Lessons
Class Introduction
04:10 25 Shots That WOW
14:08 3Four Fundamentals of Photography
08:05 4Create a Visual Impact with Composition
07:04 5Importance of Foreground and Background
08:30 6Create Depth in Landscape Images
18:09 7Photos Don't Always Follow the Rules
02:11 8Composition Practice Exercise
10:41Composition Critique of Student Images
05:28 10Keys to Posing
05:37 11Shoot: Classic Elegance Female Pose
14:46 12Shoot: Modern Female Pose
09:04 13Shoot: Rollover Female Pose
08:10 14Female Hands & Arms Poses Overview
19:52 15Shoot: Hands and Arms Poses for Female
08:58 16Seven Posing Guidelines
04:18 17Headshots Poses with Male Model
14:59 18Shoot: Headshot for Male Model
06:45 19Shoot: Sitting Poses for Male Model
10:03 20Shoot: Leaning Poses for Male Model
06:43 21Shoot: Standing Poses for Male Model
03:32 22Keys to Couples Posing
10:31 23Shoot: Couples Posing
06:17 24Couples Transitional Posing Overview
14:28 25Shoot: Transitional Posing
15:25 26Keys to Group Posing
07:12 27Accordion Technique with Groups
07:46 28Shoot: Accordion Technique
04:11 29Shoot: Best Buds Pose
04:54 30Shoot: Talk with Your Hands Pose
02:33 31Shoot: Lock Arms and Hold Hands Pose
04:34 32Run at the Camera and Dance in Your Seat Poses
04:13 33Shoot: Pod Method Pose
17:58 34Posing Critique of Student Images
09:32 35Introduction to Lighting
05:38 36Soft vs Hard Light
17:10 37Difficult Lighting Situations
05:52 38Bright Light Techniques
18:16 39Overcast Light Techniques
10:34 40Low Light Techniques
10:27 41Lighting Techniques Q&A
14:58 42Drama Queen Lighting
06:26 43Laundry Basket Lighting
09:44 44Make it Rain Lighting
03:48 45Smart Phone Painting with Light
07:53 46Mini LED Bokeh Lighting
08:22 47Choose the Right Lighting System
13:30 48Hybrid Flash System
06:42 49Innovative Accessories
05:35 50Gear Overview
06:19 51Theatrical Post-Processing
06:07 52Ten Keys to Post-Processing
08:37 53Essential Skills to Post-Processing
08:25 54Headshot Post-Processing
24:53 55Bright Light Post-Processing
09:45 56Flat Light Post-Processing
14:46 57Low Light Post-Processing
08:24 58Introduction to Fine Art Post-Processing
09:06 59Light & Airy Fine Art Post-Processing
27:34 60Dark & Moody Fine Art Post-Processing
13:36 61Post-Processing Critique of Student Images
36:56Lesson Info
Shoot: Modern Female Pose
So, let's get into the next one, which I call more of a modern pose. It's pretty much exactly like the other pose but the twist is is that knee is raised up. Instead of doing that long sweeping motion, this is more of where your subject is kinda more at you at slightly at an angle but this leg is raised up to create that V. That leg raised up here creates that V and accentuates the curve in a feminine form. So, when you're shooting a feminine form, you want it to look different than a man. Right? So, what's different about a woman than a man? It's this and this. So, you got to accentuate those parts and make them come out and that's really what makes a woman beautiful is her uniqueness to a man. Right? So, that's really what I'm trying to do is accentuate this and this and it works. So, you raise the knee and it's essentially that's the original sexy pose. If you tell a woman, oh give me something sexy, oh they're gonna do that for you, right. That's the pose that they're going to give...
you is that. And what are they doin'? They're raisin' that knee to give you that V. So, let's look at some examples and then let's try it. Okay, so, you see that knee raise there? And you see how that accentuates the hips? If she didn't do that, you wouldn't get that V and that's really what you want to do. All right. Here's it's done but you can't really see it, but the thing is that the pose, the head kinda goes toward the hip there and like I said, if you get the base right, then the upper part works too. And so you can see how the hip is pointed towards the direction of where the face is. So, if I'm gonna put my hips out this way, part of this pose is putting the head where the hip is. And then raising the leg of the other leg. So, if my hips are going this way, then the head is going this way and the opposite leg is being raised forward and that's that pose. So, again, here it is. Look at her hip, her head is that way. And I had the light towards her nose, see how everything comes together. Then I have the composition, right? I have my Scott spot and what's behind? Depth. It all has to work together to create a shot. Okay. When you're shooting hands, I'll get into this a little bit later, but you always wanna shoot the edge of the hand, 'cause it minimizes, it makes it less distracting. Because if you put your hand and you don't shoot the edge, let's say you're shooting the hand, this is the same size as my face generally, the back of your hand. So, if you turn it to the side, then it minimizes it then what? Then your eye goes to the face and not to the hand. So, let's demonstrate it. So, moving forward. And what I'm gonna do at this point, is have her come back, and a lot of times what you wanna do, now Lana is super fit and she's not the typical person that you're gonna get. Subjects, right? So, what I like to do is kind of slight, not shoot their shoulders square to me. Either way, whatever they feel comfortable with, slightly at a angle, and the reason why that is is that that will accentuate the waist and make it look thinner. So, once you turn slightly to the side, bam, they're ten pounds lighter already. So, you got that goin' for you right there. Now I'm gonna have her pop her hip out, that, and now she's gonna look towards her hip there and then with the other leg I'm gonna have her raise it but they're gonna put it together. So, can you just pop head, like what I'm doing? Let's get the lighting. This is perfect. So, let's just have her reset right here. Okay. So, you're just gonna pop your hip out, like this, and then instead of putting this leg out like this it's gonna be towards, yeah, there you go. Can you get it a little bit closer to your knee? Yep. And what you could do maybe is if it's hard for her, you could have her lean against something or hold something so she can lift that knee. So, why don't you go over there by that couch? And that will give her support to do that. So I could tell this is what's gonna happen to people, oh let me get this out of the way, so this is a perfect situation, because you're gonna be posing some people and that pose will be foreign to them. Like they've never done before. But everybody's got their power pose goin'. They know what they look best but a lot of times when you try to pose them differently it's oh, I've never done that before. So, that's why you really have to know it. And so if you can break it down, every pose down, these poses down with the weight shift and everything, you're gonna get consistent results every time because don't expect your subjects to know your poses. You're gonna have to know it well enough that you can direct it if someone's just not used to doing that pose. That's on me. That's on the photographer. That's not on your subject. So, you have to own responsibility for that. Great. So, she can lean on something right and she can really pop her hip out. So, if she leans on that, right, okay, so now she has to turn. Okay, so can I just demonstrate for you? Is that a lot easier? Let's say you're just on this side here and you're popping your hip out, whatever way you wanna do it, whatever you feel comfortable. Let's say you're popping your hip out this way, so if I'm popping my hip out this way, my body is gonna be a little bit here, but my head is gonna be here towards the light and you can see how I bring up this leg this way, because I can put all my weight on this leg. I could pop it out, this allows me to lift this leg and this is your support here. So, just do this, body's kind of this way, looking off this way, looking at the camera. Okay? You look so pretty. (laughter) Thank you. You know what, it took me ten years to get my feminine side out. Really, seriously, I was terrible at it 'cause I didn't let my feminine side come out and that's the hard. Can you hold this or somebody? Is this getting in the way of the camera if I do this? No. Okay, great. Perfect. So, you're gonna do that right. Yeah, see that. So, you're gonna really lean on that and then lift that leg up. There you go. And then turn your body this way and then look back at me with your eyes. Perfect. And so let's get this light right in there, right there. Good. And then if you can just put this hand up like this, and you're gonna turn your head this way and look back at me. Right there. Ooh, love that. Okay. And so let me see if I can get that leg lifted here. Now, I know the lighting is a little bit in my frame, but that's okay. Yeah, look down like that. Okay, great. Let's do one more. Can we get the lighting way off to the side of her. Yeah, okay, do that same pose. So, I'm gonna use side lighting right there. Look off that way and look down. And now I'm gonna get some shadow on her cheek. Yeah, right there, hold it right there and look down. And let me see if I can get her knee in there so you can see that lifted. And that's gonna be a little bit of a side light right there. Beautiful. Okay, so good. Let's move on. We got a lot to cover. Thank you very much. That was great. So, that was a really good example of really knowing the pose. And that's gonna happen a lot with you. You're gonna tell them, oh, do the golf swing, but it's like I never played golf in my life and they're just not gonna. Right? You've gotta know it, inside and out. And know it to break it down. That's why it's so important to practice and to get going with it.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
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!
user-9994d2
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
user-b48fe5
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.
Student Work
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