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Digital Sports Photography

Lesson 32 of 33

Camera Raw Post Production: Triathlete

Dustin Snipes

Digital Sports Photography

Dustin Snipes

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Lesson Info

32. Camera Raw Post Production: Triathlete

Lesson Info

Camera Raw Post Production: Triathlete

You can see I've kinda already worked with this image a little bit, and what I did here was, we'll bring the clarity down. So, again, it was a little hazy and soft, and I wasn't really sure about it when I passed by it because it had sort of a double image exposure look to it, because I was at one second long. It's pretty long, ISO 31, and my F stop was on this one, at a 15 millimeter lens. So, I was like, well, what can we do? We need to, we need to get- it needs to be clearer, basically. So we could've either done dehaze, or we could've done clarity, which, I opt for clarity over dehaze. And I bumped that up to about 50. Usually I would never go that high, but for this image I thought it really worked. The color's a little weird still, it's kind of like this orangey-beigey tone to it, and I kinda wanted a little bit more red, cause I think that's what it reminded me of when I was actually there. So I'm gonna do that mostly in Photoshop but I'm gonna leave it as-is right now. I just ...

really like these lines, it just really makes this image. I'm gonna come into this one now, I do like this image but I'm not sure about it now, but again, sometimes if you're not quite sure when you're going through your selects, you want to just take it really quickly, kinda see what it can become. I think it's okay, I think it needs to be, she needs to be a little bit over to the left a little bit more, and the skin tone would have to take some fine tuning in there. We have no edits on it right now, but if we put in a couple really quick, let's just add a couple contrasts, close in, you can see her skin tone automatically changes because it's getting a lot of that warm color. The lights from the inside of it are really hitting her. It doesn't look amazing, so we have to actually go in and select her face and really bring that out. I would probably open up some of the shadows so we can bring in some more of this color and then I'd probably bring in a selective brush right here and kind of use a color temperature, make that greener back there. It's very subtle right now but we can pop that up just a little bit like this. So really, again, the reason I like this location is because of all the natural color add in there, and take this down just a little bit. Again, I'm not doing this precisely, but most of it's just to bring it back into her. I don't, I don't need it to lead off as much, I want the focus to be on her. So like I said, I probably pinpoint, maybe do some adjustment brushes and change her skin tone back to more of a neutral color, pop these colors up even more in Photoshop, and finish it up there. So this is one of those, this is one of the shots that I really liked from the running shots, and again I think it's a really good scene-setting shot. I like that we made the sun back here, and made it look kind of like a natural-looking environment. I think I set my color temperature up to 8, but I wanna bring it up even more. I like the warmth in this picture and I think it really brings the scene to life, makes it seem like it is a low setting sun. Obviously the front light makes no sense, but in this world it does, cause it's a very commercial-looking image. So we're gonna go in, skip that one, this looks really nice already. I did a, I pulled down some shadows on this, that's about it though, on that, and then I did a little clarity but you could do that with contrast, and I took away a little bit of the vibrance because it was giving her a little too much red in her face. And the warmth is up a little bit too on the skin tones. So this image right here, our exposure's pretty good. I think I might bring it down just a tad. We've got a lot of hot spots on her face, but that's clearly because of the water. We're shining some really hard light at her. I'm gonna fix the horizon, I'm just gonna take my level tool and put it across this line, there we go, I don't mind that it's right there right now, maybe I can change it up a little bit, but let's keep it right there. I'm just gonna split the frame. Actually... Actually no, come down. Again, a lot of my editing style is just playing with it and seeing what I like best. It's really a feel of what I, I can edit this picture five days from now and it could look 100 percent different. It's really just how I'm feeling at the time. Do the same thing here, straighten out this image, taking a straight line in the picture, there we go. See and I also cropped down here. You can see that it's actually a little off up here, though, so maybe I'll use this line instead, see how much different it looks. Yeah, I think that's more pronounced. I'm also using this line and this line to kind of frame a little nicer, so I'm gonna come up here like this. I don't need to see all this in light, I know she's holding a bike. I don't need to see her feet. We probably could've taken the water bottle out, it doesn't really add to the image. Again, the whole point of this picture is just this, and I could see the bike a little bit. Maybe if I was to reset this one I would push her bike a little bit more forward so I keep the handlebars and the tire a little bit more separated. Let's add some tweaks to this and see what we can do. I'm gonna pull down the contrast actually on it, pull down the highlight just a tad. Actually now that I've pulled down the highlight I'm going to add the contrast back in. I'm going to warm up the color, cause it was already pretty warm to begin with, gonna add it back in. I'm going to pull out, no, I'm going to keep the shadow where it is. Pull up the white a little bit, and I'll finish that off in photoshop. Then go into this image, and now I'm just going to fix this line really fast. It's almost straight but I think we can straighten it out even more. So let's do this, just come up this way, pull back. It's really like, again, like the color, the expression's not the best on this picture but in terms of just showing the color and how we can bring all that stuff out, I think it's a good image for showing that. So it was a little bit more red, I think, less than green, so, and again his face gets really... It's actually going to, see what Adobe Standard does. Sometimes I'll go into the profiles and just see what they do. Sometimes they're bad. Sometimes they're okay. Again, his skin tone's a little weird on this, so I'm gonna skip it for now. This picture is a little dark but I can pull that open, give a little bit more contrast to it. A lot of these images, a lot of the biking images are very much contrast-oriented because of how I shot them, and leaving in all that ambient, not really giving a hard light to it, it's kinda like, it just didn't have as much contrast as I normally would have on my images. And a lot of my images are very contrast or shadow-light oriented, so I try to just duplicate that as much as possible, again to keep my style reflected in my images even if it's not shot exactly the same way. So that's okay right now, I don't really care for it too much. This one needs a little bit more contrast, obviously. It's a little hazy, maybe we can dehaze it. Do that, a little that, a little bit of contrast to it, pull down the highlight just a tad bit. Warm it up a little bit more, and then I'm gonna bring down shadows and we can bring down the midtones. I think the blacks are actually more important to bring down than the shadows, so I'm gonna put them back. It's okay right now, I think that's fine. That's it, let's pull these into Photoshop and let's see what we can do in there.

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.