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Digital Sports Photography

Lesson 13 of 33

Backlit Indoor Portrait

Dustin Snipes

Digital Sports Photography

Dustin Snipes

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Lesson Info

13. Backlit Indoor Portrait

Lesson Info

Backlit Indoor Portrait

We're gonna do a quick little portrait with a similar light set up, we're just gonna use the back lights. It's sort of an add on shot, it's gonna be really quick. We just put in a beauty dish, a beauty box, a collapsible beauty box in the front. We're gonna kinda feather it off to give a soft overhead look and hopefully get a little drama in the front. We're getting these nice side lights, same lighting we were using for the multiple exposure shot. Now we're just turning to a portrait and adding a little more content. So, perfect! Stand just like that! You're a natural, Miles. There you go, (camera shutters) Look at that smile! Alright, cool. Yeah, a little bit hotter. Let's bring it up a little bit more so, uh, actually, you know what? If-- Ooh, well I was gonna say if we're on the packs I can, yeah. I can drop down Yeah, I'll bring this up. We're on, four now? Uh, Ken, I'm gonna have you tilt it a little bit more forward. Actually, take a little step forward. Keep coming. Keep co...

ming 'til I tell you to stop. You're good at this. Look at that walk! Right there, stop. Take a half step back, I wanna get you just out of it. Perfect. Right there. 'Kay. (camera beeps) I need this, and I'm gonna move it back. Take a test. (camera shutters) Looking a lot better now. Let me check your face. Good! So right now I have a little bit of shadow in his eyes. I actually want that in this case. Usually I would try to give him a little bit more fill, but I kinda wanna make it a little bit more dramatic. He has a lot of bright clothing on, I'm gonna give a little bit of drama to him by adding that in. That extra shadow in. So, let's do a couple more here. (camera shutters) Good. (camera shutters) (camera shutters) Gimme a three-quarter stance. Little wider on your front right foot. Actually, uh, so wider mean-- yeah, there you go. And bring your hip around. There you go. Good. (camera shutters) Great. (camera shutters) (camera shutters) Look off this way. Perfect. (camera shutters) Chin up just a little. (camera shutters) Good. Don't move. Let me check this really fast. 'Kay, keep that right there but glance over at me. (camera shutters) And bring your chin just a tiny bit over to me. There. Perfect. (camera shutters) Now, square up at me again. Uh, is there another way we can hold your foil? Uh, can we drop it for the-- Yeah, let's put the mask down for just a second. Uh, how can we bring the foil up? Would you ever hold it up here, ever? Like this, this. Yeah, would you ever hold it up like that? This. Yeah. Yeah. Let's do it. Let's do one over your shoulder. And I'm gonna do a little bit tighter. I'm gonna come up closer to you. Right here. (camera shutters) Good. (camera shutters) Good. (camera shutters) Good. I wanna, uh, I want you to turn around. I want you to grab your mask again, actually. So I think I'm gonna do, basically, yeah. So you're gonna look over your, look to your left. Right here. I wanna see a little bit more. We wanna turn this in a way where we can see your logo. Uh, this right here. Perfect. And then, maybe your foil can come up over your shoulder up here. Yeah. So we're looking out this way. Great! Let's see what we've got. Maybe pull back just a little bit on this if you can. Just so we can get a little bit more. So we're trying to feather the light off just a little bit more so we can get a little bit deeper shadow on his backside. So, Miles, look off to your left. A little bit more, I wanna catch a little bit more of your face. Perfect! Just like that. Don't move. (camera shutters) One more. (camera shutters) Pull your right shoulder a little a little bit more towards the wall. Turn, then you can bring your right foot forward too. There you go, just like that. Yeah, the one right in front of you. Perfect, sorry. I didn't specify, there are four walls in this building. He completely called me out on it. (chuckles) You're here all day, (camera shutters) thank you. Good. Perfect. Good. Let's do straight face real quick. Good. (camera shutters) One second, I'm just repositioning my focus. (camera shutters) Let me check this. Great. Let's kill this light. Don't move there, Miles, I want you--actually just rotate it out. Yeah. And we should be okay. Okay. Look out to your left. Perfect. Just like that. (camera shutters) Don't move. Ooh, this is getting dramatic. (camera shutters) (chuckles) He likes that. Okay, one, two, three-- (camera shutters) Good. See here, good. Oh I like it. Uh, you got a nice halo built around you right now. (camera shutters) It's very very cool. Uh, we do want a little fill because I do want to make sure that we see that Redbull. So, we're gonna keep that there. Or actually you know what? Grab the reflect--the bounce and let's get it in a position where we can get it so where it's gonna bounce back at his helmet just a little bit. Probably a softer bounce so it's not too much. Okay. So I wanna kinda just, yeah. Anywhere is fine really. I want to step back actually a little bit more. Actually it's so tall. Okay, look to your left again. Throw your foil up. (camera shutters) Uh, pull your foil down just a little bit. Maybe, yeah, there you go. Actually you know what? Down to your side behind on your right side, down there. Perfect. Yessir! That's good. (camera shutters) Chin up just a tad. Too much. Right there, perfect. (camera shutters) Re-check this. I like it. Let's do even more so. Hold on, one second-- Uh, can you bring that box back in? Now, so we--We now added in just a little bit there. But now I wanna add in just a little bit more light right here. So actually, I do want this back. What is this light out right now? Four Four? Let's drop it down all the way to two. Let's just put that right up above. And we're gonna try to get this quickly. Same shot, just throw the bounce out now, and let's just use the light again. Good. Cool, let me see what this looks like. (camera shutters) A little bit closer. Or power up to two-five. Closer. (camera shutters) Good. One second. More power? Uh, bring this light, yeah there you are Caleb. Can you bring this light a little wrapped around this way? That's probably good right there, Ken. Miles look to your left again. Just let me see. Yeah, that's good. I like that. I like seeing a little bit more of your face. Caleb, come up a little bit more. Wrap around almost to the side, right there. Stop. Kinda, go back to the wall. You're good Miles, don't move. Stop Caleb, thank you. (camera shutters) Good, one more. (camera shutters) Get a full length. Let me see the foil down to your side. So--there you go, cool. (camera shutters) (camera shutters) One more. (camera shutters) (camera shutters) Cool! That's it my friend.

Class Description

When starting out in Sports Photography it’s difficult to begin finding your creative style. Going out and practicing with friends or local athletes is the best way to start building your portfolio. But what happens when you want to take your images to the next level?

Join Red Bull Photographer Dustin Snipes, as he takes you on a journey through the creative process behind photographing 3 sports at 5 locations with 5 athletes. He'll be working with students to show the best ways to communicate and inspire the athletes he's photographing, as well as how to maximize time spent with them. Dustin takes students through the challenges of photographing in direct sunlight, at public locations, in parks with mixed light, and in water.

Dustin teaches:

  • How to photograph basketball athletes, triathletes, and a fencer
  • The pros and cons to working outside in direct sunlight
  • How to communicate with and work with professional athletes and non-pros
  • Working through unique challenges of on-location shoots
  • Lighting techniques to capture the athlete
  • On-location portraits
  • Freeze motion and capture water to get that hero shot
  • How to use motion blur to capture a moving bicycle
  • The importance of being flexible on location to maximize your surroundings

Do you dream of taking professional athlete’s portraits? Do you want to have your images on the covers of magazines? Then join Dustin Snipes as he teaches you his secrets to maximizing locations in short periods of time, communicating with athletes to get the most out of their movements, and lighting a scene to capture the frame you want. 



Loved all the ideas and why he's positioned his athletes the way he did, and positioned the lighting. I met Dustin a few years ago at and NPAC conference. It's nice to see him doing these teaching videos. His work is very inspiring to me.

a Creativelive Student

Less talk and all action.. This is the best no mumbo jumbo talks and straight to practical work..

Alexandra Schaede

I really enjoyed the multiple exposure video, the pity is that they are no videos to talk about the post processing of this image.