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: Rollover Female Pose
Then we got one third, so that's two ways to pose kind of standing up, right? Either the sexy or the elegant depending on what you want to do, right? The sexy or I'm a princess. (laughter) Now, that was great. I figured out how to do that. But now I didn't know what to do when a person's sitting down. Right? What do I gotta do? And so that's why I said wow, this rollover works whenever they're lying down or sitting down. And it's a really easy concept. It's kind of like the sexy pose, but sitting down, right? And so what you do is you roll up on the hip so you don't -- the worst thing that you can do when a person is sitting is have that when you're posing and shooting is if their weight is equally on each butt cheek, right? Because that creates very static, there's no flow to it. So you've gotta get that weight shifted on one side or the other. You just can't have a person sit down on a chair and there's equal weight on their hips. They gotta roll up on one of the hips, right? So you ...
roll up on one of the hips and you have that leg, as you can see perfectly here. See how she rolls over and puts that leg in front? What does that do? That accentuates her shape there, right? And so the body is away and the face towards the light and she's rolling over. That's why I call it the rollover. And then nose to the light, the same thing, okay. So let's get in to some examples. This works every single time. Simply doing this, whether they're sitting in a chair or lying on a bed. And so here I did it, right? She's rolling over on her hip, and look how you're accentuating this area coming out. You're giving a woman shape by doing that. If that leg was straight up, would you see this shape? No. That's why you've got to roll it over so you can see the shape on her hip there. And it's very basic pose. I love doing this with just a simple chair. You can turn it sideways and then you can have them roll up and you can see her leg is rolling over here and it creates a nice shape. I could have moved her arm a little bit further this way so I could see that shape and the curve there. So when you're doing the rollover, you gotta make sure that the arm does not get in the way of the shape, so you gotta move it forward, or back, or behind. But you need to see that shape and you gotta get the arm outta there so you can see it. So here's an example of it. And so what you can also do is have it contour the shape so it accentuates it, right? So even though her hand is there, it's contouring that shape and hugging it so you can see it. In the next photo here, I put it away. Where I have it away from her hip so I could see that curve there. And so it's very basic, right? You rollover, her body may be this way, the light -- you can put her head in any direction at this point. But I would tilt her head slightly either to the left or the right. And so that way I can put the light off to the side and then I can get -- see that short side shadow there? Defining her shape there? And I like to get the light high. Because you want to get that light high because why? This is subtle, but look at the shadow down here. That slight shadow not only accentuates her shape but see that highlight and shadow on her arm there? It gives it shape and definition but you've got to get the light high. A lot of people, a lot of inexperienced photographers shoot it kind of eye level and it takes away all the shadow that you can create by a high light and then it looks very flat at that point. So if I were to say there's one mistake with lighting is that usually they don't get it high enough. You need that light high so you can get shadow on the arms. You're looking for shadow, you're not looking for the right exposure. You're looking for the shadow that it's creating and that's really the essence of great lighting is in the shadows, not necessarily the exposure. Okay, so let's try this one last pose and we can move forward. Here and so we'll have her sit down whatever she's comfortable here. And then we'll have her roll over one way or the other. There you -- perfect, okay. And so, yeah, there it is, right? Love it. So, her body is this way so natural thing is to put her head that way, right? And she's rolling over. Yeah, can't lose. So you want to hold this? Trade? Got it. Okay. And so if you can get that down a little bit closer to her? Yeah, perfect. So look over this way. Right, and then put your chin up just a bit. So I like to get the light in her eyes a bit. And so if you can bring that down light lower a bit so it gets right in there. She's wearing beautiful lashes so it's hard to see the catch light, but if you raise her chin up. Can you raise your chin up and look towards that light? There it is. I can see that catch light right in there. And then if you could move you arm forward so I could see that hip area there, right, that would be good. Or back that area. Let me just take a quick shot of this 'cause this looks great. Right there, good, beautiful. (camera shutter clicking) If you could move the light a little bit back so I can get some more shadow, that would be great. And then we could be great. And then try moving your hand completely behind so I can see your hip. Right there. And can you roll little bit more forward towards me? There you go. And then actually, let's bring it around and bring it in front. Yeah, there you go. So now I can see. So I like how you're reaching over so I could see your hip there. Yeah, that's it. And then look this way or look straight over here. Perfect, and raise your chin up just a bit so I could see that light in your eye. That's beautiful. (camera shutter clicking) Good and look towards me, nice. Then I can go in and I can take wide or I could go close too and I can take a shot. Turn your head this way. Move the light a little bit more front towards me. Right there, and let me see your eyes. Look at me. Right there, love that. So I'm gonna take a shot close. So once you line it up, (camera shutter clicking) you can take shots tight or far back. Thank you. All right, so that was the rollover and I wanted to show you that once you get the base right, you can come in and you already got a shot. So you always got to get at least two shots per every set up. At least two, okay. Because it takes so much effort to get them in the right place, to get all the lighting. If you just do it just for the one shot, you're not maximizing your time and it's so much easier to do a couple at the same time. It's like, okay, why not take it wide. And you put yourself, and we'll talk about this in couples posing, where you've gotta create a system and you go through this system to make sure you've got a variety of shots.
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-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.
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
Student Work
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