping Beach Volleyball : welcome to the section on editing a volleyball shoot on artistic journey on a four to shop lesson as well, and also just showing you the ability to be able to capture images that you would not normally look at on. I want to encourage you to do this. So I was taking a walk, a sunset walk on the beach on. I came across these people playing volleyball, and I really love this girl's body. So I asked her if I could take a few shots, explaining that I was a fitness photographer on. She agreed she was such a sport on Basically, all I had with me was my camera on a speed light and that was it. So I had to make it work. So these are the initial test shots. I only have one flash. I will not stick it on the camera because it would technically just flatten her out. That is not the type of photographer I am. I like contrast. I want to use the flash because I want to show the dramatic skies. Sure, I could have opened up on my lens on blowing out the back grown. She would have been perfect exposed, and I would have gotten a normal image. That is not what you want to do as a creative photographer. So I want light coming from one side or the other on so that she could look much more dramatic. So ultimately, this is what we ended up with. And this is so first thing. Let's duplicate the background layer just so I can come back and, you know, show you the difference is on off course. I'm playing with my trusty content aware tool Onda. Basically, it's just getting rid off all the objects that are distracting in the background. And what I'm doing is I'm lining up the image with pretty much the edge of something pretty similar so that it concluding that particular area. So that's the idea. You have to stay within an area that's similar. So here I'm going over the red ban and then moving it so that the lines line up in the red band and it gives you that still a little halo on the edge. But I would clean that up later on, but just for you know, this tutorial, I want to try to go as fast as possible. So when the content of where tool fails, then are coming with the flu and brush on, just fix up those little small details. Because if I ever wanted to print this image out on large scale, I don't want those little details showing up in a large print. So get rid of the assistant who's trying to send, which is supposed assimilate her, kicking the sand that she jumped on here. Now I am going to do like what we did in the last tutorial and a lot of these things. They're going to be quite repetitive. This tutorial is a quick and easy way off. Just cleaning up a shot that you got impromptu. I was not paid for this shot. This was just something I was looking for to use creatively. So get close to her hand as possible and then use the content aware tool pulled out out. And it does a brilliant job. I love this tool. I really do. So I'm using for the shop. Cease C c. 2007 2 to 2017 on Do you know this? I think this tool came out and and see a six. If I'm not mistaken. And correct me if I'm wrong, so, yeah, just getting close to the edges. Of course, she's moving quite fast. My shutter speed wasn't as fast as I could have taken it, because, um, I think I was the wrong 200 of a second here on I or 1/80 of a second. To be precise. Onda 1 80 if 100 1/5 of a second. Because one, I'm sure I need to trigger that my my speed light on its attached toe pocket reserve, which only had a sink maximum sync speed at the time off 202 150th of a second. And, of course, my camera wasn't the best. This was shot back in 2000 and eight. Believe it or not on, it's still an awesome image. It's still one of the most amazing images I've ever shot. Just impromptu off the beach. Only because all the elements were came together nicely. Meaning the sunset, the athlete, the body, the idea that they were actually there at the time. Andi Yeah, you've got to take advantage of these situations when they're there. So moral of the story. Never leave home without your camera on a flash. Always Gabbert carry a strong with me on a 99% of the time I have my camera. So anyway, going along the edges. Of course, I'm going a little fast here. So I would have cleaned us up on much better if I was editing this for for professional occasion, but good enough to actually show you guys what my workflow looks like. So Yep. It's pretty much my clone tool on my content aware tool. Take out all of these little distractions on. So when you come across a big piece like this, I've already taken it out near her knee. So I've created that space near the knee. No, I just have to create a space on the lower side of their body just to get rid off these people here. Onda. They're busy taking photos of me taking photos, which is funny. She should actually be taking photo off the sunset behind her. But, um, there you go on. Is this amazing? It's so easy to just get rid of unwanted objects out of your photo simply by just highlighting them and just dragging in tow space that you'd like to copy. It's much easier than just using a clone clone tour. And now these little pieces I can really just pull these over and get rid of them as fast as possible. And I could even go bigger. Just all I'm looking for is a space that looks similar. And then I'm gonna pull it over to on area where the red button has an edge on little red casts. I would have been gone through and clone that out. That's well, just blend in. So yeah, so this technique can be used pretty much anywhere. So in this case, just a clue in stop to get us close as possible Clone from a similar area on That's it. So here, this is even simpler because I like it. All I have to do is pull more son in these areas and just touched those out. Beautiful. Done. Isn't that simple or what? And make sure you get the realist small details, just in case you want to blow this photo apart. Somewhat The point, Andi, you miss it. And then when it's going to the printers, do you realize that Oh, my God. There's a piece of blue edge on her foot. So that's pretty much it that cleaned it up nicely on there's the before on the after. There you go. So where should we go next? So now I'm looking at the image I'm thinking, OK, I want to basically, uh hmm contour her body a little bit, you know, ladies like a little booty. So I'm gonna just use a liquefy tool, make sure you have the size of the brush. That's about the size of the area that you want to pull. And then I'm gonna pull that up there. I'm not always ladies like a little curve. I'm gonna make sure just put us like tinge. Uh, make the boobs a little bit bigger. You know, athletes. Usually when they have a little body fat, their boobs disappear. So I like to just puffed them up a little bit, and it always makes them happy. There you go. Okay to that on. No, there we go. So what should we do next? I'm looking around and I'm examining the image, So I think now I'm going to start on just smoothing out her skin and I use a soft real called portraiture, you guys. It's the most amazing fast way to just smooth out and get rid of blemishes. So I'm going to keep the softness. You know, around two I don't want any warming at a skin actually need a little opposite of warming. But I'm gonna do that in another part of this program, so we'll see that coming up on. There you go. So I'll turn off these two layers and it's and show you what has happened. So where I have clicked, Portraiture says Okay, you want me to smooth and or make that area smooth? Okay, I'll do that. However, there are other parts in the body, and the skin tones that is similar to the send on areas in the sky because it's a sunset is warm. So it's also smoothing out those areas which I don't want it to effect. So I basically take the racer tool, and I'm brushing those areas away like this. Some just the leading those those pixels because this is all set up. On toward separately are portraiture. Puts this all of these this fix on a separate layer, so you're literally not touching the original. So let me zoom in close and then you can see the difference between the before and after on her skin. There you go. It does take a little bit of detail out, but not enough. And I can always off course drop capacity on that area on that layer as well. Now you'll see me use this tool a few more times in this workshop so you can get a good idea on how it works later on in these lectures. But it's an awesome tool before after, and it just cleans up. And usually if you have any, you know, artifacts in the image, it usually cleans that up as well. So I'm gonna flat nose two layers. Uh, no, we're gonna focus on. I tend to feel that the image has a little bit too much orange in it. I know. I'm getting a cast coming from the sun. Uh, I think I'm gonna use my trusted color fix polit on This is a software made by Google. Unfortunately. Well, let me go with the positives. First, it's free. Google mates it free, and you can download it. And it's amazing for just a quick and easy. Um, you know you can just have all of these amazing presets that you could work with to change the field and color of your photo. You can pull out details. You can do amazing amount of things with color fix. And I'm sure some of you pros know this software on. I'm basically just looking for something that cool it down a bit, but not so much just to take away the dramatic sky because I feel that her skin is a little bit toe orange. So I'm looking for a preset, that kind of work with, with both cooling it down a little bit, but still retaining some of that, um, warm from the sun. So I mean, look at all of these amazing, different presets you could work with. And of course, you can change the intensity you don't have toe. Look at this and just say, OK, that's what it gives me. You can change the blend modes. You can do so much with these particular presets. So let me see. Let's trying. I think that one is pretty cool. I like this one. That's it. And no, I'm just looking for how much it should apply to the image on how much I want it applied into the shadows here. All right, so there I'm now gonna put a little vignette on the photo which lightens the center. This particular plug in here, this will light in the center and then darken the edges a bit. Just a tad. These are just my note changes. I don't want to change much in this photo at all. I'll click. OK, now you can see the original warm through the photo. And now look at this layer that it's gonna produce from color Fix pro. Come on, baby. There we go. So it does cool it down a bit on still routine That the punch I want with the photo. So I'm gonna drop their positive down a bit. I think, uh, yeah around Because I still want to see some of the sun coming true as well around 60% there before, after before and after on. That's looking good. Like I said, it's all subjective, right? But I felt that dismayed for much better portrait. Andi. Now I'm looking toe the last thing that I always do in all of my images and your should always do this in the last is sharpen your image a bit. No, I don't work with the the priest that sharpening tools I like to their Okay, let me show you before and after. Here you go. There we go. I like to work with, um hi. Pots sharpening. Of course, Whenever you're dealing with the sharpening tool, you will sometimes or most of time, you'll get more contracts on your photo. So how this works. This is a technique on during a wild by duplicate delayer de saturate, one of the layers here. There we go d saturate because I only wanted toe affected image. I don't want it to affect the colors in the image. Or I should say, I want to want to affect the edges and then you go toe other high pass on. You will see the edges, and you want to look at and see how much you want it to be affected. I'm going to zoom in here a little bit and you can see that edge is being affected here and sharpness, technically taking the pixels right next to each other on the ones that are lighter or darker. They're making more contrast in between these two pixels, So that's exactly what's happening here. So I then make that let layer too soft light on. That would give you a nice sharpened layer. So, overall, let me zoom in and show you. Let me turn it off on on. I don't know if you can see it in the photo or under screened, but and if you're using a mobile phone, it'll probably look even less different. But there you go. That's ultimately what I wanted to accomplish with this image. Let me go toe full screen Onda. I will put to come Parsons next seat shopper or one after the next. Because this is hards on till image on there. You can see the difference so quick and easy on it was caught just impromptu, so I'll see you guys in the next lesson chairs. So I asked her if I could take a few shots explaining that I was a fitness photographer on she agreed on. She was such a sport on Basically, all I had with me was my camera on a speed light and that was it. So I had to make it work 12. Photoshop Lesson 1: Hello, my friends on. Welcome back today we're gonna go through my work flow on some of the images that I usually a bit of post post processing. Let me just keep it simple. So this is an image I did a while back on. It's a friend of mine. I met Onda here. I shot in raw, so image was a little dark on. I like to keep it a little under exports so I can play it a lot more information in the image. So not a lot to do here, working on some contrast, bringing out some shadows, dropping the highlights a bit. Andi, let's play with the vibrance a little bit on the clarity. Most important, the clarity on the contrasts and a little explosion. Okay, save this true toward J. Peg because I like to do most of my processing in for the shop. No word to the wise. It's best to do as much or get as much of your work done in your lighting before you start getting to post processing because it's better to actually have as many images lit properly than to actually have to come toe your post processing on you have a lot of work to do. So the image Here we go. I like to work with the content of were to a just get rid of all the little things in the image. So you notice I have Ah, four light set up here. Two soft boxes in strobes or speed lights on the back. My trusted Indra overhead on one speed light lighting the back wall. This is shot in my villa Fair small space on It's literally just me on a piece off backdrop on a white wall And there you go. See that little piece of card on the bottom? That's just there to get rid of the line between the wall where the wall meets the floor. So here you have a soft box that is infringing on his hands. So we got to get close here. All I'm doing is cloning out right around his fingers. On this will allow the content of were tools to actually clone this area of much easier. So easy work. Just clone right around his fingers just so that you can get the separation between the item that you want to take out of the photo and what you want to be in it. So just clothing right around his fingers, making sure that the brush hardness here is about equal toe, the hardness against his skin or the outline of its skin or fingers in this. In this case, I'm shooting a ronin F eight here. Onda, so it's pretty sharp around his entire body. On off course, he's on one plane, so it's a great image toe actually show a smudges detail in the body as possible. So there you go. I've already clone around his fingers. Now the rest is easy. Remember, my thing is always about speed. All of my workshops and all of these segments is you will always hear me talk about getting it done fast and efficient. So I'm always looking for the most efficient ways to get things done. So content aware around that, and then pull it to a blank area on Beulah. It's gone speed box gone, So I always looked at work from largest items with smaller items. That's basically how I was told that we should work and for the shop on, that's what I'm doing. So I was debating here whether I should leave this line in the photo and I said, OK, let me let me finish it along the wall. This is just the edge of the piece off backdrop. I had Justo softened the edge between the wall where the wall meets the floor. Um, and I'll debate whether I want to take this out later on. But for now, I'll just put it back in. So just cleaning up a little bit of areas around here, they're your goal. And no, I'm gonna grab the Dodge Tool. Now, when you're shooting on a white background, you're going to get a lot of reflections in the room hitting light, hitting the room that's being reflected off of different surfaces. And in this case, you know, it's the the light coming in from the windows were mixing with the light, the white light from my flash Onda, of course, the light coming in through the windows on a little bit warmer. So I'm not getting a perfectly white background here, even though the walls are way. So what I do is I used a Dodge tour and I just put it in her own 30 35% flow, and I just work on dodging out a lot of them. You know, the color caste that's under windows are under wallet Section C. Let's go around carefully. Make sure you do not touch the highlights on his body. And if he has a rim light around him, this tool will also take out those or pick out those highlights as well. So there you go. It's quick and easy. And if you ever had a problem with dealing or dealing with, you know, getting a perfectly white background, this is a quick and easy way of getting rid of it. So there you go clean and upper on its closest possible without losing any information on the model at all. That's why you want to be around 30%. If you go 100% you'll start, you know, eating in on any of the highlights on the model. So I'm a bit, you know, I need to straighten this image. So let me just every go. That looks much better. I can see that line coming straight down his body. Let me work a little bit with composition, make sure he's nice, and even in the frame on there you go almost there. So let me get rid of this little piece there. Nicely done. Good job. Okay. No, Always the issue with shooting on white background. You don't want to make a person look like they're floating in midair, so I tend to use a little technique as well Where put a reflection on the groan. Um, so I don't make a selection. Onda I control J, which basically jumps it up on a new layer on. Then I want to flip it for coming vertically. That verdict Vertical. Where is it? There is down below there. Flip it vertically. Pull it down. There we go. Nicely done. Yep. Okay. That on drop the opacity. This is a nice little technique. I learned a while back that makes it look like the person is actually on a reflective surface. So, no, you add a layer mass on, get a paintbrush. Gotta paint with black. I'm on a white layer. Make sure your four grown is on the black layer, and then make sure that you can bring the original back there. Perfect. And I like this opacity already. This is a perfect pass. State looks like for this particular image. It looks like he's already being reflected on those lines. On the back is bother me a bit. And they take this up a little bit. Make take the capacity back to run. What, 40%? 45? Yeah. There we go. That's good enough. Yeah, All I'm going to do is take my Dodge tool on. Make sure that you're correctly or here. I'm not on the correct layer. And I got to get Dodge to. There we go. I'm gonna write layer, make sure you're not in the mass. Make sure you're under on the image itself. There you go on. That worked brilliantly. Of course. Photography. A subjective I mean, there's just different things that you would do it. But I wouldnt advice, Aversa. So if you see anything that you don't like, you let me know. But of course, this is a quick and dirty course. I'm just taking you through my work flow. It's all right. Always look at the private areas. Especially if you're clients are wearing revealing clothes. Just make sure nothing is too revealing. So here we gonna defuse this outline here. Onda. Here's a quick technique. I learned from Flor in dot com. I'm going to give them a showed up because I love those guys there. It's good at that. Presenting great information and guys, you know, don't be afraid to learn from different people. So that was a little weird, just just the way toe underwear was cut on. Now I'm going to just paint this out up too much paint. Let's go back. Let's drop the opacity. Eight. Let's bring this down to around 10% on your gonna be sampling different areas because, believe it or not, there's different shades colors in this underwear, so you just want to blur it out to the point where you know you. But you've got to be able to sample from different areas on get as much a variety of colors in here to paint in different areas. So there you go. Let's just and that's just gonna blurt. Bring it down a bit. I could have done it better, But you know what, guys? I don't want to bore you with the small details. You know exactly what I'm talking about. So now we're going to go even smaller. We're gonna sport healing brush on. We're gonna work on taking out some of these small bumps. These air here bumps. A lot of these bought a billers there shave. So you will find that some of these, you know, shave and relieve some bumps on. Um, yeah, amid has amazing skin. So not a lot to do. Um, you will find a lot of body builders who are steroid users on, of course, but taking extra testosterone, you one of the side effect is a tremendous amount of acne on the body, especially on the back. But he's and he's a natural athlete on he has incredible skin on. So I don't have to do a lot of work here, So just going to get rid of a few little things here and there, just clean it up for males, you know, we don't want to make them look too perfect. Um, I just want it to be enough work just to get rid of any noticeable Florence, and that's it, really. And I could pretty much call this image complete. However, I'm going to take you guys through a process that you know, a little dodging and burning. Now the good thing about men is that he's an incredible shape. All his obs are shown here, so I'm gonna dio make a not new layer Fill it with 50% agree on change the blend more tour softly. Here we go and then I'm gonna work But my dodge and burn tool first I'm gonna see what dodging I can do is not a lot required here simply because there's a lot of highlights on his body already on. This is because I made sure I put a little oil in his body, not too much. Um, it works best with dark colored skin. Um, so is not a lot to do extra dodging to do here. Um, because all of his highlights already showing beautifully. And that's when you know you got great light. So let me go to the burn tool and I'm just going to do the absolutely reverse. I'm gonna just look for the dark shadows and make doing more for notes on This is a really light work. I don't want to change much on him because, like I said before, he's in great shape. But this is how you would define muscularity. I tell all of my athletes Listen, my job is not to paint for fix our to clone in new muscles on you. I can only enhance what you have but lighting and for the shop, that's the best I will do for you. Um, simply because you know, you're not getting paid to be fine art our artists for the order for arm that will start making imaginary muscles. So don't promise your customers that you'll give them muscles that they don't have. So just burning in a few areas here on pretty much that's it. That line still bothers me. I'm gonna come back and clean that up when afterwards. But yeah, pretty much. That's the finished product. Um, it's gonna dodge it, burn a few more areas in there, But yeah, you're looking at a fine specimen of an athlete here on. There's nothing much else to do to this photo, So I'm gonna put up before it after here, but I'm going to zoom in close and give you a really good good. I'm view off this particular athlete on. He was very happy with his shots, and that's all that's important, isn't it? As long as your customers happy, that's it. Doesn't matter what you think or anyone else thinks if they're happy and they're gonna be doing business again with you, Simple as that. All right, let's take this the full screen. So let me put up side by side comparison the before and after image on you can see where or how far we came. This particular image. All right, There you go. So that's one. There will be a lot more for the shop lessons. I'm gonna have a different images. So, yeah, let's go to the next session. Okay. Until then, Jarrett's 13. Commercial Shoot Narrated: So welcome back in this section, I'm gonna walk you through this. Shoot that I did for a small start up. They have these incredible bikes that lean to the side, call real writers. It's a startup. They had a very limited budget. So I'm dealing with very limited criterias one. It's a black studio. The bicycles are black. Andi, most off the staff that I'm gonna order models I'm gonna shoot are also wearing black, which is their uniforms. So I had to work also. You never confined space. These bikes, extremely heavy on the class, is about to start, So I could not pull the studio apart as much as I wanted toe. So I'm literally working in a five foot space. So these air small challenges that you gotta face to strip boxes one box and one side of the model, and then the same strip box on the other side. And then there's an overhead umbrella with a speed light, so I'm using three speed lights. Easy, quick. Set up less than 5 10 minutes to set this up. The speed boxes. I made sure that I set those up at home so that I did not have toe go to the location to do this because they can be pain in the butt to set up. So two strips stripped boxes, underside on overhead, umbrella bunks, umbrella toe like the model in the middle. And I'm basically gonna focus on doing a rim light down the side of the bikes on the model . Really high contrast. Shoot So. But that said, Let's see what I produce from here. Always make sure to get comfortable with the model. I've done this off camera off course, and let's take our true some of the actions. I like to make the model go through some of the actions. Show them their photos on the back, it a camera. Now I make sure that I get different angles low and high, and I'd like to describe this particular scene these particular shot simply because it's important when you're working with models of different skin tones. On the left side, we have a dark person. Andi. He will absolve mawr light, so you'll find that you'll have to push. The lighting ratio is up a little higher versus the person in the left, a Caucasian model who reflects a lot more light. So if you look on her face, you can see that it was almost a bloat on that sign. But I love the expression on her face there. And I wanted to use that shot, so I had to bring it back and forth a shop a bit. But I like the highlights on her here on the rim, light down the side of her body. So notice how the light is hitting, decided on the body, and then the science of the bikes on it separates them from the background. Now, of course, in this case, I in this case, I didn't. But if you go back, if you look at this particular shot, I made sure that I cut them up from the background. It was easy because I already had the rim light along the sides on. Then I dropped them into a cleaner background in for the shop. So the client was extremely pleased with the shoot on bond. They used the images not only for print, but also under Internet as well. On dumb. Yeah, I have had many repeat jobs from this particular client. This was my first time working with them and since them, I'm literally their star photographer. Yeah, maybe not star, but you understand what I mean? I'm the guy they call in for most of their jobs. Both photos on videos. So there you go. Three speed lights to strip boxes on, uh, umbrella, a couple of stands, some triggers. And there you go. Beautiful commercial. Shoot. So until then, I'll see you guys in the next section chairs. 14. Dark Gym Shoot01 final: Hello and welcome back to the session on lighting. In this instance, we're gonna work on a scenario where you're working inside a gym. You have limited time in this case, I had an hour and 1/2 on Also, the gym is dark, has some pretty grungy, dark gray walls on them. Working with two young ladies, both of personal trainers. Onda also there I have to work with their athletic ability. So with that said, I'm gonna take you through a few lighting scenarios that I have done on how to work with these type of five, please. So one I'm going to do to step up on the bar, which is a signature shot of mine on here you have it. Two lights, one overhead off the box on a boom stand on the other one is literally a ring light or edge light highlighting cardboard box. But whatever you like to call it, But also I want to point out in these two photos is the difference between one being flat on her feet and the other on her totals. Noticed. When she's on our tools, you get a much more dramatic image, just a subtle differences. I'm also looking for the athletic ability off the off this young lady. She's recently have a baby as well, so I just got a point that out. But she's incredibly athletic, and she's pretty good at yoga, so I'm discovering what she could do. She also works with Kettlebells, So I'm gonna work with this. Andi, I'm no jelling the wall because I want to get a river. That gray wall on a still have the deep contrasts on. Here you go. This is one image. I'm looking for the lines and her body, So I'm looking for curves and lines. The only critic I would have with the shot is I think the foot closest or should have been flat her in the ground. Andi, Besides that, I think it's a pretty good image. I'll take you through the for the shop parts of this win in the next section, but for now we're just looking at how I create lines and what I'm looking for. A particular images. Andi. It can be challenging, but also very exciting and very artistic. Here's a nada or a different post processing that I did, and I also added that the Instead of her holding the kettle bell, I put it in the foreground just just to make a different image on. Then, of course, do it. Do it with these sort of brownish colors in the foreground or the lower side of the off the photo. Now, in this case, I want you guys to look at a typical back band. I didn't like it simply because it looked clunky. It just warps her body into a shape. Yes, sure, it's the proper way to do a back bend. However, I just found it too clumsy. So I decided to ask her, Can she extend her foot or toe pointed to? And this is what we achieve. I think this made for a much more pleasing image, much more graceful, much more elegant on I think overall, her lines are much more beautiful, so that gives you a quick overview off what I'm looking to achieve when I'm shooting a lot of my images, so we'll continue in the next session. We're going to do around eight more images with this particular style of critique on, so you can get a much better idea on how to shoot these types of images fast, and that's the important thing. We got to get it done fast, okay? Lets you in an accession. 15. Photoshop bodybuilder 1of3: Hello, my friends on Welcome back today we're gonna go through. It's my workflow on some of the images that I usually a bit of post post processing. Let me just keep it simple. So this is an image I did a while back on. It's a friend of mine. I met Onda here. I shot in raw, so image was a little dark on. I like to keep it a little under exports so I can play with a lot more information in the image. So not a lot to do here, working on some contrast, bringing out some shadows, dropping the highlights a bit. Andi, let's play with the vibrance a little bit on the clarity. Most important, the clarity on the contrasts and a little explosion. Okay, save this true toward J. Peg because I like to do most of my processing in for the shop. No word to the wise. It's best to do as much or get as much of your work done in your lighting before you start getting to post processing because it's better to actually have as many images lit properly than to actually have to come toe your post processing on you have a lot of work to do. So the image Here we go. I like to work with the content of were toe Just get rid of all the little things in the image. So if you notice I have ah four light set up here. Two soft boxes in strobes or speed lights on the back. My trusted Indra overhead on one speed light lighting the back wall. This is shot in my villa Fair, small space on It's literally just me on a piece off backdrop on a white wall And there you go. See that little piece of card on the bottom? That's just there to get rid of the line between the wall where the wall meets the floor. So here you have a soft box that is infringing on his hands. So we got to get close here. All I'm doing is cloning out right around his fingers. On this will allow the content of were tools to actually clue in this area of much easier. So easy work. Just clone right around his fingers just so that you can get the separation between the item that you want to take out of the photo and what you want to be in it. So just clothing right around his fingers, making sure that the brush hardness here is about equal toe, the hardness against his skin or the outline of its skin or fingers in this. In this case, I'm shooting a ronin F eight here, Onda, so it's pretty sharp around his entire body. On off course, he's on one plane, so it's a great image toe actually show a smudges detail in the boarding as possible. So there you go. I have already clone around his fingers. Now the rest is easy. Remember, my thing is always about speed. All of my workshops and all of these segments is you will always hear me talked about getting it done fast and efficient. So I'm always looking for the most efficient ways to get things done. So content aware around that and then pull it through a blank area on Beulah. It's gone speed box gone, So I always looked at work from largest items with smaller items. That's basically how I was told that we should work and for the shop on, that's what I'm doing. So I was debating here whether I should leave this line in the photo and I said, OK, let me let me finish it along the wall. This is just the edge of the piece off backdrop. I had Justo softened the edge between the wall where the wall meets the floor. Um, and I'll debate whether I want to take this out later on. But for now, I'll just put it back in. So just cleaning up a little bit of areas around here, they're your goal. And no, I'm gonna grab the Dodge Tool. Now when you're shooting on a white box grown, you're going to get a lot of reflections in the room hitting light, hitting the room that's being reflected off of different surfaces. And in this case, you know, it's the the light coming in from the windows were mixing with the light, the white light from my flash on dove course. The light coming in through the windows are a little bit warmer, so I'm not getting a perfectly white but grown here, even though the walls are way. So what I do is I used a Dodge tour and I just put it in her own 30 35% flow, and I just work on dodging out a lot of them. You know, the color caste that's under Windows are under wallet Section C. Let's go around carefully. Make sure you do not touch the highlights on his body. And if he has a rim light around him, this tour will also take out those or pick out those highlights as well. So there you go. It's quick and easy. And if you ever had a problem with dealing or dealing with, you know, getting a perfectly white background, this is a quick and easy way of getting rid of it. So there you go clean and upper on its closest possible without losing any information on the model at all. That's why you want to be around 30%. If you go 100% you'll start, you know, eating in on any of the highlights on the model 16. Photoshop bodybuilder 2of3: so I'm a bit, you know, I need to straighten this image. So let me just every go. That looks much better. I can see that line coming straight down his body. Let me work a little bit with composition. Make sure he's nice and even in the frame. There you go. Almost there. So let me get rid of this little piece there. Nicely done. Good job. Okay. No, Always the issue with shooting on white background. You don't want to make a person look like they're floating in midair, so I tend to use a little technique as well where I put a reflection underground. So I make a selection. Andi, I control J, which basically jumps it up on a new layer on. Then I want to flip it for two colored vertical areas. The verdict. Vertical. Where is it? There it is. Down below. There. Flip it vertically. Pull it down. There we go. Nicely done. Yep. Okay. That on drop the opacity. This is a nice little technique. I learned a while back that makes it look like the person is actually on a reflective surface. So no, you add a layer mass on get a paintbrush gotta paint with black. I'm on a white layer. Make sure your four grown is on the black layer and then make sure that you can bring the original back there. Perfect. And I like this opacity already. This is a perfect a past eight. Let's like for this particular image, it looks like he's already being reflected on those lines. On the back is bother me a bit. And they take this up a little bit. Make take the capacity back to our own What, 40%? 45? Yeah. There we go. That's good enough. Yeah, All I'm going to do is take my Dodge tool on. Make sure that you're correctly or here. I'm not under correct layer. And I got to get Dodge to. There we go. Something to write Layer. Make sure you're not in the mass. Make sure you're under on the image itself. There you go on. That worked brilliantly. Of course. Photography. A subjective I mean, there's just different things that you would do it, but I wouldnt advice, Aversa. So if you see anything that you don't like, you let me know. But of course, this is a quick and dirty course. I'm just taking you through my work flow 17. Photoshop bodybuilder 3of3: It's all right. Always look at the private areas, especially if you're clients are wearing revealing clothes. Just make sure nothing is too revealing. So here we gonna defuse this outline here. Onda. Here's a quick technique I learned from flor in dot com. I'm going to give them a showed out because I love those guys there. It's good at that. Presenting great information and guys, you know, don't be afraid to learn from different people. So that was a little weird, just just the way toe underwear was cut on. Now I'm going to just paint this out up too much paint. Let's go back. Let's drop the opacity. Eight. Let's bring this down to around 10% on your gonna be sampling different areas because, believe it or not, there's different shades colors in this underwear, so you just want to blur it out to the point where you know you. But you've got to be able to sample from different areas on get as much a variety of colors in here to paint in different areas. So there you go. Let's just and that's just gonna blurt. Bring it down a bit. I could have done it better. But you know what, guys? I don't want to bore you with the small details. You know exactly what I'm talking about. So now we're going to go even smaller. We're gonna sport healing brush on. We're gonna work on taking out some of these small bumps. These air here bumps. Love of these. Bought a billers there shave. So you will find that some of these, you know, shave and relieve some bumps on. Um, yeah. So we amid has amazing skin. So not a lot to do. Um, you will find a lot of body builders who are steroid users on, of course, but taking extra test on Stroll One of the side effect is a tremendous amount of acne on the body, especially on the back. But he's and he's a natural athlete on He has incredible skin on, so I don't have to do a lot of work here, So just going to get rid of a few little things here and there. Just clean it up for males, you know, we don't want to make them look too perfect. Um, I just want it to be enough work just to get rid of any noticeable flaws, and that's it, Really? And I could pretty much call this image complete. However, I'm going to take you guys through a process that, you know, a little dodging and burning. Now, the good thing about med is that he's an incredible shape. All his obs are shown here, so I'm gonna dio make a not new layer Fill it with 50% agree on change the blend more tour softly. Here we go and then I'm gonna work. But my dodge and burn tool of first I'm gonna see what dodging I can do is not a lot required here simply because there's a lot of highlights on his body already on. This is because I made sure I put a little oil in his body, not too much. Um, it works best with dark colored skin. So is not a lot to do extra dodging to do here, Um, because all of his highlights already showing beautifully. And that's when you know you got great light. So let me go to the burn tool, and I'm just going to do the absolutely reverse. I'm gonna just look for the dark shadows and make do with more per notes on this is a really light work. I don't want to change much on him because, like I said before, he's in great shape. But this is how you would define muscularity. I tell all of my athletes. Listen, my job is not to paint for fix our to clone in new muscles on you. I can only enhance what you have with lighting and for the shop. That's the best I will do for you. Um, simply because you know, you're not getting paid to be fine art our artists for the order for arm that will start making imaginary muscles. So don't promise your customers that you'll give them muscles that they don't have. So just burning in a few areas here on pretty much that's it. That line still bothers me. I'm gonna come back and clean that up when afterwards. But yeah, pretty much That's the finished product. Um, it's gonna dodge it, burn a few more areas in there. Um, but yeah, you're looking at a fine specimen of an athlete here on. There's nothing much else to do to this photo, so I'm gonna put up before it after here, but I'm going to zoom in close, give you a really good good. I'm view off this particular athlete on. He was very happy with his shots, and that's all that's important, isn't it? As long as your customers happy, that's it. Doesn't matter what you think or anyone else thinks if they're happy and they're gonna be doing business again with you, simple as that. All right, let's take this the full screen. So let me put up side by side comparison the before and after image on you can see where or how far we came. This particular image. All right, There you go. So that's one on. There will be a lot more for the shop lessons. I'm gonna have a different images. So, yeah, let's go to the next session. Okay. Until then, Jarrett's 18. VolleyBall Photoshop 1of3: welcome to the section on editing a volleyball shoot on artistic journey on a four to shop lesson as well, and also just showing you the ability to be able to capture images that you would not normally look at on. I want to encourage you to do this. So I was taking a walk, a sunset walk on the beach on. I came across these people playing volleyball, and I really love this girl's body. So I asked her if I could take a few shots, explaining that I was a fitness photographer on. She agreed she was such a sport on Basically, all I had with me was my camera on a speed light and that was it. So I had to make it work. So these are the initial test shots. I only have one flash. I will not stick it on the camera because it would technically just flatten her out. That is not the type of photographer I am. I like contrast. I want to use the flash because I want to show the dramatic skies. Sure, I could have opened up on my lens on blowing out the back grown. She would have been perfect exposed, and I would have gotten a normal image. That is not what you want to do as a creative photographer. So I want light coming from one side or the other on so that she could look much more dramatic. So ultimately, this is what we ended up with. And this is so first thing. Let's duplicate the background layer just so I can come back and, you know, show you the difference is on off course. I'm playing with my trusty content aware tool Onda. Basically, it's just getting rid off all the objects that are distracting in the background. And what I'm doing is I'm lining up the image with pretty much the edge of something pretty similar so that it concluding that particular area. So that's the idea. You have to stay within an area that's similar. So here I'm going over the red ban and then moving it so that the lines line up in the red band and it gives you that still a little halo on the edge. But I would clean that up later on, but just for you know, this tutorial, I want to try to go as fast as possible. So when the content of where tool fails, then are coming with the flu and brush on, just fix up those little small details. Because if I ever wanted to print this image out on large scale, I don't want those little details showing up in a large print. So get rid of the assistant who's trying to send, which is supposed assimilate her, kicking the sand that she jumped on here. Now I am going to do like what we did in the last tutorial and a lot of these things. They're going to be quite repetitive. This tutorial is a quick and easy way off. Just cleaning up a shot that you got impromptu. I was not paid for this shot. This was just something I was looking for to use creatively. So get close to her hand as possible and then use the content aware tool pulled out out. And it does a brilliant job. I love this tool. I really do. So I'm using for the shop. Cease C c. 2007 2 to 2017 on Do you know this? I think this tool came out and and see a six. If I'm not mistaken. And correct me if I'm wrong, so, yeah, just getting close to the edges. Of course, she's moving quite fast. My shutter speed wasn't as fast as I could have taken it, because, um, I think I was the wrong 200 of a second here on I or 1/80 of a second. To be precise. Onda 1 80 if 100 1/5 of a second. Because one, I'm sure I need to trigger that my my speed light on its attached toe pocket reserve, which only had a sink maximum sync speed at the time off 202 150th of a second. And, of course, my camera wasn't the best. This was shot back in 2000 and eight. Believe it or not on, it's still an awesome image. It's still one of the most amazing images I've ever shot. Just impromptu off the beach. Only because all the elements were came together nicely. Meaning the sunset, the athlete, the body, the idea that they were actually there at the time. Andi Yeah, you've got to take advantage of these situations when they're there. So moral of the story. Never leave home without your camera on a flash. Always Gabbert carry a strong with me on a 99% of the time I have my camera. So anyway, going along the edges. Of course, I'm going a little fast here. So I would have cleaned us up on much better if I was editing this for for professional occasion, but good enough to actually show you guys what my workflow looks like. So Yep. It's pretty much my clone tool on my content aware tool. Take out all of these little distractions on. So when you come across a big piece like this, I've already taken it out near her knee. So I've created that space near the knee. No, I just have to create a space on the lower side of their body just to get rid off these people here. Onda. They're busy taking photos of me taking photos, which is funny. She should actually be taking photo off the sunset behind her. But, um, there you go on. Is this amazing? It's so easy to just get rid of unwanted objects out of your photo simply by just highlighting them and just dragging in tow space that you'd like to copy. It's much easier than just using a clone clone tour. And now these little pieces I can really just pull these over and get rid of them as fast as possible. And I could even go bigger. Just all I'm looking for is a space that looks similar. And then I'm gonna pull it over to on area where the red button has an edge on little red casts. I would have been gone through and clone that out. That's well, just blend in. 19. VolleyBall Photoshop 2of3: so, Yeah. So this technique can be used pretty much anywhere. So in this case, just a clue in stop to get us close as possible Clone from a similar area. Andi, that's it. So here, this is even simpler because I like it. All I have to do is pull more son in these areas and just touched those out. Beautiful. Done. Isn't that simple or what? And make sure you get the realist small details, just in case you want to blow this photo op. But some of the point on do you miss it? And then when it's going to the printers, do you realize that Oh, my God. There's a piece of blue edge on her foot, so that's pretty much it that cleaned it up nicely on there's the before on the after. There you go. So where should we go next? So now I'm looking at the image I'm thinking, OK, I want to basically contour her body a little bit, you know, ladies like a little booty. So I'm gonna I just use a liquefy tool. Make sure you have the size of the brush. That's about the size of the area that you want to pull, and then I'm gonna pull that up there. I know. It's always ladies like a little curve. I'm gonna make sure just put us, like tinge. Uh, make the boots a little bit bigger. You know, athletes. Usually when they have a little body fat, their boobs disappear. So I like to just puffed them up a little bit, and it always makes them happy. There you go. Okay to that on. No, there we go. So what should we do next? I'm looking around and I'm examining the image. So I think now I'm going to start on just smoothing out her skin, and I use a soft real called portraiture. You guys, it's the most amazing fast way to just smooth out and get rid of blemishes. So I'm going to keep the softness. You know, around two I don't want any warming at a skin actually need a little opposite of warming. But I'm going to do that in another part of this program. So we'll see that coming up on. There you go. So I'll turn off these two layers and it's and show you what has happened. So where I have clicked Portraiture says, Okay, you want me toe smooth and or make that area smooth. Okay, I'll do that. However, there are other parts in the body in the skin tones that is similar to the send on areas in the sky because it's a sunset is warm, so it's also smoothing out those areas which I don't want it to effect. So I basically take the racer tool, and I'm brushing those areas away like this. Some just the leading those those pixels because this is all set up on a toe separately. Are portraiture puts this all of these, uh, this fix on a separate layer, so you're literally not touching the original. So let me zoom in close, and then you can see the difference between the before and after on her skin. There you go. It does take a little bit of detail out, but not enough, and I can always off course drop capacity on that area on that layer as well. Now you'll see me use this tool a few more times in this workshop so you can get a good idea on how it works later on in these lectures. But it's an awesome tool before after, and it just cleans up. And usually, if you have any, you know, artifacts in the image, it usually cleans that up aswell. So I'm going a flat notes. Two layers. Uh, no, we're going to focus on. I tend to feel that the image has a little bit too much Our engine it. I know. I'm getting a cast coming from the sun on. I think I'm gonna use my trusting color fix. Polit on This is a software made by Google. Unfortunately. Well, let me go with the positives. First, it's free. Google mates it free and you can download it. And it's amazing for just a quick and easy, um 20. VolleyBall Photoshop 3of3: um, you know, you can just have all of these amazing presets that you can work with to change the field and color of your photo. You can pull out details you can do amazing amount of things with color fix. And I'm sure some of you pros know this software on. I'm basically just looking for something that cool it down a bit, but not so much just to take away the dramatic sky, because I feel that her skin is a little bit toe orange. So I'm looking for a preset, that kind of work with, with both cooling it down a little bit, but still retaining some of that warm from the sun. So, I mean, look at all of these amazing, different presets you can work with. And of course, you can change the intensity you don't have toe. Look at this and just say, OK, that's what it gives me. You can change the blend modes. You can do so much with these particular, um, presets. So let me see. Let's trying. I think that one is pretty cool. I like this one. That's it. And no, I'm just looking for how much it should apply to the image on how much I wanted applied into the shadows here. All right, so there I'm now gonna put a little vignette on the photo which lightens the center. This particular plug in here, this will light in the center and then darken the edges a bit. Just a tad. These are just my note changes. I don't want to change much in this photo at all. I'll click. OK, now you can see the original warm through the photo. And now look at this layer that it's gonna produce from color Fix pro. Come on, baby. There we go. So it does cool it down a bit on still routine the punch I want with the photo. So I'm gonna drop their positive down a bit. I think, uh, yeah around Because I still want to see some of the sun coming true as well around 60% there before, after before and after on. That's looking good. Like I said, it's all subjective, right? But I felt that dismayed for much better portrait. Andi. Now I'm looking toe the last thing that I always do in all of my images and your should always do this in the last is sharpen your image a bit. No, I don't work with the the preset sharpening tools I like to their Okay, let me show you before and after. Here we go. There we go. I like to work with, um, high pass sharpening. Of course, Whenever you're dealing with the sharpening tool, you will. Sometimes on most of the time you get more contrast on your photo. So how this works. This is a technique on during a wild by duplicate the layer de saturate one of the layers here. There we go d saturate because I only wanted toe affected image. I don't want it to affect the colors in the image. Or I should say, I want to want to affect the edges and then you go toe other high pass on. You will see the edges, and you want to look at and see how much you want it to be affected. A moment. Zoom in here a little bit and you can see the edges being affected here and sharpness, technically taking the pixels right next to each other on the ones that are lighter or darker. They're making more contrast in between these two pixels. So that's exactly what's happening here. So I then make that layer toe softly on that will give you a nice sharpened layer. So, overall, let me zoom in and show you. Let me turn it off on on. I don't know if you can see it in the photo are under screened, but and if you're using a mobile phone, it'll probably look even less different. But there you go. That's ultimately what I wanted to accomplish with this image. Let me go toe full screen, Andi, I will put to come Parsons next seat shopper or one after the next. Because this is hards on till image on there. You can see the difference so quick and easy on it was caught just impromptu, so I'll see you guys in the next lesson chairs. 21. Shooting a Martial Artist in the Desert: somebody have a finish? That out, guy, I'm here with Alicia. Amazing athlete. We did a phenomenal show. Shoot. We're going to actually see these photos in coming up. But I just wanted toe that you guys know that it was a C simple shoots or lighting set up. I worked really hard work, but he may be working, but it was simply done with one light, one light on sometimes a little reflector and that's it. But I was balance in the primary light with my for ticks Indra on a sunrise in the background. I wanted nice and dramatic mates and punchy. But what was Mawr important was getting dramatic movements out of Nolito, which she never field, never, ever failed to produce for me. So dot was the primary focus that this particular shoot So what? I'm trying to teach you guys in this particular video as the fact that you don't need a lot of equipment to produce dramatic work on. All you need to do is the balance. The background with the lighting that you have on get a phenomenal athlete will be a great direction from a shot because it was so easy. I work with a lot of photographers in the past. And yours is one of the most easiest and enjoyable shoes that I've had. Really? So thank you very much. So you guys will be passed to the back, not the front. Okay, but off course directions help. Angles are very important. Staying perpendicular. It'd camera is what I wanted to focus on it. This particular shoot because I wanted to show the lines in her body the extension of the kicks and the punches. These things coming towards the camera sort of killed the whole scene in itself. So you have to spread the seen against the background. That yes, that was the idea behind this particular shoot, so communicated it Well, so it was able to come about. So I think we should see some great shots here. Being modest. You're gonna see some phenomenal shot on. If you guys got any questions, hit me up in the comments on set or sent me an email, and I'll be happy to explain anything else to so behalf. Um, inland Nolita have an amazing day. Thanks, guys. On. Um I'll see you guys in the next video. 22. Run & Gun on an outdoor shoot: Hello, my friends. And, well, come toe another photo session with me, Paul Egan Onda. Today we're gonna talk about running and gunning in this simply means shooting like shooting quickly on. Usually it's in places where you're not necessarily supposed to shoot or you don't have permission to shoot. So that means you have to shoot very light on a very agile, this particular shoot I'm doing with one model. It's just me, my videographer, on her. That's it. Um, everything the set up, everything must be done off site in the car. I'm shooting with very light equipment, something I could just grab and move. If security guard comes and says you can't shoot here, etcetera. I'm shooting literally to a D 200. These are made by God acts God docks. There we go on there very small, but very powerful. Powerful enough to overpower the sun for light month. Photo stands on literally. Everything stays in the car. I'm carrying my lens holder, which holds my 72 200 lens that you see here on my camera. I have my 24 to 70. So I covered a full spectrum, a wide angle on my zoom lands. I'm testing the lights. Everything is set in the parking lot or this particular cases of doors. But I don't want to be fiddling with the camera, testing on putting equipment together. When I get there, everything is done off site so that when I get there, we know exactly what we're set to do. So here we're getting on site. Noticed. There's no real stairs. It's a construction site. And this is one of the reasons why you shouldn't be in these areas because you know the propensity to have an accident. It's quite high, so it's a bit risky, so no one wants you in their construction site. It's a liability. So I noticed that the model is actually carrying some of my gear on. All this is in the little salt box on a few of the accessories in there, just in case I need that. So here we go. This is a stadium that's being built on. I have scouted this area before. I really love these great concrete blocks. Now, I would have preferred to fitness model toe born some brighter floating, which would have popped against the, uh, concrete. But those clothes were in the car on. She arrived a little late, so I was trying to make sure that the sudden didn't get too high in the sky. So we have to work with what we have on. Then hopefully I could change somebody's and posts on. Also, I can work with lighting properly as well. So here we go to lights. I'm going to get you see these pillars in the back? I want her to be jumping off these. I want a low angle shot with her doing a dramatic jump off there. Now I got to work within the athletes ability. It doesn't necessarily mean because the athlete is muscular, that they could do a particular pipe off off movement. So you need to know what they can do. Unfortunately, this is the first time of work with Mesa, this particular model. So here we go. Let's go with the first jump. No, this is not the angle or delighting that I wanted. So we need to access stock doing some work here so the lights are too low off course. She's a lot higher than I am on, De. So we're getting that under the chin. It look on off course there. See? You gotta work within her limits here. The left side or will my left your her right. That light didn't go off so I could see that That wasn't the light I wanted to get. We can't keep jumping. We just got to keep her beating here. Definitely. Too much light were shooting her on half power here from looking at the limps off the shoulders off the lights as well haired lights didn't go off. But here, you get a good idea off the sun. I'm shooting against the background so you can see how low or how high this light is in this guy. No, I'm working. Hurt her body. I go the way I want her to move in. This particular kids, her left hand is too high. So it's creating a shadow over her face. So I have to work that out. Her right hand is too far behind her back, but at least her legs are in a much better position. So this is a one angle I'm trying to get I don't want to be straight onto her, as I want to show her lines against the background. So in this particular case I got explain what I want from her. This is crucial. So here we go. Let's go to the next shot. I've explained what I wanted from her on there. That's the angle I want now Notice. I have to get my camera man to hold the light up much higher so that I could like her face . Probably. And I didn't get that unmerited chin light on her, so we know what we want. So is this a matter off? Just repeating. So these are the final shots. That's the body angle. That's the lines I want against the background off the sky. Now notice I for the shop some of those bricks but standing in the background from under her because it just distracted from her. This is a not a angle that I got on. Then I replaced the sky in the background to make a little bit more blue, a little bit more dramatic. I saturated her our clothing a little bit, so it makes it. It's a little bit more interesting on to get a different type of shot. So here we go. This is a nice shot of her just stepping off. And then I fought a shop out those pillars in the background. Totally. That nice clean look. So there you go, guys. A quick run and gun shoot. This was done literally in 10 to 15 minutes. We were in out off this particular shoot, but because no one disturbed us, I thought I'd push it, so I did some other shots. So they're coming up soon on off course. I'll also be doing afford of shop on these particular images so that you can see exactly how I got this particular book. Okay, I'll see you next scared. 23. Shooting Studio showing how I instruct models: Hello, my friends on Welcome. So today I'm going to take you on a behind the scenes trip with me on one of my favorite photo shoots that I've done recently. Now the studios a bit dark. So you've got to be cognizant of this one point. One of the big things that most off my students and most of my listeners actually want is toe. Understand how I indirect with my my clients on. This is probably one of the trickiest things that is very difficult to teach. Sure, I can teach your technical lighting, you know, lighting coming from left, right overhead, sculpting the muscles, etcetera. But teaching someone how to indirect with without with the subject that's different. That is a very personal thing. And I really feel that that is what makes the essence off a shot. The essence off whether a shot is good or bad is the pure interaction between you and your client. Are you and your subject? I'm It is this subtlety, the subtle things that you can explain or you can teach or their comfort level. And that's always a thing. Some photographers actually feel that it's it's not your job to make your client or your subject feel comfortable. It is for you to just capture raw. I don't believe that I believed it in my style of photography. I am the creator. I am the one that creating art and that means that I must be ableto pose the actor or the subject Exactly how I would like them to look so that my images are created in the kind of look in the perfection that I want, not what they want. They hired me for a reason. They want my style. They don't want me to capture them, how they see it, They want me to capture them, how I see it and thats it's a simple fact. So to all the photographers who are out there, just sort of this throwing. You're throwing your your subjects or your models on the background and saying, OK, you do your thing, and then I will capture it. That's the sign of a pure amateur. So point is, is that it is that subtle interaction and the more comfortable your client is, or your your model is with you. Depends on what kind of shots you get. Okay. Off course massive amount. A massive amount of my, uh, my photographer come from my years and years and decades of experience dealing with fitness , from owning a gym, to be in on I f B be judged for the Caribbean foot from being a personal trainer from being an athlete myself. All of these things are part of my life experiences that I can basically put into my photography if you don't have those experiences. It's very difficult for me to teach you 30 years of experience in this field in 20 minutes or in half an hour, however long this video is. So I'm hoping that you would at least get an idea of flavor off Hawaii and work with models so that they can actually give me the shot that I want. Okay, the video is a little long. I just got to tell you that, but e, I can't teach you anything in 12 minutes. That sweet spot for for YouTube or for any on the course you have to endure. And you have to listen to the subtle things that I try to show and I try to move with the client. Okay, CNN and now I'm in the process of making sure that both off my rim lights are on the same china. I'm using the God ox a D 200. These are literally my go to lights whenever I'm shooting indoors or outdoors. In this particular case, I'm using to God ocs 8200 on these two strip boxes just, er generic China. His stripped boxes. I don't even think they have a brand name. And I've had these for about maybe 56 years. Uh, they're still holding up well, so I'm one of those that believe that I should get every single chunks out of my particular gear before I discarded or upgrade. So these are both on channel B, and then the main light over here, the cameraman would turn, and that's the god OCS 8600. And I'm gonna use this as my overhead mainly. That's about it. That's it for the set up for beautiful women on Duh. It's gonna be a long day. I'm glad to take you on this journey. Makeup Joe is getting ready over here. Yeah, so right now I'm we're ready to shoot. I'm trying to fix the box. The main light on top at the perfect angle so I can get as much muscularity as possible. Um, of course, you have to wait and see if the you have to check the models. Height. Jos. A bit tall. I told you, Joe. 5 11 5 11 5 11 So that means my box is a little bit too close to her head. Get it? Get box up on. I need to get the right angle down so that and it's always ah, hidden. Miss, you gotta test it to make sure that you get the right angle. No, this always freaks out the makeup artists simply because the lighting I'm doing here is not good on Take a shot of the face of the beautiful makeup artists. OMG, This is your works nightmare because the lighthouse to come down to get the most alive here . But this is what it's gonna do to her face. Okay? Because it's not a beauty like so afterwards I have to go in and I have to forge a shop that it's so That's so when I said, don't worry about the details. This is what I'm talking about. All right, so now working on pulls. Yeah, Open up. Wait on foot Slightly. There we go. Squeeze obs Don't push backwards Screens downward their week or perfect. See the difference in that Most athletes always on Look down at your foot. That's pointed. They're perfect. So this is where I get warm up yet? Beautiful. One more Nice. Good. And relax. So I want to show you this is where react. Of course you're looking at your abs, right? But the issue is simply this Don't push backwards. I want to show you the difference between this shot and another shot. So you ladies are constantly looking to accentuate the but right. But what you're doing is you're pushing the but to the back from where I am, no one has seen it from here. The camera only sees the front. So what? It, Lou? As it will flatten out the abs Watch my abs crunch versus flat pushed out because, you know, pushing the Buteau camera view. Pushing but out abs disappear, crunch forward. But in No, not too much, Not too much. So you don't want a crunch it so far done that it start to roll just enough where you bring your upper body down a bit and push your hip up a little bit just to get that they still want to stretch it out enough so that the skin doesn't fool. So these are all a lot of secrets they have toe work on when, um, I'll tell you when to hit it. Okay, So don't hold it until on DNO. Hit it and look down at your foot on head down. More good. Hands over your head Behind your head. Good. No, no. Sexy. Yeah. Just working on my focus here. Got a few camera. Put your hand back up. Yeah. Good. Good and relaxed off the hip. So you don't see that you've been in this foot slightly. Watch the flags there. They're good. And then twisted in still look a little stiff on Grab your hair from one side. No, All the way here? No. No. Yeah. Their turn. Your head this way. Good. That's it. I think that's a much better shot, but you're a little bit too. You're a little bit too far on this. Come over here a little bit and then twist your hips there. Good. So that I get more doc on that. Cool. Okay. When I say up, you go up in the tools. Okay? Lean back. Yeah. On up anything. Okay. All right. On head, hand over your head. More there. Go back again. Go back with the hands There. You see? What happened is you bring in your hand down too low, so twist more towards turn more towards me. Yes. Get your hands up higher. So the elbow? Yeah. There. Keep it there. Do it again. There. Keep it there. Now bring your head on your body backwards towards me, not twist it. Lean back. Yes. Better. Andi. Now. So stay right there so you can see what? The camera scene right there. Right. So you're starting here and now all the but is away from me. Okay. And then you're leaning here, See what I'm seeing, right? You hand this to down too much down here, So I'm trying to get your elbow to come up higher over your head. So you start out nice when you do this, right, And then you bring it down to here. I'm trying to get it to stay up here, and I'm trying to get you to lean back there. So start here. Right? Completely back to me. Not here. Right. Just step across your still here. Right back straight. Wit up. Move the hair. Don't bring up. That's it. Well, I'm not even posing up. Boom. Well, boom. You were doing your crying for Mike. Robotic shit. No, they weren't. Okay, just step across up, step across. Lean back elbow. Look. Yeah, Let's focus this one first. Forecasts disowning like Arthur. No. Good. This is what doctor does to me every time I want a shot. He tells me about another one he wants before we even finish the 1st 1 Come on. I just showed you the easiest way going to spot right there. All right? No. Stay here with me, you hear? Step across in front. Up on the toe. Lean back, Elbow up. Don't. Beautiful, is it? Is it? Is it? Is it, isn't it? And though bend both knees. Ben, both knees. Okay. Bet upon the tour on the other one. Okay. On that Good. Relax market. Let's New York. So that was one of my shoots. So we're going to continue because I worked with a few different models on this particular set, so Here's another model that I'm working with on. You'll get some more ideas. All right. If you like this, please let me know. I need some feedback from you guys. Okay. Chairs season. 24. Skillshare Posing Update : Hello, my dear friends on Skillshare. So today I'm going to just bring you a short update to this course. Literally, it's one of those things that most of my students have been asking me to help them with. And that's posing. Now. Posing is one of the most difficult things to do when it comes the athletes. And the reason is because there's so many different genres of what an athlete is. You know, a gymnast can't do what a yogi can do. Yogi can't do what a Pilates or a cross fitter, or a runner can do. And so you have to understand that teaching posing is one of the most difficult things to get across in one lesson. Because 14 to shoot that I'm going to show you, it would be with the CrossFit athlete for example. And most of them can't do what all the athletes can do as far as posing It's concern because their body is not used to or have not been in that particular motion for their particular sport. I hope I'm making myself clear, but I think you've got it. So with that said, I think the best advice I can give you is to actually find reference material that will help you. Now. I'm not supposed to advertise on new to me, but I have now produced some posing cards that you can find online. If you just put in Paul Aiken posing cards, you can find some posing cards that I've created that I'm selling online. I can't put any links here. So this is something, of course you're going to have to find on your own. Now, the fundamental issue that I'm going to try to help you with is to simply ask your client to find photos online that they can show you that they would like to pose as. Now, they will probably show you photos in their genre that will help you get a handle on it. But one thing is for sure, is if you have a group of cards reference material that you can actually just pull up if your client is not sure or you don't want to do to work or she don't wanna do the work of finding reference material. It's always good for you to have a good, good repertoire of poses that are good for pretty much any sport. And I say that with a caveat, of course, because they are certain things that just certain people can't do, period. But I've done around a 115 cards digitally that you can download to your phone. You can literally just, you know, have those available and it'll be your little secret to actually just look at them because I'm describing how I did it as well and what's the easiest way for the athlete to get into that pose? So that's the fundamental secret of not just having reference material button. How did you get into the pose? How do you make it look real? These are the fundamental things that are important. Just to summarize, it is difficult for me to teach you how to pose your athletes for those reasons that I mentioned. But there are ways to get around it. Okay, so don't be afraid, look confident, feel confident. The best thing to do is just ask your clients for reference. If you can get inside the head of the client or your athlete, then you will have a much better way of bridging the gap between your lack of experience and your confidence level and fulfilling their desires. Okay. So guys, keep up the good work. I look forward to you guys sending me some more of your completed work on the athletes that you're working with. And I'll be happy to critique. So until next time, keep up the good work. Check out my opposing cards, and I'll see you guys in the next lesson. Cheers.