Men's Portrait Photography

Lesson 11 of 26

Shoot: Review Contouring Steps

 

Men's Portrait Photography

Lesson 11 of 26

Shoot: Review Contouring Steps

 

Lesson Info

Shoot: Review Contouring Steps

How are you not mike that's okay he's great god you know what we can pantomime I'll have you pantomime the whole time I like I like the sweater I like the sweater I like that looks awesome let's get this forward okay so before we actually light jim way need to figure out your patient had to figure out what face we're working with okay so if you can look at the lovely audience for me is can we go back to our guide of our complicated guy? Thank you. How is jim's face wider than it is long no it's not it's very very narrow actually right it's now our than it is long so it is it isthe by a lot right even say a lot I would say it's definitively longer than his wife what's this jaw line look like even when he and when he relaxes and well you know what? Let's take a photograph we think we'll start off with the photograph you so we're even perfect old school style in regards to old lighting for this one too perfect try one more time this time I gotta switch the right settings it still had the ...

settings from the uh spot bread this is the most amazing sound ever perfect perfect. Okay, I'm gonna have you just relax your features for me yeah see that's just move this back it was slightly something like that perfect and just direct forward at mason's we're gonna judge face shape so right there perfect gonna make him look creepy to start off with choking that's like a let's look at that image, jim, I'm gonna move this temporarily that's look at the screen there if I could see jim's photo uh, I can ask a quick question or to wait for that. Absolutely. So one of things is we're kind of doing just one light here. Totally one light. Do you ever use mohr of the three lights set ups or paul appa sane? Can you ask him why he thinks three point lighting is old school? Is that out? Why are you not using a hair slash headlight? Is that something? Are you just doing this for demonstration purposes or is that something you don't use? Well, that's a that's? A great question. Um, let me let me go ahead and correct myself. I actually love three point letting it's by far the most gorgeous like that I personally like, but it's also old school in that it's been around for ages. So what I mean is it's been around forever? It's? Not something that everyone utilizes, so if I look back at the thirties, they're probably not using clamshell lighting a lot compared to what they do now, so old school meaning it's been around forever not that it's not just a pure statement of fact just stating a fact that's so consequently, what we're doing now is we're only using one light because I know a lot of photographers that are at home don't have availability tohave ten fifteen different bonfires on like their house, so something like this and extremely valuable for you to be able to use using small little tools and techniques consider this like a budget budget, a photography studio, things that you can do on your own accord to help out from there once you learn the principles in the concepts of what you're doing, then when we get into lighting tomorrow, we'll discuss different lighting setups for portrait's and for commercial idea in fashion and fashion lining why we're doing certain things. So knowing the cor essentials of what I'm thinking about when I'm showcasing someone's face before actually getting into the whole body and getting into everything again its details it's learning how to manipulate one thing before going consequently fixing everything else go that perfect well, I have not looked at with it yet, okay let's, look over here. So we said that it is it's ah straight when you're facing straight on right, we talked about it being as I'm looking at my subject in this case jim is his face longer than is wide when you guys are down there it is longer than in his wife but is it as long as it is wide facing him directly I level versus where you guys are sitting perspective wise like a thirty degree angle not as much watched the difference I'm gonna shoot at a lower angle perfect more or less where you guys are sitting perfect and let's see how that changes our perspective and I'm certain toa long get his head so the first thing you again you want to do is eye level what size face what face shit do you have? So as you're looking up and down kind of thing I level and that's what you're focusing on so that's first thing okay next is can I go back to the last image before that? Thank you okay so it is is longer than his wife but not a lot just a little so if I go back to the diagram of the complicated donna graham everyone's no longer scared of bye little what jaw line does he have here is a square jaw line right? I would say that it's it's still square it's not round it's definitively square chant okay so wide forehead or narrow forehead he's as wide forehead as he does his chin it's not narrow it's it's definitively wider so what size what shape head does he have square but watch this can I have you come up with may not every guy has made the same certain squares they both have. If you want to face the cameras they should have around the same face shape as opposed to can I borrow you for a minute? We discussed that he was a different shape then it will just make sure if you want to stand there and russ, can I borrow you all men all the time, right, there's? Fine. Okay this's my boy band so let's see these two gentleman jim in stony look at their face shapes compared to everybody else's there's definitive face shapes that we have, right? I see the two of them have very similar face shape his has a square jaw line is starting to mix here I'm seeing russ, you have a little round of virgil and everyone's different I'm looking at even though they're there consequently the same face shape, they still have the nuances of difference. So not everyone's made the same look at your subject before actually going out and and photographing that way. Thank you guys. By the way, jim, if you can stay here with me. Okay, so what are we doing? Highlight highlight shadow, shadow, shadow shadow. So what I'm gonna do is black v flats on both sides just so we can visually see that before or after, I'm going to take one photo without them and one photo with them to make it a little easier I'm gonna photograph everything in eye level to make it a little easier to see perfect one, two, three perfect I love how he always has a smile on his face it's amazing! You're like the least unhappy person I've ever met. You need to spend more time around me at all times perfect that's that's exactly. I only keep happy people around me at all points I love a good roast goat that so let's see what these look like? One, two, three perfect. Awesome! And I'm gonna ask for one thing if we could have a black people on that side and I want to bring in a little bit of reflector under his chin sure, we've put you to work today. Wow! Perfect. Thank you, john. John the shoes look very, very comfortable. I need to wear those instead of these feet hurt perfect evil perfect. One, two, three and give me a smile for me, please give perfect. Awesome! Just like that smile chin up for me over to your right. Hands up. Perfect. Awesome he's gonna all live from creeper tohave that looks scary feeling you know, you know it's a funny thing princess diana used to use that look a lot, which is the looking up smart, which is very, very playful smirk and actually made a lot of people like her so may not work for gym, but I work for a lot of other people, so I'm defining the center of the face. I'm looking at jim and jim looks awesome, I can see his chin definitive chin I don't see any any skin underneath, everything is very much on the face. The great thing is I haven't used makeup of having his liquefy haven't used anything else, aside from lighting to define where my person where, where my subjects face shapes are and when we talked about texture before somebody asked about texture and how much and how far you want to go, I'm not using plan or photography to photograph jim, I can see little wrinkles in his skin that consider wrinkles in his eyes. I love that it shows that a man has weathered over time, he has experienced that's what we see when we see that the photography here can jim don't look this can you zoom in? Can we zoom into texture and his beard? So this is that, uh, that one fifty I can see texture and his beard, I concede texture of his skin that's what I want to say, I don't like seeing glowy nineties glamour style photography when it comes to men because it's not timeless we discussed that before we want something it's going to kind of live over time what something that next five ten years without looking back and saying I really did that did I really want to do that style perfect I'm gonna take one last photo of you jim I mean sorry john if I could have you bringing a reflector on him one more time I'm gonna make you look as happy as possible I love that photo but I still want one more one awesome one of jim perfect one perfect and give me a smile awesome perfect I love I love jim jim is amazing with that okay thank you very very much I sincerely appreciate it thank you thank you thank you very very much so what have we gone over? I'm going over with you guys how to compliment people's face shapes because a lot of times again as beginning photographers were just jumping into the mix and we're like how do you photograph a man stand there I'm gonna just take a photo there's so many different nuances and we talked about details things that we can actually see what are we looking at? What details are we looking at to make them look their best that's what we're going over with face shapes its just a small nuance of difference between photographing a woman and photographing a man like this is more or less how to define face shapes, face features rust do you have any questions for me? I most certainly do. We have one from w d who wonders if you ever use hard t lighting or rim lighting to accentuate the texture and shape rather than kind of minimize absolutely there's a lot of times where I love you know what, we'll actually cover that in the lighting section tomorrow. So yes, perfect well and actually, just to extend that again from take w, it seems that you're using light to generally contour a wide variety of facial shapes into kind of a single more standard look, is this an incorrect characterization? Or is that kind of what you're trying to do? And you ever find yourself instead emphasizing those differences with the light? Absolutely that's a great question what I'm trying to do is create a symmetry, symmetry and faces what we deem as beautiful the first can I see that first slide on you know what? Don't forget the slide we talked about early in the day where symmetry is supposed to be beautiful. What we see is we want one side to kind of equate to the other side and gross to face structure, so what I'm really doing is helping define where you're looking with your face, I can lighten up the areas, they don't have to be so dark by all means so you khun by all means use pull those three flats away to find less of those areas but what I want to do is just contrast around the eyes we talked about the tire free being around the eyes the eyes of the windows to the soul this is what I want to see I want to see jaw lines because it's a it's a man that's what people see perceive is great but when it came to let's say even with russia has around her chin I can still create jaw lines in the features without having to say what I'm doing just using contour and I've got a special request when using the lights to shape the face are you also looking at the shape of the nose on how it effects that that's from it's a great question subjects with larger noses or difficult features that way that's it I'm just assuming that that's where the questions leading when it comes like wide and versus slim verses may be twisted or broken that sort of great question long specifically let's say longer noses I generally photographing dead on only because the second they go up long national second they go down long nose second ago side you can see all the perspective that way so I try to keep them is directed the camera's possible if the person has an issue with their nose I never asked them so just you can kind of figure out for showing with picture with it, with their faces to the side and say, oh, that my medals looks too large. I do use waze and we discuss we're not even mentioning any any photographs, people here wider nose is turning over a bit to the side so we can hide at least one of nostrils so we could just focus on that the bridge of the nose and one of the nostrils kind of shortened it out. Those considerations that you can have one photograph of crooked noses if it's crooked left, can you can you turn over a tiny, tiny bit to the opposite side of kind of kind of act that what do you doing? Absolutely there's so many different ways you can do that again. Apparently, this is the big section of the show. Because in the chat room, take said, I'd actually love to see jeff to a portrait of john. It looks like an interesting character, absolutely let's do a wonderful character. Okay, so I'm gonna I'm gonna jump ahead. What face ship does, john half if you guys don't know this by now, I'm joking. Honestly, it could be very, very difficult to learn for the first five minutes, but once you start looking at charts and thinking about in your head that will be in your mind you don't really have to think about it it'll be super simple okay, so john has around the face because of his hat okay, so I'm gonna ask you to put off no you leave it on you look great just the way um russ or if I could have anybody else just help me move the ransom if I could help you uh bring in a reflective from it I don't know if these glasses were anti reflective there's no judgment I will I will find out okay, that is my job awesome perfect. You look so happy perfect. See there okay do if even bringing that reflector ever so slightly right and tilt it in towards him right? A little bit more thing, john right there personally awesome. One, two, three perfect awesome. That last photo okay, no glare. So we got that out. Next thing is what are we going to do to draw attention away from the cheekbones or the cheeks you could bring in a b flat? I'm gonna go ahead and bring in a flat. Now grab one of these if you could help me out with just bringing this in so I love john this's fun john I need to photograph you more often I feel like we don't spend enough time for a job one of the strange happy on either side of the camera good yes thank you perfect. That looks like gonna bring this in a tiny bit more right around there one two three perfect want to awesome. Okay, so let's see those uh that last photo? What does it feel like to be in my half man box? Because there's only half of it only half about so do we say I'm starting to accentuate just I'm using the light as well to extend his beard so because it's light this way so I'm taking away some of the shadows on the cheeks thinning them out just focusing my I more or less in this section here on his eyes can we zoom in to his eyes from a thank you perfect I can still see a catch light in there that catch lei is beautiful the textures there can examines his hat so somebody asked me about texture before textures in the skin another reason I love the one fifties because it captures very, very close texture zoom into the beard that's going to sound weird v beard texture I love taxed like that's what we love to see so if I was gonna either use that in color or black and white it's a beautiful photo tio fix exude texture and patterns and overall light not so let's pull this away okay, another thing is I know I'm gonna get a question about colors. Well, what happens if people aren't happy with the colors that are there, you know, you can either a zoom out, I could go ahead and do saturate that if I need to in postproduction, I don't need to tell the person hey listens to bright it's, distracting away from your eyes. I can still do that in post production like it's it's very, very simple, but just taking a great photograph of him in camera, the way he looks, no liquefy, no post production, very simple lighting and that's what I want. I want things out of camera. I don't want to spend too much time in the editing room. You look awesome, I like your face like that. Perfect.

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.

Reviews

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.

MizUniverse
 

this course was worth every penny. Full of practical information and excellent demonstrations. Jeff needs to quit with the crotch comments though ..it 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!!