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Men's Portrait Photography

Lesson 2 of 26

Defining Strong Male Image: 10 Steps

Jeff Rojas

Men's Portrait Photography

Jeff Rojas

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Lesson Info

2. Defining Strong Male Image: 10 Steps

Lesson Info

Defining Strong Male Image: 10 Steps

What can we do in regards to photography to dictate somebody looking great? And we said ten things that define a good male image the next one was emotion uh and what exactly is motion we talked about this and there's a lot of big inter photographers that they're told their emotion into it feel emotion you know that photo has to have emotion for it to be a great photo but what is emotion emotion allows you to connect with the audience but how do you do that? You know what is connect really mean what what emotion you trying into your image what's the final result of the image do you want your groom toe look stoic are they supposed to look happy sad I generally don't like seemed rooms when they look sad in a photograph because that means that they're totally against the whole wedding itself there's that there's this somewhere a ball and chain hanging somewhere okay what message are you trying to convey to your audience? Are you trying to communicate happiness, excitement, tenderness, sadn...

ess, anger it's a it's a storytelling thing? What are you trying to telling your image as you're looking at the image itself and you're about to take that image if you're looking at somebody and it's a crewman a bride what what should they look? They should look happy and excited it's their wedding day they shouldn't look sad and morbid and hiding in a bush like we should never see that we want we want toe exude the specific image that we're looking for in our heads so this is a good scenario of four different poses on the same table that you can have for people that have different emotions in the same capacity little nuances of difference so top left is he alone is he tired what's happening there the bottom left inside is he waking up is a hearing something what's happening there top hand corner is he tryingto xx here is you trying to look sleeping? Which one of the two that happened there the bottom right? It looks like he's angry at somebody or looking at something are thinking about something four poses around the same pose if you wanna call it that different face positioning all generates different ideals of what's happening in the image so as you're about to take your image with your porch your clients are with your wedding clients or any type of client consider what they're doing in that photograph little tiny nuances of difference make a big big difference in the final image the same thing happens with kits however kids a lot easier photograph little men we'll call like that little men photography little men are great because they have they exude a lot of emotion they're not afraid to show their emotions they're happy they're sad they're lonely they're crying what whatever it is they're very motive I learned a lot from photographing kits because you kind of learned their little emotions in regards to the little face structures and how to replicate that when somebody's actually happy versus when they're pretending to be happy. I mean, we have a couple parents here can you really tell if your children or your child is happy or not? Polly tell you can tell when they're lying there crying, they're hiding, you start analyzing them, you'll learn a lot about people and emotions and analyzing people helps with photography so nonverbal communication assist the viewer with interpreting your photograph consider your subject in their environment who your audience is like I just mentioned I wouldn't want somebody if I was gonna put the san francis tickets if I was a shooting a corporate client let's say I was shooting a lawyer and the lawyer kind of just crossed his arms and he looked defensive, okay, use a photographer you're like, okay, well, that's it that's po's number one I've seen opposing guy cross your arms, you know, lets a weight on my left let's go in my left leg, just kind of balance on my left leg and just kind of kicked my right like, what is this communicating? I don't want you as my client or I'm defensive or I don't want to work with you you know, what is this actually showing and what? What is my audience interpreted? So what I started doing was when I was working with my fashion clients when you're shooting a fashion editorial called stories because you have to kind of tell a story, so you have to build body positioning and texture and toning and colors and everything in in entirety you start thinking about posing relative to what the audience wants to interpret out of that photograph, so if I was going to shoot a lawyer, do I want him with his hands in his pockets? Do I want him? Let's say, sprawled out on a chair just kind of leaning out in the chair as much as like you really have to start thinking about what who your client is and how you want to post them because you don't want somebody interpret the wrong message, and your photographs are going to go ahead and either dictate a sale or not. Can you imagine lawyer that did do that or had his hands in his pockets? What people interpreting, how many people just click off this site that's, extremely powerful? We have a big impact to their final pocket money like what they have in their in their bank account, so my go to is pensive or in thought because a lot of my clients want to be just timeless in their capacity they want somebody to look like intellectual men so they want people to have some sort of thought process like they're thinking about something or something's happening in their lives or they're not happy they're not sad they're just thinking about emotions and thinking about something that's happening in their life and that's the type of they look at it as like startup companies like somebody who stands up on their own and goes to a coffee shop thinking about the next idea kind of thing so that therefore the pensive process setting and background this is actually funny this little mock up setting and background get being a nerd why is your setting important where is your subject setting to me dictates the whole story right if I'm looking at a photograph and I'm interpreting what's happening and I look at a wedding let's see a wedding in the gas stations in the background what am I thinking it was a cheap wedding you know they were near a gas station you know they weren't in this luscious beautiful funny luscious woodland area they're just in a tiny little gas station somewhere consequently if I see a small child in a warehouse somewhere they alone are what's happening like what's running away from home all these things actually start dictating what the final image looks like but I think is like beginner photographers were like okay I just want to be a pretty picture person setting person setting was the easiest place I could get a setting at. Those two have a relationship with one you have to start considering those so depth of field, depending on what you're photographing, everyone kind of goes to a depth of field I want very, very just wanna shoot wide open. I just want to subject to focus and I want the background out of focus that helps when editing you know, but if you're trying, teo showcases story, you're trying to show this story and per se do you want extreme extreme depth of field? Do you want super narrow shop? Do you want to include the background? What is the background doing for your photograph? So cohesive photo shoots. The other thing is the shooting fashion and shooting stories you start shooting things together, you want them to look like a cohesive story? I'm shooting a wedding, I want to know that it's a cohesive wedding like I don't want to see winter lets a winter shot, something that looks a wintering one quarter and then them at the beach in the next one. I want some cohesion between the shoots themselves because it kind of tells the story, you know, if we're looking at let's, say wedding photographers, what do yu trying to showcase? At the end, you're trying to show an album of different things, and if you show something that looks like a winter shot, something that looks like a summer shop to the viewer, what does that do for them? What kind of jar is, um, is this a different wedding? Did you guys get married twice? What happened like that? There's so many different questions that are there location's counting made simple who hates location scouting? Who hits going right it's terrible, terrible, terrible! So here's the honest truth I do too. I don't like location scouting I don't like going to places I don't like traveling to places I've done the whole van thing put up, put your gear in a van, drive to a place, sit there, take out all the gear and take out everything and just completely hating the situation, having to pack up, move somewhere it's a hassle, right? So I tend not to try to go too far with my shoots. I'll try to stay within, I would say forty five minutes in new york city, and if anybody's lived in new york city, forty five minutes isn't very far like it's, not it's, not seattle. A forty five minutes is like a mile out of new york city, basically okay, so location scouting made easy I do a lot of shoots in new york city and in shooting fashion clients, I have to judge two things right from the back. What is my schedule? What is my subject look like? And what can they be perceived as if I'm shooting the guy with a big beard and long hair let's say, and how do they look in a specific environment in new york city that probably look a little homeless, like if I shot with urban setting? If they have a giant bearded, giant hair, scruffy clothes like that's, the automatic assumption of my background, but with the specific subject he looks clean, he looks a little primitive proper. The overcoat that he's wearing is actually his were photographing him with the undershirt it's cold, by the way, this was recent, so just then it's like, twenty degrees out there that the shirt and the pants is the only thing that we're photographing, so I know that it's, polka dotted and its texture that's what I want to showcase and into the rest of the pieces that we had our little more timeless, their capacity, they're not. They're not like urban, where they're not patterns, they're very much just textures and clean, timeless pieces, so if I'm looking at my subjects, it's higher next technology loves me today by the way to find a way to compliment the subject's entire using texture, color theme the first thing I thought of when I photograph them is I'm in new york city there's so many different things to shoot but everyone like runs to the nearest brick wall like I'm going to see how many of you shot a brick wall it happens, right? We all go through that, but if I'm if I'm shooting something, what what do I have his texture, backgrounds? How many of you actually make sets at home? Just out of curiosity, how many of you puts it together? It's fun, right? But how much? How long did it take you to build the set? Quite a bit of time like it it's it's extensive and it can also be expensive for certain people, so I try to use what's around me what's free like what's the cheapest thing that I can use so a lot of times believe it not what I'll do is I'll find I won't location scout before let's say I'll think about ok where have I walked to lunch and what have I seen that's inspired me again? I'm within a ten minute radiance walking let's say so what have I seen that I said that would make an interesting image, so I took him out to, uh the appear that we have a new york city on the west side, which is it's a beautiful place to photograph central park it's beautiful, but it doesn't really look like woodland or anything interesting unless you can kind of photograph in different ways. But I know that the pier itself had these really cool wood panels, and then I wanted to have a backgrounds when it was when I looked at my inspiration board that had wood paneling, but I don't want to build one because I'm lisi, not e I wanted something that I can find that was relatively cheap, inexpensive and available. That's not lazy, that smart. Okay, I wasn't happy with that background when we won, we won there, photographing just because it really didn't say anything to me and communicate anything to me. Once I finally got that, that was my inspiration, but the second I got there right across from it when I get back is this little wooden area, and you can tell him in new york city like that's, the west side, like I can't get more new york city than like the west side and all the joy of buildings so high manganese background to my advantage to make sure that the subject looks his best of possibles I'm looking at the clothes I'm looking, the stylist stannis is looking wardrobe stylist, person styles of clothes and select clothes and goes to the fashion houses and picks picks up close look at the model they're looking at me trying to figure out what I'm doing. I've taken them from the corner of a street, taking a photograph, their welcome with the westside went to a random would wall that I had found somewhere, so a bunch of branches and I'm like, I'm shooting there sounds kind of awkward your clients always gonna look at you like, what are you doing? Trust me, trust me, it'll be fine. So the location itself isa little wooded area because you don't know where woods are, you assume it's a cold natural environment like colder natural environment, especially if the pieces look more dead than normal. So I photographed my subject along that and I kind of kept the depth of field to me because I don't want it. I kind of kept a wide aperture doesn't want to see the background I don't want to see the noise, the hustle and bustle of new york city, so that was my resulting image of a camera, the lightning preset and finally edited the only difference is you guys probably have a hard time seeing this is the only thing they actually switched from that side to this side is probably a little contouring, his face and fixed blemishes that he had there's actually not much difference in the final edited versus just a lightning preset. I don't do much editing anymore like I don't I don't try toe over softened skin, and we'll talk about that momentarily. This is the resulting editorial images, so if I asked you where those, where could you tell me? New york city? I couldn't tell you what they were like. That's what I'm looking for, um, could you tell me where those were? Do a story? Does the story look cohesive between clothing between background between colors, theme and overall, they want toe look together, you can do the same thing with your client shoots. You can say, you know what I want to photograph in a specific setting where where is saying that I want to photograph? Do you want them to beach as well as the woodland areas? I've seen photo shoots go where? Like you have them at the beach and then you have them in woodland area and then you have them in, like an urban environment and all of them, like on a set, it looks like three different photo shoots. And if you're trying to show you something for a client, try to keep it at least um cohesion between your shoot so it's a little more just cohesive that sounds like an oxymoron of some sort your background can also make your editing process extremely easy or difficult how much retouching that I show you guys just now not like honestly it was super super simple because I get it me being lazy joking it's me being selective would have hunted photographing let's go hear this is what my background actually looks like in regards to orientation it's new york city that's on a rock and it over with the area I need to start thinking about making it easier on myself to photograph things you know when I started photographing him I'm also seeing the building if I was over to let's have a right angle the buildings right behind this head how could I use him to block out the building could have shot that way but in doing so I would have the light right behind on his left side how much retouching do I feel like doing on that specific set? I'm thinking about what I need to retouch while I'm shooting it and I'm also thinking about depth of field as well I know that these areas here have a lot of texture how much of a pain is it to photograph texture and make sure that texture all looks cohesive I don't want to spend too much time editing my photos same thing with the background building if the buildings on the side is that I can kind of see it it's just a pain, you know, just blending in that edge, making it look perfect, making look pristine, it can be a pain, so just consider what your backgrounds are. Yes, they want to know what you find more important, the image and posing or the post processing is it fifty fifty what's your kind of breakdown? I would have to say everything an entire. I mean, I look att editing as a way to enhance the final image that I'm looking for. So the image that you saw this is actually we'll keep here. This is out of camera when I shoot everything. So you guys know, out of my camera, we'll discuss this later later as well, I'm shooting everything in monochrome and my in regards south, shoot with a color, check her first, but I'll shoot in monochrome just to see the tones, contrast and curves of everything that's happening on the shoot, because how many times have you shot let's? Say in color and you're like, I don't know if that's too light to dark. But the second you change it's a monochrome and they're shooting I'm shooting raw I'm not shooting j peg so since I'm shooting rockets actually photographing every all the information that's there but I'm getting j peg interpretations of what's happening so I can tell when something's underexposed overexposed what's happening the image so the photo on the left even though it's in color I photograph I'm looking at it in black and white so the first image I take is in color I look at it I make sure I have my color tracker skins appropriate so I can still do color images if I need to later on if I switched you know what I don't want black white because which back to color then I decide okay I like I like the highlights on the back I like the highlights on his face and then I kind of uh what you call aya just those in light room to kind of bring up my image in certain capacities so with this physical specific image retouching wise I removed a pole and like ones it it's extremely easy like that's my workflow I try to keep it a simple is paz double the more simple things that you can do the more work you khun possibly dio like I hate I used to spend when I used to shoot a lot of different women like if I shot for look books or if I shot fashion your removing every single blemish your contour and you're fixing curves you're adjusting things with men it's a little easier if you really think about everything that you have and this is why it's confusing because you like how simple do I want to make this it's really that simple it's really not that hard it's extremely simplistic but you have to start thinking what's happening here I wanted to with this specific a picture and brush the storytelling I want himto look hold I want him to look like he's an environment where he needs a bigger jacket but this is something that is going to have to suffice this is the only thing that he's wearing he's like I'm going out there regardless of its cold outside but this is what I'm wearing that's what I'm trying to do to my photograph next lighting lighting is the most important element of photography always told right it's it's everything that we're doing we're actually not photographing people were photographing the light that's actually bouncing off that person back into our camera that's what we're actually taking photographs of but lighting is great actually create texture and in places as well. You know when we're shooting a lot of female photographs were shooting them to try to get as minimal texture on the skin it's possible for retention purposes I don't want to see too many pores or blemish is actually like more texture on men I like crow's feet. I like to see little aging lines. I like to see hair. I like to see certain aspects of things so even positioning of light can help out what you're trying to accomplish but it's important to remember that lighting can only contribute to creating emotion, but this is not the only way to create emotion. We discussed that before, which is what emotional you trying to convey? So if I had somebody in a very, very dramatic light and they look extremely happy, are they crazy? Or they like what's happening that specific there's all things you have to think about lighting isn't the only way to keep emotions. Because, again, the difference of something just standing stoic, dramatic, light, let's say, uh uh, what's it called. I can't speak right now. It's a little silver reflector right above my subject. How is that going to look on the subject versus again, like happy crazy, I mean angry like what's happening. All those three different emotions ah, express different things regardless of the lighting. So the only difference between shooting men and shooting women for me is literally just the details. The image on the left and the image on the right is the same lighting. The only difference is the retouching amount of retouching that I do. And the color grading. The lighting is exactly the same. The position of every single light in that specific image is the same in the difference. There is the crop. Everything else is the same. Haven't switched. A single thing poses relatively the same. Everything is very, very similar, and it still has a dramatic difference. The photo on the so the opening photo he's, a pastor now, which is extremely awesome. You can imagine how many women go to history. Okay, the one on the right is she's a. She was photograph for my client that does metal pieces. And that was featured in elle magazine's. If any women know about l or any men that know that helped two decent publication lines and shapes, the lines and shapes are to men. What curves are the women? I always hear curves or beautiful women. You want to accentuate your curves? You want to show you your curves off? You want to show you let's, say your bust curve or your your butt curve men. Anytime you see curves is probably not the best approach is to photographing them, which is it's difficult to do with larger men and we'll discuss that a little later. Like, how do you photograph certain things? And this is why styling is important you know how to look, how to make a man look as best as possible and we'll get into bodies helps a little later, but people generally have three different body. Texas is like a larger middle and skinnier body type satchel a lot more like I know when I gain weight it's around my middle, my behind there's. A lot of guys like that like that's, not a typical body type like there's, so much there's, so many different body types, broad shoulders, skinny torso trap is oi it's like there's, so many different variations of shapes, lines and poses. I use lines in every single one of my posing, you know, it's extremely helpful for visually to kind of figure out what I'm showing invites appeal, and the funny thing is a zoo photographer. As an artist, I was used to draw as a kid before like this is so this is another way I'm lazy it's a draw I said that took a week to dio photographed like photographing people takes a day to do it takes me to retouching, it could probably be the same day, and I could get that I'm taking photos like so it's got me cornered, quote, being lazy that way but it's extremely efficient like it's an efficient and practical instead of doing a portrait you know hand drawn for a week I can do that so I used uh like lines and shapes and every single time I poses again triangle like how is that leading in that same here? Triangle points of intersection next how's that looking in my photograph there and doesn't need to be and even if you wanted to go this way it doesn't need to be specifically you don't have to say okay, well give me a triangle you khun sake can you hold your arm over it? Can you move your hand down those things that you can say you don't have to be explicit with give me a y give me an m like I wanted y m c a f for two seconds that actually happened getting triangles to go back for two seconds same thing here just very, very long gated trying all my images have some form of shaping them which actually helps me define body structure, the clothing everything that I'm trying to showcase at my photograph lines in clothing mimicking lines and clothing so even that small nuance and shot from that far away you guys didn't notice that those clothes match that background when somebody is looking at that inverse of fashion and they're looking at the textures, how does the lines replicate that what's the backgrounds, doing? How does the textures in the wood, how does it showcases and a little fabrics that are there, like the small attention to detail, is extremely important when I'm trying to showcase clothing and the same thing when you guys are photographing backgrounds? Like how how's a pinstripe suit going to look on let's say in a horizontal background is very interesting looking like, it doesn't look so bad. It looks pretty cool, though this again pinstripe suit. I don't know why I said that before pinstripe suit just little textures and lines like, how is that leading to my subject? What is it? What is it doing for my subject? How's all the lines leading back up to what I'm trying to showcase if I'm trying to show little lines, I say, and these little areas here, if I'm trying to exude things that air here, I'm using lines that kind of directing in all different angles, like I'm thinking about that as I'm taking my photographs, at least pick a simple picture of a guy, but I'm thinking about a triangle pose clothing? How does that look? How does the lighting look on that subject? How does everything incorporate toe to the peace and entirety texture? This is extremely important so when I was photographing women I don't want any blemishes the second I goto man look at the difference the only difference is same post same position same lighting same editing aside from retouching what's difference between those two images texture the differences texture you know we look at women were like okay want clean skin I don't want super porcelain like doll looking skin I wanted to look as realist possible but the second is blemishes or there's like a bump somewhere we tend to retouch those out with men I personally like the gritty critter looks on them because it's more riel it's more natural and there's there's a lot of depth to the photo the second you have more texture in it next same thing the only difference between these two lights that that modifier in the right hand side here's just lowered down this is a photographer I photographed in vegas his name is carlos went this way the only difference between these two images aside from retouching it's just that one light moving down just a slight bit teo to start showcasing some of the texture that he has in his face in these areas showing the textures that he has here to hide his eyes to look a little more mysterious like I haven't really changed much I put him in the same light moved it okay I'm gonna shoot you that way it's not it's not that much different crop three ways I use cropping to better my photography composition how many of you starting off in photography had an issue with cropping like quarter cropped crop hand so I copped feet like what do I do he's like yes, I had the same issue I don't know where the crop I don't know what it was going to do and what I was going to showcase what was happening I don't know how to hide exude what I wanted to showcase and even changing my my uh my orientation my photograph how is that gonna look in my final image like what's gonna happen? What interpretations that gonna have um is to focus on my subject what's happening next composition so photographing fashion editorials you have to shoot different portrait landscapes you can't just shoot one even if you look in a magazine that gently portrait portrait portrait portrait sometimes they're vertical but there between two pages alive it has to do a story a lot of that has to do with showcasing certain pieces. A lot of that has to do with what I'm trying tio to exude am I trying to show structure in pieces by pieces meaning clothing see I verbally houston like what is he talking about pieces clothing anytime I mention pieces it's clothing fashion photography pieces is what they're called because their art I don't do that purposely anybody who saw that that's a fashion it's the fashion with eye for pieces, you know? What is it exuding thie other thing I'm thinking about is do I need to show the structure in lines of everything that I'm showcasing like how's, the composition how's, the cropping playing into the fact of what I'm trying, what I'm trying to show case I'm looking at the photo on the right why did I crop his hand out? Why did I cross his legs out if it it's full full size like, what am I trying to showcase? I knew that I wanted to showcase again we discussed the lines, the textures in the peace in the middle I want a showcase, the little accessories you know I get you used to get yelled at a lot unset by the words of silence because they will shoot everything falls what's go just ah whole body shot instead of like three quarters or just a profile. By the way, if you guys work with makeup artists, that doesn't know good taking a photograph of that as you guys, just as a side note that's not a good photograph for a makeup artist here's why can't see their face? I know that's extremely simple, but you want to make sure you're at least showcasing something that they did I used to get you all that well it's a photograph on the left I'm looking at the structures in the clothing so when I want to showcase those if I woulda crop it in how wide this is subject look like what am I trying to showcase for that specific subject next positioning and angles is your subject's face position the most flattering um this is always fun how difficult was it your first time like shooting subject and just think okay I'm gonna take a photograph that's it but what's their most flattering aspect of their face like how we analyzing them we'll discuss a little later different face shapes way worked on that together sony said he was with me in my studio wanted kind of showcasing different spaceships that will be our next segment but what are we doing to photograph people as best as possible like I know I'm sweaty right now but face forward I don't mind my face that way the second I turned this way I have this stupid little thing right here that bothers may seem like if you take a photo that way I'm killing you I don't care who you are that's happening everyone has something that they feel is it is and their complex with themselves don't want to showcase so where does the subject look their best? A lot of what I do is I asked subjects where do they take their selfies like where do they take their own little profile shots or if they even take selfies I've had like one person out of like two hundred tell me I don't take selfies like liar because naturally we kind of know where besides are we have certain complexes like I know I have my nostrils one's bigger than the other so if you do shoot me from low I don't want to see that like there's certain things that we do with ourselves that we know about ourselves that photographers can learn um those of you that have subjects that you you photographing we'll discuss this and do a little homework in every subject which kind of sounds creepy I do a little a little background checking if you will look it okay where do they take their self shots where have they been photographed how did they lean what like I'm analyzing their body positioning I'm analyzing the way they're looking at like what's what's what kind of photos are they trying to showcase like what's happening in there photography in their own photography that's happening that I can replicate like what a visually seeing I mention this we did this during photo week russ where I asked you where do you take yourself and you're like I take him from this side and I'll take him from this side and I'll take him and I was like well your face is very symmetrical and that's why you you've enjoyed taking photos symmetrically everyone knows what what photograph looks best on them not every subject looks best from from the same angle camera angle actually has a lot to do we showcase before I'm going to go back too far, but we sure case before how angle definitely helps what I'm trying to photograph like I'm not just thinking about the background I'm not just thinking about like the subject I'm trying to figure out what's easier for may as a photographer like I'm trying to photograph this person I need is a little retouching is possible what's going to take as little as possible if the subject has a thing about their chan, how can I oppose them a little more toe not showcase those? Can I shoot at an angle where you don't have to research this? I try to make things as easy as possible like it's totally keep it simple approach your camera angles the best tool that you have for flattering every client. Not only that, but we'll talk about len choice. I shoot a lot of my men that are models with thirty five that I don't do with my portrait photographers with my portrait clients because thirty five millimeter lenses wider lenses tend to people make people quite er um I don't like my models looking super skinny like super thin if I shoot my thirty five and I should it lets a portrait long it along gets him out. It's not something I want to showcase. I wanna make sure that they look asbestos feasible. Impossible. In my photograph, the other thing was shooting let's. Say what a seventy two hundred it's. Great! Because it's it's, natural compression. But let's say at the two hundred side how? Why do I look? I can also use back to me. I like being shot with thirty five. Nice and portrait. Send me out that's all I care about, like you have to start thinking about those and again. So if I'm so you guys will notice anybody who's on social media. I don't have many photographs of myself. I don't like I take photos of myself because I look, I'm self consciousness. The guy's like a cz. Well, like for naturally self conscious. So I'm like, okay, systemic my chest like what's happened. The whole man moved thing that actually is reality. You start thinking about the eye line. Discussed this for a couple moments. I line. How many of you photograph kids, little man? Little man, you learned from working with little men that I line is very, very important. You know, you always still don't shoot down and kids get their level, but what do we do that like what is really, really doing for the photograph and what are we trying to evoke in the mood? That's happened there were really trying to show the little world everything that's happening there, and they're they're level trying to showcase everything that they're interpreting and that's happening there. By the way, that was a fun child, I will tell you guys a quick story. Um, ultimately, when I had two photo shoots, I try to keep under two hundred images total, don't try to shoot fifteen hundred. That was a fifteen hundred child that was a fifteen hundred child. That is not so again, because I am very meticulous with the details of what I'm trying todo. You've been on my sets, like when we'd photograph everything, I try to be just as meticulous as possible. I like simple, like bang bang, bang that's it it's done fifteen hundred images later, I think I had, like two, three images that I would ever put in a portfolio kind of thing like.

Class Description

Learn the art of posing men in Men's Portrait Photography. Jeff Rojas will show you how to direct men so they look natural, masculine, and confident in front of the camera.

In this class you'll learn posing, lighting, shooting, and editing techniques that will compliment all shapes and sizes of men. Jeff will demonstrate your options for lighting men for portraits, fashion, and commercial images.

You’ll learn the 10 main reasons men don't feel comfortable having their picture take and how to make them feel at ease in front of the camera – which will lead to better, more natural images. Jeff will teach:

  • How to help men pick proper attire
  • Flattering male features
  • Workflow and retouching

Don’t let men’s portrait photography intimidate you. Learn the skills you need to get bold, flattering shots of your male subjects every time.


caroline ross

I watched this class for free and am saving up to buy it. First of all confirmed! Sigma lens are nothing to be ashamed of and since I love my one main lens, Sigma I immediately felt a rapport. Then listening to the fascinating insights about men and their feelings when confronted by a lens and...what to do with folks who have shaved heads or a little large. Some of the tips were great! Adding a decoration on suit front like a flower or handkerchief, and how to get the suits looking FIT! and well, I plunged into man world and it was a super education. By day two I was amazed by Jeff's generosity. Basically all his experience, all his favorite lighting techniques and painstaking attention to detail. I would have to watch Day two zillions of times to actually be able to absorb all the scenarios and effects. Im going to buy some suit clips Jeff and clip a bunch of suits in back and front to gorgeous my male subjects out. Thank you again for a wonderful, wonderful class.

Lee Crow

I've taken a lot of photography training in the last couple of years. Jeff is outstanding. I didn't realize that this content would have such an impact on me. The lighting sections were the best I've seen and the psychological impact of us men having good photos is a wonderful subject to bring to light. The class is great. Jeff is great. CL is great.


this course was worth every penny. Full of practical information and excellent demonstrations. Jeff needs to quit with the crotch comments though was like ...really AGAIN? why are you so obsessed with saying crotch crotch crotch good God. Apart from THAT (which I think was just silly nerves) I really do recommend this class. Jeff is actually very very good. I admire his work. Thanks Jeff I learned a lot!!