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Portrait Photography Fundamentals

Lesson 32 of 61

Run at the Camera and Dance in Your Seat Poses


Portrait Photography Fundamentals

Lesson 32 of 61

Run at the Camera and Dance in Your Seat Poses


Lesson Info

Run at the Camera and Dance in Your Seat Poses

Along the lines with that shot, is that you can do this one, what I call run at the camera, we're not gonna do this, 'cause, (laughing) this gets a little bit crazy. You need a little bit more room. And so I have people, I am sitting here, like this. And I have a group of people and I say, I want you to run at me and pass me. So there all converging towards me, and they're running at me, and you get shots like this. So even if you have a family or whatever, you can still do this type of shot where it creates emotion. Now, I have never been in a situation where I made a person run and they didn't laugh. It's impossible to run and not laugh. Do you run like this? Right? If you're running, you're just naturally gonna smile, and that's a really good way just to break up that emotion and get that in there. And so if they're running towards that camera, you're using a wide angle lens, they're coming at you, you get just this different emotion, which really looks good, and you get this get ra...

ndom photo journalistic feel, and so this what I use to caught, so whether you're doing families, or you're doing seniors, or you're doing weddings, or whatever, you need a broad range of emotion and looks and feels. So, when I did the transitional posing, that was very model esque, oh my gosh, they look amazing, it's very posey, right? And it's very to the point and exact of where I want everything in the light. Then I need something opposite of that. Then I need the random feel, right? The extreme emotion with it. And so when you combine those things, where you're getting the random emotion and you're just getting the beautiful killer shots with the posed and to perfection, you are unstoppable. At that point you're gonna get over $10,000 a wedding, and get flown all around the world, okay? But you gotta capture a broad range of things, and so that's why you have to, in your session, build in these concepts, or else you're not gonna get it. You're gonna have inconsistency because some clients are gonna automatically do it for you, and some won't. So that's why it's very important to do this. I like doing a low camera angle here. Because I'm accentuating the height, especially if they're coming at me. And I also, if you're gonna keep them sharp, you gotta be at one 500th of a second, k? So stop walking, that's about of a hundred or so, so faster than that, usually one 500th is a pretty good estimation, just to keep everything sharp, k? Then I've got another one, we're not gonna demonstrate this either, because we don't have the right things. It's called dance in your seat, and this is capturing large action of lar-- I mean capturing action of large groups. Okay, so if you have a large group, let's say 20 people or so, and you wanna get some raw emotion, I use this particular shot where see how I got them at different levels? So I can see them, right? But to get them moving, their arms, and so forth, I'm just telling them to get the favorite song in your head and just start dancing, or you know, you can have them sing or whatever, but you really just kind of dancing in one area, it's controlled chaos, and then you can capture it, k? So that's the key, is like, you need to create chaos, but you need to control it, right? And so you can see that with them. That's why you lock arms, you're creating chaos, but you're controlling. That's why you're running at the camera, you're just not running anywhere, you're running at the camera, so you can control it. So you gotta learn how to control that chaos and create things where you can get this type of emotion built.

Class Description

Want to be able to go into any situation with your camera and have the confidence to know you’ll get the shot? Award-Winning photographer Scott Robert Lim goes in-depth on the four foundational elements you must conquer if you want to develop your creativity and style.

Scott will give you the guidelines you need to master:

  • Lighting
  • Posing
  • Composition
  • Post-Processing

Once you master these fundamentals of portraits, you free up your mind to get creative and ultimately get the shot.


  1. Class Introduction
  2. 5 Shots That WOW
  3. Four Fundamentals of Photography
  4. Create a Visual Impact with Composition
  5. Importance of Foreground and Background
  6. Create Depth in Landscape Images
  7. Photos Don't Always Follow the Rules
  8. Composition Practice Exercise
  9. Composition Critique of Student Images
  10. Keys to Posing
  11. Shoot: Classic Elegance Female Pose
  12. Shoot: Modern Female Pose
  13. Shoot: Rollover Female Pose
  14. Female Hands & Arms Poses Overview
  15. Shoot: Hands and Arms Poses for Female
  16. Seven Posing Guidelines
  17. Headshots Poses with Male Model
  18. Shoot: Headshot for Male Model
  19. Shoot: Sitting Poses for Male Model
  20. Shoot: Leaning Poses for Male Model
  21. Shoot: Standing Poses for Male Model
  22. Keys to Couples Posing
  23. Shoot: Couples Posing
  24. Couples Transitional Posing Overview
  25. Shoot: Transitional Posing
  26. Keys to Group Posing
  27. Accordion Technique with Groups
  28. Shoot: Accordion Technique
  29. Shoot: Best Buds Pose
  30. Shoot: Talk with Your Hands Pose
  31. Shoot: Lock Arms and Hold Hands Pose
  32. Run at the Camera and Dance in Your Seat Poses
  33. Shoot: Pod Method Pose
  34. Posing Critique of Student Images
  35. Introduction to Lighting
  36. Soft vs Hard Light
  37. Difficult Lighting Situations
  38. Bright Light Techniques
  39. Overcast Light Techniques
  40. Low Light Techniques
  41. Lighting Techniques Q&A
  42. Drama Queen Lighting
  43. Laundry Basket Lighting
  44. Make it Rain Lighting
  45. Smart Phone Painting with Light
  46. Mini LED Bokeh Lighting
  47. Choose the Right Lighting System
  48. Hybrid Flash System
  49. Innovative Accessories
  50. Gear Overview
  51. Theatrical Post-Processing
  52. Ten Keys to Post-Processing
  53. Essential Skills to Post-Processing
  54. Headshot Post-Processing
  55. Bright Light Post-Processing
  56. Flat Light Post-Processing
  57. Low Light Post-Processing
  58. Introduction to Fine Art Post-Processing
  59. Light & Airy Fine Art Post-Processing
  60. Dark & Moody Fine Art Post-Processing
  61. Post-Processing Critique of Student Images


Vitor Rademaker

This course is amazing! Scott is extremely straightforward. He goes directly to practical problems, tips and etc. He explains every thing very clearly, and he is also very funny and charismatic, making you laugh as you learn. He shows that you don't need a lot of expensive gear to make very nice pictures. So I have saved some money as well, cause I was about to buy some gear that I wouldn't need right now. It is for sure one of the best photography courses I have ever attended to! I highly recommend! Thanks a lot Scott! You are the best!


I have purchased a number of classes, this being one of them. The quality of the information was good and the level at which Scott spoke was appropriate for me. Having a course sylibus would add greatly to the value, which usually is not part of the programs I've purchased including this one, unless I've missed it. I believe the speaker should be required to provide one. After watching the videos, much of material can be recaptured by seeing it in writing. I would like to hear back from Creativelive their thoughts. In sum, good topic, good speaker, good technical audio and video quality by Creativelive


Another fantastic class with Scott Robert Lim! The combination of his knowledge, willingness to share, passion & entertaining personality makes him a top choice for photography education. Learning not only the "what", but the "why" & "how" can transform one's entire approach towards MAKING pictures. A constant inspiration to get better & better through practice.