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Men's Portrait Photography

Lesson 21 of 26

Shoot: Clean White Background and Fitness

Jeff Rojas

Men's Portrait Photography

Jeff Rojas

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Lesson Info

21. Shoot: Clean White Background and Fitness

Lesson Info

Shoot: Clean White Background and Fitness

What happens if you're you're not into the whole six by four you're not into retouching how do you get it out of camera like what do you need out of camera or have a full but white background so we're gonna do a striking of the set by the way if anybody doesn't understand what they're striking it means literally cleaning up the whole set and starting from scratch next time we're going to use when talking about building light that's gonna be fun to put away yeah thiss thing is massive so we'll go to medium for phil you asked me about kicking before we're gonna use a kicker awesome so we'ii talk about building light and making sure that backgrounds completely white she don't mind we have won and here really quick I'm gonna ask doors of imagination photography what do your thoughts on lighting a scream from the back as a background? Does that also work for something like that or that weird, disgusting way did but you can do it you just have to I mean you're going to use several lights you...

can't use it with one just generic light I don't think you going to get enough light get one highlight and everything else is going to great dated, so you several it's what we're going to hear something that you can utilize for that same scream idea which is trying to offset lights and maximized thie amount of light on that background okay, I'm gonna use perfect so when youse two lights in the background and we will discuss how to get the best quality white background that you can get thank you, john okay, so building light generates off with backgrounds first just because it's difficult to try to get your foreground first find the background it's just easier to say is it a clean white background mr off with you know it's the way that I did it before building steps building almost backwards before you do anything okay, what john's doing is he's putting silver reflectors because we don't want fall off to come onto our subject I'm gonna give you guys a quick example can you stand there for me? Thank you, michael a little closer for me. Perfect. So it's like that background light if I have awesome if I have open reflector and I'm gonna show you guys a difference john, can you take the the barn doors after may thank you very, very much to introduce this light. Can you move closer to the background so we're talking about distance just I would say man within like two feet of that background because I'm thinking about real people and real environments meaning if you don't have a studio you working from your garage working for your basement, you working from a room whatever you're working from trying to minimize its possible so if I'm looking at this image and I go to take this image and in regards to actual size and distance relative to the background and I go to photograph them in the same way I have that barn door opened the same can take the barn door and the silver dish off so those of you that are using strokes from behind without any modifies in them what they're actually doing just kind of shit is that perfect? That hurt to be fair move over slightly towards that towards the centre the background so I would say there you go, perfect moved half a step forward. Awesome. Okay, so this is the first go to pose that everybody goes to when they're first doing photography they want like that background they want a light just back on to make it completely white. Okay, I'm just gonna photograph him one, two, three and perfect what's the problem with that building light thinking about if I could see that photo not only not only that I really know hiding crop off his head I'm not going crazy. Perfect not only am I lighting the background, I'm lighting him right open strobes aren't going to be your most effective choice if you don't have much distance I could move forward can you move forward from a three four steps to three that should be a little easier with trying to photograph him and not seem that background like I shouldn't see anything it should be a cleaner background should and will be it is a a loading scylla there's a little bit of fall off on his face on the left hand side but how much distance is that? Six feet if you're working in a ten foot room it's probably not going to be most effective use of space, right? So what can we do if we can throw a barn door in that back on that backlight that born doors going direct light they have flags on them? Well, they have little built in doors. They're going to put that hence the barn doors to flag off your subject or to block off flight from hitting your subject. So not only do we get a silver reflector dish which is gonna be directional towards the background, but I can start using that uh that black flag to block off light from him. So can you move towards the backgrounds one too right there? Perfect, awesome and looting. How much closer can they get into the background now? Just using that barn door so I can start cleaning up the background he's two feet from the background I don't have much falloff whatsoever if I wanted to make the background completely white that's away aiken do that without necessarily needing much space so I was going to shoot a portrait of him in you a little bit of fall off there I could block off a tiny bit more, but I'm starting to get whiter areas, right it's completely white in these areas where I wanted to speak with the other side and replicate something on the same side thank you, sir. When replicate the same thing on the opposite side and see the difference of what it's doing and see how we can improve even upon that thank you waken flag it off a tiny bit more from him. Um thank you, sir. Those last two just I can see the light on his, uh his frame and miss gave this for two seconds on the side. I'm not left handed. That was a fun experience just now still need to flag off that that subject and john, if you could get off a tiny bit more unless you have and if that if, say now I'm sorry it has changed more or less with the lights hitting what what can I do to resolve the issue? I can move the background light towards the subject kind of towards the backgrounds don't have as much as the highlight, but we're gonna try this one out for right now one, two, three perfect, awesome very, very little light on that next background on my subject but I'm still seeing a bit of fall off so I can either change my modifiers or can you step forward half a step no forget that that background is also going to reflect its whites reflecting right back into my subject is acting as a giant reflector so it's a start moving him away he's more insolent that half step made that much difference to my subjects that's a clean white back around that way so it's him happy with that's a clean white background I don't have to do much retouching that's that's all I have to do my subject I'm worried about the background other things you can do it if you're gonna shoot full length let's uh let's seem out quite a bit and just see what you guys see here if I need to soon shoot full length I notice a great asian at that bottom the bottom of his hips in the background in that area I can lower that light and offset so it's wider expansion can you bring it down a bit just for demonstration purposes just kind of flat point the light towards the bottom of the background from a thankyou sir mental gear awesome perfect that's not photo next photo says you guys are doing sweeps in your house if you have a small suite there's an easy way to kind of clean up the background how much radiation we have on that right side were starting to clean up things that in the background on ly by offsetting lights that's a one consideration tohave retouching wise so if I was just photographing him in the center you know what no more lefthanded actually recently left hands clean white background I'm not really worried about the great asian I know I can fix that either a post production would move move that light lights around for the purposes of the demonstration I'm just going to move forward with the main main light there so in a commercial clean background it's the first thing I'm gonna wind up doing I wanna clean white background everything it was going to shoot a person for catalogs where I only want to see the clothes I only want to see that's busy subject this is kind of go to lighting that so next thing I have to worry about okay subject's facing the features that I wanted uh showcase can we bring this light towards our subject next one everyone's gonna kind of love introverts delighting you guys to see why he's not gonna like it so much it was always my favorite and if we can perfect awesome like what are you talking about why I'm going to get a clean white background he started to get eliminated that's what I want to start seeing I have him and it's almost cut out I'm not saying much highlights another areas but what happens if you want to shoot his torso that beauty editions going to help its carving out his cheekbones is carving out his features but it's not showcasing the clothing if you're doing something and you're trying to showcase body you're trying to showcase for commercial lighting you want extreme light and everything nice and glowy everything lit properly you need a second light like there's. No way you gonna do that with one's wasn't quite so I bring in my fill light or my kicker like to bring in light into the specific areas exactly fill light for those things you look like you have a question. You you you said you'd use a kicker light and you've also said you use a feel like, is there a difference between the two? Is it? I mean, it was just a changeable world just change. Okay, that looks like getting a little bit of highlights. I think from that light over there, so I'm gonna just crop in a tiny bit more crop it. I mean, just stepping one two, three perfect stepping in. I don't have the highlight back because I can still see a tiny bit of the portion back there that little fall off that's a little glare perfect closes off a tiny, bit more it's funny how all those little tiny no one has changed every thing to go away clean. I couldn't see his clothes, I can see his body, I can see a shape nothing's clipped his hair. If I looked back into his hair here, I should see all the textures that are in this there nothing's clip, nothing shooting from behind those of you that we're looking at the soft bucks from behind. You have somebody with curly hair, you have somebody straight here and you don't you don't expose correctly in the background. You gonna start losing detail in there this second illuminate everything I can have a clean white background, but this requires four lights, so this is something that isn't practical for everyone. You can use one modifier in front depending what you're trying to show. I want to show case not only his jawline and his physique in certain areas, using the beauty dish to give me a bit of contrast when he's a second light to fill in shadows in other areas. I don't want a flat source of light, so I can use let's, say, the westcott zeppelin to help me out with that, but I'm not going to get as much detail on his bottom of his feet on the bottom shoes unless I pull that light back it's all depending the modifier you're trying to use him, what you're trying to showcase for clothing, they want as much as much detail on the clothing as possible, so I don't want flat light on the clothing, so let's say he had a lot of texture and we talked about texture before. But if he has a lot of texture who's closing, I want to see that using the contrast of light above is going to be a lot of shadows that I'm just filling in its tiny bit. Aside from trying to blow all the highlights that are in the same way that we wanted doing with skin and aggressive clamshell letting consider that the same same principle. Possum I told you guys you guys were gonna like the next one. Michael, can you do me a favor and take your shirt off? Perfect. Can we set this up? We're gonna do ah, uh, a little bit of fitness modeling, fitness lighting. How do you make some of his physical look is best possible. Perfect. If we can remove the soft box, we're only gonna use a beauty dish. We need the same two doors only think I'm gonna take away. Is that soft box making it easy for us? I'm going to actually use no. What can we clip the background, can we make it just a little bit darker, we just, uh, perfect. I can move away from the background so we're gonna be using the room lights from behind I'm only gonna focus on him I don't want to see white background see if we can throw in just quickly eh ah darker background back there when he's a fabric perfect thank you. Meanwhile this is uncomfortable for you, isn't it? Ah, just a little cold he stepped forward we'll do me in with the background oh, you have questions, questions? I was wondering if you could elaborate a little bit about the profile it'll light in your decision process in determining what number to put that light on versus what you have in your camera and kind of going back and forth and also that you in setting up your lights are using constant line well in redress that consequence they're mobbing lights so I use it visually to see where things are going to work. I know a lot of people that you shrugs it kind of just throwing up there don't use money like maman lights when he using like the ones that be one pro photo or anything that doesn't have an a c d c adapter is going to draw energy so generally people using mounting like judge where light is turned it off I like to visually see where everything's moving while I'm on set it's very difficult to kind of see things if you don't you can't visually see it while it's there again I'm a very visual person so as most photographers are uh the second thing I'm thinking about is building lights I'm looking at where light works so for me I'm thinking about I like my lights to be free profile pro photo has a setting week to free your prop prop meaning it's the the modern lights working along with whatever whatever the lights doing if the lights low powered it's going to show a low modern light for instance let's just show you how it works this way okay, so prop it's very dim source of light if I lower the power of my life the morning light starts lowering so I know visually where things are going to be lower in regards to where the photo's gonna be if I know that that's low power I don't need to look at the settings that can take okay that's going to be low power I know where that's working but visually you kind of don't know where the fall office unless you turn off all the lights difficult to see so for me and rose to power and settings I like to have everything as high as I can regards how contrast it is using the free mode so that would be visually why I see things it's the same same way a lot of photographers use constant lights and it being a little easier to see in regards to what? Physically there let's go with this yes that's fine just to give it a tiny but its banality perfect. Are you ready? Are you scared? Can we turn off one of light's gonna build like quickly, huh? That was a while first light to see what the lights doing I really should just filled perfect so I'm getting I'm getting fall off on the other arm I'm getting sharpness under his drawn line but the same town same token it's hitting his nose I don't want to hit his did that sound weird? But now I don't want to haze now so I need to block off that light ever so slightly are moving from behind my subject the same with soft box was just hitting back is that can we move it back slightly perfect and towards him just slightly. So remember that light's gonna start facing me little by little perfect so I need to just be conscience conscious about where that light is in regards to what I'm photographing perfect can we block off that tiny bit right there? Perfect. Why? So we don't get lens flare in my specific shot let's see, do you mind moving that arm for words honey but let's say like superman again that's like girl power on the other side into perfect awesome. So when replicate the same thing on the opposite side he went from girl power to superman awesome I'm so getting a little bit of player because of the entrance that I'm seeing in the the barn door that's there so visually if you're behind my shoulder here you can see the little nuances that you could still turn that in a tiny bit thank you, jon um awesome jonathan we block that off a tiny bit more awesome perfect okay, let's see how it looks as though I can see that those lights we're gonna hit his nose visually using the modern lights that's why I usually have it so high you're gonna have flared knows and this isn't gonna be attractive yep lights fine on his own the room lights right I still want to see a family on this side but his nose it's not like I don't want to see so need to block off a tiny bit more awesome elbows towards me a tiny bit more he's actually blocking his own light by bringing his elbows back perfect. Perfect. Awesome. Okay, can we, um bring that one a tiny bit back just block off our block it off the light just a tiny bit on his nose there right there to me favorite you know, it just turned that way awesome fixed one two, three elbow forward on that perfect sweet I'm gonna skip the nose thing if I had time we'll show the new ones but there goes the physique I can see his much muscle structure I can see his his physique that way but now what I need to do well for fitness modeling I want to see dramatic light in the front so I'm happy with the two lights in the back john, can you turn off the two lights and back from it and yes, I can't do it using the channel but I'm not going to do so right now to save time pretty dish other ways you can do this beauty dish we talked before about lighting and dramatic lighting in the way that lighting works in general I know that I'm going to use those two lights is room lights I want dramatic lighting to highlight his his physical, his abs and everything that that's there so right now we have a regular beauty dish so quickly bringing this light up what it's going to start doing his physique perfect versus using a grid and we'll talk about that momentarily perfect awesome what's it going to do to his physique is starting to cut out his his packs underneath it's going to carve out his abs the higher we bring that light over our subject in this case michael moore definition we'll get perfect is great for you lorenzo for shooting athletes super simple even if you wanted to do something with one light night user and it's a great way to do that perfect one, two, three perfect let's go this way okay tex was starting to cover up the packs even more was starting to carve out the clavicles were starting to carve out the neckline let's look back and forth I'm getting more definition in the body in the shape now if we wanted to make it even more and hence it's high it's high enough we can still see a catch life moving any higher it's time he's not gonna have a cash like it's over he's going dead eyes john can I have that grid? If you don't mind thank you very, very much watch your head not gonna kill you thank you so much fingers there if you feel anything hit your head it didn't happen you worried about perfect perfect one two three awesome can open up a tiny but what am I starting to dio trying to cover up his position more than create itself just are carving out his feet, his physique even more so do me a favor crunches stomach as much as you can perfect awesome one two three to us it's starting to seem more and more muscle definition in the biceps and triceps and his packs more definition the abs are starting to see the little the shape that we have there do me a favor if you could turn on this two background lights and I mean it used to in like that it's a simple way if you want to do it you live it up a little bit um I wind it up opening up a tiny bit just one half of stop actually perfect actually just gonna take a preliminary shot sweet in building like quickly one two three great cabinet walking in time so we'll have to see as much glare there one two three perfect I'm sort of showcases muscles in his tricep on his biceps in different areas and I still get the the definition his abs without saying anything so I'm gonna have you talk in your absence a great way to start emphasizing muscle perfect crunch your abs tight as you can perfect flex your biceps as much as you can perfect one two three look like superman at this point much this is gonna be impressive and bam difference is he's like yeah I have a definition the body that's what the great above in the bt dishes doing I can see the muscle I can see the physique that's what I want to see when I start seeing fitness I would pull that away from background if we had time but for the purposes of the demo take one last shot do me a favor reflect as much as you can one, two, three. Perfect. Next shop. Next, what I'm gonna do is fashion. We're talking about a little bit of fashion fashion. I think you might be if you could put on a shirt, get off my set, man.

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!!