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Concept-Driven Commercial Photography

Lesson 8 of 22

Shoot: Athlete in Motion Portrait

Joel Grimes

Concept-Driven Commercial Photography

Joel Grimes

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Lesson Info

8. Shoot: Athlete in Motion Portrait

Lesson Info

Shoot: Athlete in Motion Portrait

Now this is gonna be a knockout situation mean, I'm gonna put him not knock him out but I'm going to cut him out eventually and drop it in the background and so all I want is enough yeah come on over here all I want is enough information in his legs and everything that I conduct him out so you're going to see my lights you know, whatever and so is this I don't have a huge sweep you know, we probably could johnny think about this we could probably just use the brick wall. Yeah it's not perfect, but you need enough so you can cut somebody out and this sweeps nine foot you can also purchase by the way, if you get in a situation you go gosh, I wish I had a little more uh you could buy a twelve foot quite sweet. They're a little heavier if you have. If you drive a little teeny uh you know, um, smart car probably not a good thing to put on the top your rough, but for most cars you can put on iraq and get home, you know, or get into space and so a twelve foot seem this is a good thing to put ...

for people jumping, so um but I want to be able to get him in there and look he's already sweating oh it's because of the glittering you weren't nervous were you when you heard me not knock down you're like whoa whoa whoa you did bring your gloves right okay um so we're into action shot and I'm going to show you kind of how that's done now any questions at this point from our folks in cyberspace on all this action tee time you know I think the big one that we had wass let's see turn decide whether which ones to ask here we've got um what do you think we could go with one with from chris walt I think so yes so chris walt says the camera is set at a speed below the sink like one two hundred even though the speed of the aperture is one six thousand yes so the ambient must be so low that nothing is recorded at one two hundred is that right there you go we're in a dark environment right and so this is a question you say with my shutters going at one two hundred of a second it doesn't have to match my tee time no because the stroke is going and a really short duration within that one two hundredth of a second so that's so he'll think about this way the speed of light is does anybody know it's fast okay um and so when we talk about a one six thousand a second we think that's really fast is not with light so that's where you get this ability for number one a sensor to pick up like tl is going about making a computer saying perfect cut off t time boom and you get a perfect closure and that's because the speed of light is faster than what you know our brain can think so yes in an environment of justify machine outdoors it's a whole nother thing okay so you can you can you can still use off a fast sink time but you're going to be limited there might be some issues there I don't hardly ever shoot outdoors with high speed sinking unless it's dark like the last light I might do it boom and get a guy on a track and field but all my stuff now is the stuff that you're seeing is all shot in studio and there goes back to I'm going to show you guys later selling the fake dropping someone in that's a wholenother you know skill set but so I don't have to worry about the outdoors and being influencing I'm in a studio and I'm freezing the action and with a height might my sikh said at one twenty five second that's a good question no great and maybe one more just from diem photography just to clarify so can you actually freeze action with full power or is there just no way to that not with these packs now with pro photo they have spent lots of it probably have gold coils and sensors in their packs, and they do things that are allowing you to get a lot of power out and getting a short duration. I don't know how it all works, I've never really used that, um, but I went to rent three packs three heads at sammy's camera and they said bring thirty thousand dollars cash to pick it up or, you know, you have to have a credit card that has thirty thousand dollars on it to rent it out the door so that's, the problem with profiling was very expensive. It works amazingly but doesn't really fit most of our budgets. Not so I hear you're gonna have to run the power down to get that one six thousands of a second and here's the beauty of it it tells you on the back of here, what's your tee time is so I could just powered up until I get my pt time what I want, then match it with my eyes so and my f stop it's really simple, so it goes back to this make a simple is possible folks don't get too wrapped up into it and there's also some considerations which people need to know is that the triggers do you buy a trigger on ebay that's made somewhere in another country that may not have a fast enough I don't know what you call it triggered whatever to match your tee time I don't know so what I normally do just to be safe when I'm doing my fast action stuff I used the policy buff triggers even though I have some pocket wizards and some some radio poppers we're amazing and probably the radio poppers are going to be fine it's just that as a safety I know that these work because they come with the unit that makes sense so I know that my trigger is gonna match my tee time on my fastest safe apart so that's another question I get a lot yeah, that was one of the other questions always is going let's go back to this I'm I don't know everything about all this and I'm telling you right now there's people that are watching right now that probably could walk circles around me when it comes to explaining this I do know that I needed one six thousand of a second to freeze action so that's what I'm gonna do so you think we're ready to go teo let's do let's do it right just jumping the first thing I gotta do is I'm going to set my camera I'm gonna change my settings too s o four hundred pay I'm going to set my f stop to unlock it here to five point six this is because I've done this right and then uh my shutter speed I'll leave it to one of the things I know that two hundred the second this is gonna work fine right and at those settings I should be able to I'm gonna come over here and I'm gonna run this down so let's just I don't know if I can move that I was gonna show you the back of this thing but I want to move this down tell it says look let's go back okay so I'm gonna go on to one one six thousands is one eighth power I thought of one four fourth but one eighth power so I'm gonna leave that at one eight and I'm going over here and do this one at one eight power so they're both matching so let's run this down to one eighth power it says on the back of their tea time one six thousands of a second sore now pretty darn close to getting ready to do a shot so let's get you in here do we have that basketball? Alright so actually before you get the basketball let's do a test now remember what I said is that when I haven't athlete even though he's a thoroughbred there's only so many jumps in fact I photographed thoroughbreds cows don't run very well do they but there was fifty horses was running across this branch I had five ranch hands getting the horses to go right and I'm like all set up for a brochure and I'm shooting t you know these horses run across the field most amazing just the sound of the house they got two runs and no matter how hard they want to push him, they they didn't want to run more than twice so I had to shot two attempts to get those horses perfectly lined up in my shot and so the same thing with athletes you only get so many clicks they're worn out there sweating, they're tired and so you gotta be kind of like playing really, you know quickly you mean you can't fiddle too much so let's raise this light up a little bit, john because he's going to jump up so here's, what I want you to dio see that one shot over there on that wall this kind do a jump like that and we're going to the ball with you first just test it or maybe if you want, do you feel comfortable doing the ball right away? Sure all right, so let's, try it, okay? And normally these guys dribble, then jump, but we can't dribble member because the sound like freak out the sound people so whatever's easiest kind of this is hard because I don't know if I could jump put a ball you know, between my legs, I don't know so I mean, I'd probably you know, like throw my back out or something but basically lets just get a quick little reference of you know, do you jumping and what I'm gonna do is I'm gonna lower this and so by laurie my camera what it does is it makes him look like he's flying a lot higher so remember this you don't have to go that high okay? That that's not the goal is not to see if you can get to hit the rafters so what was my rule of thumb lower the camera, lower the light okay, so we're gonna lower this down and I'm gonna see how far I can get it before before okay, so I'm at twenty four millimeter and two hundred the second missile four hundred and I have not tested this before, right? I mean in terms of in this environment whatever and so we'll see here how close I am and I think position wise you're pretty good. I mean, I had to move the lights back we pulled those sweep away from the wall just a little bit because I want those lights as far back we may have to go and just a little bit all right, so uh give me a little bit of a jump there and I'll see what I do if I catch you ready? Yeah, try it ok, so I'm going to come up here first thing I noticed is I missed his one foot okay, so he's one foot's out of the picture and um does it come up on this one yet come up injustice and then this is too much power this was too much power so let's go and not this down we're gonna go down at least a full she's way to let the front right way too late so let's go I'm gonna go full stop that's a full stop okay let's try it again now let's do this let's have you when you jump you do a little bit of an angle I want to see a little bit more of your face okay, so you're jumping this way, okay? So now timing timing is everything so I'm gonna back up just a little bit because I noticed that even if I'm really good here I'm still going to miss him a little bit so let's see if I can get you right hold on. I'm going to raise this or pull it back mr fraction to get clear of that here we go I'm ready. Yeah, beautiful now I gotta look too dark on this and so we'll see what we see what we're getting butt okay now what to dark on here and because it's a wide angle lens what happens? Anything closer gets bigger right now, if you look at my shot over there with one of the ball up people he's jumping, looking his front foot's a little bigger in the back foot so it's not a bad thing, right? Because it fits in the wide angle environment, so I'm not a little worried too much about that, but also let's do this. So you, when you jump start about here that way, you're a little bit back. This one's not even hitting you. So that was a problem. This one's kind of going past you also. So let's, we'll adjust that. So these were little adjustments here? No. Okay. So let's see what happens? We're on our third jump. Okay, so let me get focused, okay? I'm ready to go. Okay, so let's, see, also, sometimes it helps not to look actually through the viewfinder. Just just if you got him all framed up and you can, you can, you know, by just your eye clicking and you can actually see the light hit the person. So you know, if you're correct, okay? So now I can you play basketball, right? You got to get that. But this guy over here does it for a living the guy on the wall over here, special effects, that column so you know it's like I said it's not just your not dribbling either so he dribbled jump boom so it's a little harder so okay so the first thing I'd do is remember what for not too bad you know we're getting there okay, so I would say again I think it's freeze your seating ghosting in there none this frozen okay, so now I'm gonna go look at my lighting so let's say well um he's lit on the ship back pretty good here that's got a good line um maybe a little over lit on the front here on his chest but his face is got a little bit of highlight so what I could probably do is have him let's see, maybe when you when you do it, just turn and look down a little bit so you just jump and you're not looking too far that way. But look, bring your head a little bit this way now you can't give a guy too many thanks to dupe a person who can't remember what he's supposed to dio right? So just comfortably do it again. But maybe now watch your face because that's important right cause I'm I'm still a portrait shooter I still want to look how the light looks and if I'm like for example, the golfer right if he looks like he's a hack for an ad you know, for golfing brochure not good stay with basketball you want to make it look like he's really the real deal so I'm gonna make sure I get a good a good jump out of him. All right, so let's try it again here we go. I wanna focus on you all right, here we go. I'm ready I'm ready. Okay, now that was a little short that back leg didn't quite get high enough but don't worry about it nor about do it again. I know it's a little bit uncomfortable so just try it again already that's getting better it's getting better so hopefully I back legs a little bit better here there's not bad now at this point we could do another ten shots maybe get a better one but maybe there's something more comfortable that you're able to dio you're saying you like, well, that kind of uncomfortable. You know, maybe I could try something like you're like doing a slam dunk or whatever I'm saying. So I've discovered that like when I did, there was eleven athletes basketball players for this one team that a photograph for that for that shoot someone just I didn't do very good at that they did better at something else so it could be that we find something that fits you like what can you do that you think it looks pretty dramatic that could be kind of cool right? So what do you think? What could we do? Oh do you want like okay so that's gonna be that's? Well, there you go. Um let's see what we do well, see that's why this is pretty easy. You feel comfortable? Try another one here let's try it. Just try another one really quick joel uh just give philip a chance to breathe again a little bit um question for when you doing these action shots? How are you focusing like what's your are you pre focusing what's? Yeah, but I back focus and I could get into that a little bit, but I hated auto focus from day one, and it wasn't till about two years ago that I actually even used auto focus at all when I discovered back focus, which is means I've disconnected this focus uh or it doesn't focus by the little trigger finger. It focuses by the thumb. So the beautiful thing of that is is let's say I got you and I want I want to set you to the the right of the frame, right? So if I have my little sensor in the middle and I go this way, you're perfect right in focus, but if I go over here like this, I got either hit the button set it up so freezes it then moving on to shoot it well then that's that's got there's two things going on right but if you back focus all you do is focus and then just turned start shooting as soon as you move back I refocus so right now I'm doing is I'm focusing on him knowing he's jumping straight up and down I don't have to change my focus that much I'm pre focusing sounds great it's there may be a better way but again this is how I do it all right so here we go again so think about it um maybe have your head down just a little bit and give me a little bit of uh uh come on man you little bit okay I just back focused here we go that's pretty good that looks pretty good weii we got here come on yeah that's better now um I would say that probably we could lower that light a little bit no just height wise because it's not lighting I mean we got plenty of height there laureate like that was actually not bad but look look at the fact that we still got that edgy lighting a feel right and I'm still doing zone one zone too so I really haven't changed my lights all that much from the portrait so this line he works on a lot of different levels now if you wanted to like I just shot on monday a snowboarder jumping through the air right in the studio I'm going out in the field now shooting the actual backgrounds and as a conscious decision I decided to and with the art director is to have the light coming here be really bold and the light back here really weak because I'm gonna have the sun coming from this direction I still want a little edge light but I'm actually feathering it down a little bit so it's not equally edged, right? Not two sources of son so I think about that um but for this scenario I'd only care because even like in that shot there I got two lights coming equal and most of my sports stuff is pretty much equal but so that actually is not bad ok, but still you look too happy and he looked too you need a little oh man you know come on okay, so we're all set focused ready to go it's looking pretty good I can't see the face there yet but now we're getting we're getting the time he looks pretty good yeah now he's looking like he's you know going to take the world by storm that's actually not too bad right that's not too bad um so did you see my timing? No, I'm actually getting perfect right now how is that possible it's just that I've now know just enough to catch it so it is a little bit of timing but now what are we on about eight jumps so we're still under a ten so that's kind of how this works you're not gonna get four hundred pictures of some guy jumping so let's do one more and then maybe just work on that expression a little bit and I'm gonna watch you here we go okay okay I was probably a little early or that lack back leg was a little low coming up I wish you could I wish you could dribble it see putting it through you're like let's try this what what else can we do? Uh oh, you know what to do I got it. Okay let's do this. I did this we can't we can't dribble but it's not on my its I wonder if it's like this thing is not really if he's turning right he's just got a turn like urine that you're dribbling but the ball was sort of in the air so let's try actually it's like this so let's try maybe instead of jumping through the air let's try a riel whip around shot and again you're moving a pre hire a speed what's that don't jump so let's let me zoom in here a little bit like this, so get actually move that direction a little bit don't let go of the ball and hit our he's gonna spend that way let's see if I can if I can catch this ready go for it whoa okay, so start over here a little bit and maybe let's sit come up here you kind of went out of the fring okay, so let's try here that may be actually face further that direction and then whip around ready my focus okay, go for it so there's a way you can you don't have some jumping but you could get someone that's really moving and again if we could if we could dribble you might just you know, he turned I think we did this we actually had the guy throwing the ball to my assistant or someone, right? But you get that motion like someone's dribbling and we also did were you dribble and actually have someone like they're leaning and turning into something. So we just timed if they came through and boom and it looks like when we dropped him in they were actually moving through the er on a court. So instead of having a position like you're kind of going through court, they're actually moving through the court but see how fast he moved your frozen and again I'm at one hundred four hundred which is pretty safe it's not too it's not gonna be that grainy and then I'm got five six of us uh f stop still got plenty of depth of field and I'm pretty much covered because I'm wide angle and so um these were working beautifully maybe something else maybe just do this you know, just try something we'll just again um got some suggestions from folks online we'd love to see maybe spinning on spinning the ball on the finger I don't know if you can do that you do that wait wait okay what's sorry I was late all I need is I all I need is one second one just put it watch this next one here but don't cover your head so it's like the ball the washing machine he's spinning you know, maybe that's a cool shot I don't know it could be my portfolio shot of the day right? Yeah. Okay so trite office side a little bit what is it now I got it I got it out of the frame so let me let me go a little higher here ready to try it so all fun stuff I mean, um but the billy to freeze action gives you lots of options where you know before I wouldn't have that I'll have this ghosting now on the spinning a ghost you might look good but um do just do like you're like you're like intensely going this way too that way and let me just see if we catch you ready whatever you want okay so maybe start there and then spent two or mia oh, sorry that was that was really bad sorry that was okay I'm fired here we go no pun intended to go see what this looks like look at that look at his muscles and everything okay, so yeah, maybe he's grip that balls tied you can go let's just see what look we get here you ready? Wait get some cool stuff if you, uh just keep playing joel, can I ask you a question? Yeah, there was a comment a mere slap it has have the guy shout or scream or yell I while jumping from our facial attitude on and I'm just wondering yeah do you have a style or a brand when it comes to the facial expressions during these types of shoots or do you mix it up? I don't know about a brand but I mean yelling helps yelling helps yeah, you know let's not blow out the microphones but yet you bet I get a lot of times um you get that intensity just sort of come out and so we could do that that's not too bad but you know that's again he's moving at really high rate of speed there um and so that's not doesn't really give us the action stopped like I've done it but um let's well, let me think about this anything else do you think you could do jumping wise that might all right let's try that but I'm gonna make sure that I can get you I can get you in there because we're gonna have umm um all right again I don't want you to hurt yourself okay because that would be bad news I said just do a little jump and then bring the ball up like you're slamming it yeah, a little bit well see here's the problem here is a problem he is really reaching the rafters no no no no so now I gotta get way down here and I'm gonna try it this way I'm gonna take my take my camera turning I'm off the tripod beautiful eyes I missed your hand though so you gotta step back a little bit then do it okay so I'm gonna end up flipping it um so he looks like he's you know way up there all right you tried again here I'm gonna catch you yep. Okay, now I missed his foot on this side so I was kind of anticipating so do this. Can you just jump straight up here we go ready again? Can I whistle early? So I've done this volleyball players to where it's really awkward until you get that right shot so maybe do like a little hang time, you know, like you're like you're in that you know the michael jordan hang time try that okay just just jumping that give me a little like the arms back like you're ready to slam it just try it there you go now I missed his hand see how hard this is it's like it's like well and he's not really be able to dribble it I think but that's not bad but now watching to see your legs you spread your legs more come on do the michael look michael look okay now I'm gonna see if I could get you all in their ready here we go yep there we go I think I nailed it I think I nailed it finally there who just missed a little bit a little bit on the foot but um that's kind of you know I probably could go horizontal on this try one more and see that okay thanks I think I could still get you horizontal now so really spread the legs on that caught on a trip to trim the ojai was almost perfect I just trim the ball off but here's the thing I could always take a frame off an old one and drop it in ooh now we're getting there come on let's do that again ready yeah nailed it nailed it this is killer right there so again you do you know ten of those or fifteen of those and he's exhausted but hopefully you got enoughto teo you know now dropping him in that's a whole another art. But I think you see, you get the point, right? You get the point that it takes a little work, a little bit of timing and, uh, uh, tools are not that complicated. Um, so let's go from here. Any other questions? I think in terms of ah, high speed. I think I've covered pretty much what I need to cover. Um, wide angle lens helps now. I just did this really cool shoot. I took a I built a ah flat with that rolls in my studio in phoenix. So it's it's eight by twelve and I had a guy originally that was a basketball scenario and I took the one light all the way back. Twenty eight feet, same settings here. So I had a five six at the power, whatever I'm doing there. So it's a six thousand cheddar speed and he goes and he launches of self and girls like that and he's against the white and the shadows hitting the wall. I wish I had it for you here to show you unbelievable, totally different. Look now again, but I'm using high speed sinks, same concept, but with one light with a shadow, and then I did it with him, jumping with the, uh uh, skateboard like tony hawk. Look, boom! He jumped up, turned the board like that, you know, he's catching it and just get the white with a shadow. Yeah. It's gorgeous. And so there's a penny. How far away he is from the white will change the length of the shadow and all that so really cool. Look sobis still with high speed sync, knowing that I can eat a one six thousands of a second, at least out of the way, the light to freeze action. Now, one little side. Teo, note here, if I pull these grids off, I get about another stop of light. So what that tells me is that if I start to get a little bit worried about my f stop there, so let's, say five, six not covering it, my depth of field and I might think, you know what? I'm gonna pull those grids off, put a couple flats up. Now I get a full, more stop of light out of there. Now I'm using the grids to stop my flair, so that gives me a little bit of flexibility. And if I really needed the extra power could take my inner baffle out what, you're gonna make my life a little harsher because a smaller blasting the center but yet or I use a smaller box and a smaller box usually puts out a lot more like in a big box so if I really need that extra half stop instead of raising my eyes so I just solve it through those little little issues so um again think about it now again I've probably have barely tapped the surface of what can be done with high speeds siggy and action strobes and all that if that's your thing take this just simple little techniques here and run with it and just build a whole body of work that's based on action uh sports you make a living doing that and so that's the beauty of what I think I hope to inspire people to say you know what I could do that I have an interest in that and again you may say I want to shoot babies you don't want to have babies find of the year well maybe you could baby doing backflips um you know but the high speed well okay think about this view of the shots of the dog going underwater for a ball you know they trigger it underneath what a great idea right? But you could use animals jumping through the air take your cat, throw it through the aaron's gonna wait and then you get a perfect you know, frozen cat there's a lot of things you could do with high speed so I'm gonna tell you a quick little stories in it and israel speaking in tel aviv did a workshop in a lecture and this guy come came up to me um I'm drawing a blank israel but his name my wife will kill me because she keeps in correspondence with him but he came up to me and he said hey um you know, I'm just getting ready to get my little talk and he said can I show you some of my work and I'm like we really have time for this and his ipad and I said sure and he opens it up and here's the first pick little I said what kind of work do you do? He says macro work I'm thinking macro work that's not what I do have the portrait right? So that he says I said what kind of bugs and thinking oh great boring and the first picture my jaw hit the floor and what he was doing he was stacking focus with close up insects and they looked like pieces of artwork beautiful he took one idea and just built a whole body of work just taken idea shooting cows or whatever horses dogs who's the guy next to granda does matty takes a dog all around the world beautiful siri's of images by taking one thing doing over and over and over becoming the expert at it and so now when a client calls me and says we need a athlete jumped in the air I got a pretty much figured out I know my problems I know how to solve them for the most part doesn't mean I know everything but I do know enough to get there so that's the beauty of what we do is that we can in fact um you know, solving the problems work it out then take your creative juices and build something it's just that like we were talking about john is that most of us give up after what about a year when we know we try something so and I'm jumping ahead of my beloved program on saturday but guess what? Most of us when we have an idea like we build a little bit of work and then we give up on going something else right? So if you want to rock the world how many want to rock the world right? I do it takes you about three years of beating something into the ground and become an expert before you start getting noticed now maybe there's a rock star that doesn't do it in two years the chances of you taking one idea and do it one year is very, very, very it's not the chance of a pretty slim it takes a little bit of time, but as human beings we give up before we get that two to three years of building the bodywork just take anyone that you think I love that photographer's work, you know what they do? Well, they didn't start a year ago, but as human beings, we don't stay with something long enough. So there's my encouragement to you what separates joel grinds from the masses of photographers that I have the ability to stick with something and do it over and over and over again. That's the beauty of what I have so people come to me, in fact, I've had people interview me, I'll say joel grimes, a very talented photographer, joel grimes, talent talent out there that were talent like fifteen times, and finally I stop it, I say, could you could you quit insulting me? What my sultan yeah, you're you're saying I got here because of talent. I don't get there because a talent got there because the hard work taking a simple idea, repeated over and over and being into the ground, building it into a brand. So that's why I encouraged people that if you say I don't feel like the most talented guy on the gal on the planet, then take talent to get you there hard work, but just encourage you like even just a simple idea of action you could take and build a unbelievable body of work. In fact, wait a minute don't don't do that I don't wantto know I'm just kidding I really think that there's some people that have a vision for that and I'm looking you know that that that could be your thing I don't know if it is not that that could be your thing so it's not rocket science, so I've barely tapped into it. Um so any questions? We got any more questions at this point on the you know, internet, we do have one from chris walt who wonders when you're shooting these action shots? Is there a shutter delay issue that you need to worry about at all when you're when you're trying to capture the exact moment no that's the beauty of our state of the art cameras you push the button boom on the point shoots they used to have the delay right now they're getting better not is bad, you know? The problem is with manufacturers is that when you increase, for example, megapixels and bit depth takes more processing power to run these cameras and but kanan and I connolly they've taken consideration that if I'm a sports photographer and I push that button, it goes instantly and so you know, my camera's currently I have no problems with the shutter delay and any questions in the in studio audience you guys doing all right they're learning toll so jason you're gonna dio a syriza cows jumping in the air maybe not jumping in there maybe in siri's cattle pictures you know but I'll tell you what though even like for example the bull riding um and I have tried to shoot bowl and I did a thing for roper or whatever was we had a bull rider and mills days I didn't have high speed strobes we tried to stroll the bull with him going out of the chute oh my gosh it's a lot of work but you could think about that think about that that could be a killer siri's of images of strobe bull riding coming out of the chute with dark into the background behind and then having this just perfectly frozen thing going on so you never know how you can play we did have a couple questions about again about focusing like if an athlete is running toward you and so that that focal plane is moving how do you deal with that? I focus in that spot so okay so let's say he's in a launch himself here I say focus he steps back jumps bone and he reaches that point of focus it's not a perfect science but it's pretty during close eye I don't know I don't feel like I've ever really had an out of focus picture when I'm shooting these people so long as you get that basic I'm shooting wide angle so that's a that's a big difference let me let me do I'll I'll just explain one thing to you that often what we think is that we have to come up with a brilliant idea before we can rock the world so to speak right a brilliant idea well if you execute a brilliant idea poorly you can have some success if you execute a poor eye if you execute a poor idea brilliantly could be ok on occasion you could have a brilliant idea executed brilliantly brilliantly and then your rock star but what can we all do what's at our fingertips right now we can execute a poor idea brilliantly nothing do you understand I'm saying meaning that what happens is often we want to wait for that brilliant idea so we sit around waiting for the brilliant idea but if I have a poor idea and I'm executing it I get better and better and better and better and all sudden I'm a master at executing a poor idea then when the brilliant idea comes I'm a rock star you samson but we are human nature we want to wait for the brilliant idea so we sit around doing nothing so don't sit around doing nothing get out there, play, play, play, experiment play and then you execute brilliantly and then one day all of a sudden you go what if I did this and then, like I said, it all comes together. So don't sit around waiting for a brilliant idea. Just get out and learn how to execute brother wei.

Class Description

This course is part of the Joel Grimes Bundle.

Commercial photography isn’t about mastering complex lighting ratios or obscure retouching techniques. Successful commercial photography hinges upon your ability to turn your creative vision into a polished product. In this class, commercial photographer Joel Grimes will teach you how to think of your photography as an artistic process, not a mathematical equation.

Joel, a commercial photographer with more than 25 years’ experience working for top advertising agencies, will reveal his signature lighting, shooting, editing, and marketing methods. Joel will teach you to trust your artistic instincts by demonstrating how he conceptualizes two different photo shoots: an edgy athletic portrait, and a commercial beauty shoot. Joel will also walk you through how to identify the right lighting to attain your desired result.

After transforming the way you think about conceptualizing, lighting, and shooting, Joel will unveil his creative compositing techniques and tips and tricks for retouching skin. By the end of this two-day workshop, you will have a tried-and-true playbook for creating works of photographic art that dazzle commercial clients.

Ratings and Reviews

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Fantastic!! He is so down to earth and humble. His work is unique an exceptional and he shares his techniques, experience, tricks, and best of all his life stories that took him to where he is now. One of the best instructors in CL. I love how he checks the ego at the door and just shares his art and techniques with us. I definitely recommend this course and I was lucky enough to get it at a great discounted price but it is worth its regular price imho.


He's my new favorite instructor, there are many CL instructors I really like but the second I watched and heard him I bought the course, love his style, love his knowledge and the way he conveys it. His way of Frequency separation is fantastic and pretty precise and takes care of a lot of flaws. Learned lots! Thanks Joel! Thank heavens I am not color blind ;)


Joel makes it easy to follow when it comes to editing and shooting. He is a wonderful teacher and very easy to learn from. I enjoyed the photoshop techniques he taught as well as his approach to lighting. My favorite part is his advice on business it's very motivating and inspirational. I thoroughly enjoyed this course!