How to create a dance-photo-masterpiece & sing in front of millions – live?

Share – Fastest female 400m swiss runner (huh?)
Inspire – Dance & model photography Mastery
Create – Model black & white symmetry magic, and how to communicate your vision to others.

Enjoy the Show & Share this post to spread the photo love.
Johny & Brent

Highlights – Time Codes
(3:16) – Fastest female runner of 400 meters
(4:53) – Create something in camera without going crazy on Photoshop
(6:48) – Tons of photos that the public will never see
(7:28) – Room lighting used for the shoot
(8:39) – Professional dancer from Moulin Rouge
(9:12) – Find the perfect angle that gives the illusion
(15:08) – The multi-million dollar model
(17:33) – Looking into my soul
(18:19) – Making anybody look extraordinary
(19:45) – Social media photo likes means very little
(20:30) – Giving confidence
(22:04) – I’m the biggest child in the world
(22:39) – I’m an overprotective dad
(24:27) – It’s a team sport
(27:48) – Our way or the highway
(28:40) – Visualize before you shoot
(31:08) – The female shape is smooth
(32:50) – It’s my mistake if I can’t capture the beauty
(34:15) – Putting yourself into the model’s shoes


Show Notes

  • Stephan Bollinger – Website
  • Facebook
  • Google+
  • Twitter
  • Linkedin
  •  Be bold and organic. Do not rely too much on Photoshop. It’s not wrong to use it but try to achieve perfection with just your camera and not too many editing.
  • Keep it real as much as possible.
  • Before coming up with the perfect image, you will go through a series of trial and error.
  • Keep going until you get that one perfect image that you are looking for.
  • Take a photo that will trigger people’s imagination.
  • Illusion is very powerful.
  • You don’t need to have a super model to capture a perfect image.
  • You just have to know what you want to achieve and be imaginative.
  • When the model is looking at the camera, ask her to captivate you with her eyes and to have that “look into my soul” eyes.
  • Encourage a model and give her confidence.
  • Allow her to own it and really show her personality on the set.
  • Photography is a team sport.. It’s not just about the model or the photographer but it’s about everyone in the set working together to achieve perfection of the image.
  • Be open for possibilities. Try something new every once in awhile (Mother as makeup artist and daughter model scenario).
  • Before you begin the photo shoot, visualize what you want to achieve. Never go in blind. Always know what you want and work towards achieving it.
  • Sometimes it’s good to put ourselves in the model’s position to realize how stupid it feels to be posing in front of the camera that way we understand each other well and can work together best.


Johny: Hey Guys, what’s up? Its Johny here, I nearly forgot my name and welcome to another SIC show. And as always I’m super pumped to be here and we’ve got my main man B, how are you my Brother?

Brent: Awesome, I love speaking to photographers who photographed the dancers.

Johny: Cool, this week on the show we’re interviewing Stephan Bollinger and find out how he became the fastest female 400 meter Swiss runner.

Brent: Female?

Johny: Female, crazy.

Brent: We’ve got to hear the story to that one and he’s going to inspire us with some amazing dance and model images. He’s a master at photographing dancers and in the create section he’s going to teach us how he creates the model negative black and white symmetry image.

Johny: Yeah, awesome Man and Guys don’t forget to check out our free courses. Click the link below and jump in and get started. Let’s do it, Man!

Brent: Awesome, enjoy!

The Fastest Female Swiss Runner

Brent: Alright, Stephan so share something to us that not many people know about you?

Stephan: Well, how about I turn this around and ask you 3 questions. You pick one… Number one because two are a lie and one is true well so, actually two are true but anyway so number one, I played tennis with Roger Federer, number two, I was singing in front of 12.4 million people live and three, I was the fastest female for 400 meters runner in history. Which one is the lie? Oooh!

Brent: The female runner is a lie.

Stephan: You think the female runner is wrong?

Brent: Yeah!

Stephan: No, unfortunately I’ve never had the pleasure to play with Roger Federer. So big question. How did something happen? I don’t know.No operation required. Funny story, there was a Guinness Book of records attempt in Switzerland many, many years ago I was about 20 or 18 and my mom signed up with the athletic club to be part of the thousand times 400 meter run and during the day all the different runners when running and got into the night and at some point she knew it was her turn to run and she started to freak out. She was really, really nervous. She was like “Oh shit what if I mess this up? There’s like 700 runners already gone and we’re nearly there” so she talked me into running. So we went to the officials and say “Can Stephan run instead of” and they said “Yeah no worries” then it was time for me to run and I ran the 400 meters and as I got to the finishing line, all the big boards, they forgot to change her name to my name so on the boards was saying “New Swiss record, New female Swiss record” and she was trying to hide in a hole somewhere and everybody came over to her and congratulated her and they’re like “Oh my god! We had no idea! Where do you train? This is amazing” Yes, so for a short while I’ve been the fastest female runner in Switzerland. There you go.

Brent: That is so funny! Oh wow! Oh that’s awesome, Stephan! I love it!

Stephan: And I still got the T-shirt to prove that we actually did get that world record. There you go!

Brent: Well done, well done! You must be a fast runner anyway.

Stephan: Not anymore. That’s like many, many moons ago when the earth was cooling down, you know?

Brent: Okay yeah, before global warming.

Stephan: Yes.

Understanding the Concept

Brent: Alright, Stephan let’s jump into your images that you’ve got today. So inspire us with some of these amazing portraits of yours. So which one do we jump into first? Do we do the dance images first?

Stephan: As you like…

Brent: Yeah let’s do the dance first. So we’ll go to the one with the black background and the red material.

Stephan: The flame, yes! I love this image for many, many reasons because for so many years I’ve been taking pictures of dancers but at some point you try to create something new and I’m fascinated when you can create something in camera without going too crazy into photoshop. Now there’s absolutely nothing wrong with photoshop and of course every professional photographers uses it but if I can create something in camera, then I feel extra proud. There’s sort of a self high five moments when you’ve got it and there’s not much needed after and I wanted to create something that creates kind of this candle feel, this flame with the dancer. It’s difficult to find amazing dancers here in Australia that are mature enough to understand the concept. I mean there’s many, many ballet schools and dance schools but you will never take a kid and tell them to post anything nude or anything like that so you need professional dancers that understands the concept and I’m just lucky enough to be married to an owner of a ballet academy and this woman in this shot has been a professional dancer before and has just started teaching for my wife and she walked into the studio and I looked at her and I go “Oh my god, I’m so going to ask you to take some pictures” because she just stopped dancing as a professional classical ballet dancer and she is incredibly good but she’s also now at the point where she teaches. Still very, very young but understands concepts so I explained to her what we want to do and we spent I don’t know, six hours? Not on this shot alone but on many, many other photos as well. But on this shot I don’t know how many times she had to throw that fabric until it actually created the flame. We have tons and tons and tons of photos which the public will never see. It will never appear anywhere and that way you know.The typical pretend we’re awesome but it’s trial and error. so there was a little trial and error but that’s the final shot and I just love it because it gives that hint of nudity without being vulgar or showing anything. So you just see a little bit of awesome curve there and the rest is up to the imagination and having that fabric creating that flame so yeah, love that shot!

Brent: That’s amazing. It looks like you were using room lighting there. You’ve got 2 lights behind her and either side of her body?

Stephan: Yes, there’s two strip boxes on left and right and they’re slightly on different settings just to make sure that we don’t lose dimension because I don’t want it to become flat but at the same time of course if you want to have that kind of “flamish” feel you know, the light has to flick her a little bit in that fabric and there were questions online afterwards you know, why didn’t you… You know, if you have that base why didn’t you push it more towards Photoshop and create it more kind of flamy but see that’s the art of photography. That’s my taste, I like it polished but I like it real, so to still feel like a photographer and not just like retouching if that makes sense.

Brent: Yeah! That image, Stephan is amazing! Alright, let’s jump to the next one that you have there. That’s the… Is this the same model in the fabric?

Stephan: No.

Brent: Okay.

Stephan: No. That’s a different model dancer. This is Megan. She has been a professional dancer. She worked for the Moulin Rouge in Paris for awhile and I met her through my wife as well. So which is kind of a safe bet if you want to do any nude photography, just make sure that your wife is somewhat involved because it’s a good plan to stay married in the long run. You know sometimes people have the wrong ideas. Now the interest, I mean first of all, because she was working in Moulin Rouge she doesn’t care to take her clothes off but of course she still wants it classy and stylish so the trick here was to find the perfect angle where it gives that appearance that she’s nude but you don’t see anything. You know, it’s just a subtle and sometimes it’s just a centimeter of the upper body turning more or less till when you see too much or not. So that was the gentle defining that perfect angle where you nearly but not really. When the ordinary blog from the street go and say “Why didn’t you turn the camera a little bit?” Like no honey that’s where it’s meant to be. The interesting thing about this shot is and I’m really sorry to kill any illusions here is I have this big canvas hanging in the studio and people see where the canvas or where the frame stops. What I see in my head is about one and a half meters further towards the left. That’s where the frame in my head ends because reality is there was a big bunnings leather standing there and on top was my wife trying not to fall down. She was standing up there just outside of the frame holding the fabric and then Megan and her did their counting so they started to create the wave and they were counting 1…2…3… and then Amanda my wife quickly takes her hand out of the frame and Megan steps into it when they think they have the right wave and that’s the frame.

Brent: Oh wow!

A lot of Trial and Error

Stephan: We’ve done that so many times and I was so much more worried that my wife would fall down because she was tippy toeing up there because otherwise, the only other way to get that wave is somehow be extremely lucky, use some crazy wind machines or fake it in Photoshop but in this case that’s what in my head what the frame looks like. I was more worried about my wife not falling down than the photo of this nude beautiful dancer. So that’s why this photo is kind of interesting to me because all people see is the final product. Of course being in the production, on the set what I see is my worry and there was two or three times. She was close! She was like balancing up there and yeah and the other little detail which people don’t see of course is that Megan actually has to toe on the fabric because we’ve tried it several times and every single time the fabric slipped and then we didn’t get that so in the end we just said “Oh you know what? Bugger it! Just put your toe on it” and now it’s not perfect but I think that’s the little detail that if I could do it again I’d probably still try to not have her stand on it but it was kind of the last minute after trying for an hour and it just didn’t fall right so I said “Just put your toe on it”.

Brent: Well, that’s an amazing image, Stephan! I love it! I’ve seen it before, you’ve posted it online before and I think this is maybe the image that got me following you because it’s just so amazing! I love it because I know how difficult it is to create. I’ve tried to create this with dancers in my studio too and the fabric and a dancer and the lighting having them at the peak of their pose you know? With their heads back there and their fingers right, toes pointed, I mean everything has to be perfect and then one split second to capture that all in one frame it’s so difficult so I mean, you’re a master when it comes to these kind of images.

Stephan: I’ve had a lot of trial and error. Let’s be honest here. I am in a very lucky position though. You know, being married to a former professional classical dancer, when I started taking pictures of dancers I had very little idea of what I was doing. I was more fascinated by the beauty of it but I didn’t know anything technically and then for a very long time I had her on my side to tell me what technically isn’t incorrect because especially with ballet, if you’ve never done it yourself and as you can see I’m not quite the ballerina, you don’t know what they are looking for because I look steadily, visually but they of course look in other terms. They look in terms of turnout and position and line and all of these things and they train day in, day out to make it perfect. Things that I don’t see, by now after 20 years I do see them, I do understand, I know what all those French words actually mean but when you start I had no idea. So I think this is a very important note to all those who would like to do any kind of specialized photography be it dance or be it a certain sports or whatever, learn as much about what you’re going to do as you can because the more you can understand it, the more likely you will produce the end result that will not just make you happy as a photographer but them who will look at it from a technical point of view.

Brent: That’s a great tip. Yeah for sure. Awesome Stephan so we’ve got a couple more here. Let’s run through them. They are amazing. Let’s go to the girl with the shoal over her head. The dark girl with the red shoal.

Stephan: The most beautiful Vet in the world, yes!

Not just Inspirational but I do what I Love

Brent: Oh yes? So, tell me about this image. Why did you choose this one as one of your inspiration images?

Stephan: I wouldn’t call my photography inspirational. I just do what I love and if that inspires other people, yay! That’s why you’re wearing red today or orange or whatever

Brent: Yeah!

Stephan: So, this shot is special to me because it shows that not only top models can look like a million bucks. People always have that weird idea that to create those amazing images, you have to work with top models, you have to be in an amazing locations and this, that and the other. This girl is a very, very smart woman that is not a model. She’s a Vet. A Professional vet. She has this amazing skin tone and we tried to match it with a color that makes it even more fiery and even makes her complexion look even more vibrant and it’s tricky to photograph a dark skinned girl in a black background so using that color of course helped me get her off of the background a little bit rather than having the black hair sort of disappear on the black background. So in terms of picking the color when you think about it I was cheating a little bit to get her a little bit off the black but maybe it’s also a good little hint that the white eagle in the white sky is really hard to photograph so maybe you’ll have to wrap it somehow or frame it somehow to give that separation but that’s purely technical. I think what makes that photo for me is that she looks straight to you. She looks right into you and I guess that’s what I tried to achieve with all my photos. Not the dance photos of course but all my portraits. I want either the model to look into the distance, into the future, into thinking about the awesome afternoon that she’s going to spend with her boyfriend and or whatever positive beautiful it is but if they look at me, I want them to look straight through me. I want them to not contact me on my eyes but on my soul. They have to look at me and know me and at the same time of course I’ll drop my guard and I go “Look, okay honey, I’m here. What do you want?” “Everything but the credit card” right? So getting this from a trained model is not that difficult because they know the gaze, they know the angle and everything but doing so with people that are not trained can sometimes be a little bit more tricky and I believe that’s one of my strong points if I may say so because I believe I can make anybody pretty much a little bit more extraordinary and I guess it comes with the fact that we don’t take ourselves very seriously. I mean we shot like maybe for 2 hours. The amount of jokes and bad jokes and really bad jokes and extremely bad jokes and cracking up and laughing, we had so many frames that were so shaky, were blurry because I was cracking up and I couldn’t hold my camera still and then she was laughing and then having that one shot where just everything comes together and she is just… She looks like a multi-million dollar superstar.

Brent: She does. Yeah!

Stephan: And seconds before she had the little lines because she was laughing so hard, in those two hours we created really great connection that you know, we still keep in contact and say “Hey how are you going?”, “How is your job?”, “Did you save a kangaroo today” and like you know, like normal life and she came back and she said “Oh my god, is this me?’, “Is that me?” “I want it like this big”, so that for me is the biggest compliment I can get because you know these days we throw our pictures out on Facebook on Google and everywhere and there’s people liking them and everything but it means very little. But if someone who doesn’t usually see themselves like that or someone with not the strongest self esteem, they come back and say “Oh my god I love it!”, “Is that me?” That is so powerful and so beautiful that I don’t think you can put a value to it and in comparison, those likes means absolutely nothing.

Brent: For sure and I totally agree there with you, Stephan and I think us photographers maybe we undervalue what we are actually doing, service we are providing. It’s not so much creating images, it’s the emotional response we give these people especially when you’re photographing a woman and models, what are we doing for models that are under 18? Basically we’re giving them confidence to look at themselves and say “Hey you know what? I don’t look so bad. I’ve got hair and makeup, right lighting, the right pose and the right photographer directing me you know? I’m as good looking as any magazine cover model out there So I think what us photographers do and I am sure a lot of us undervalue that.

I’m an Overprotective Dad

Stephan: Yeah, I’m careful with the under 18 comment though because a lot of my images have a little bit of or I don’t want say sexual but sensual undertone you know? For me, a young woman has to be 18 plus. I am very, very careful with under aged photography. For me, anything that is under 18. It’s just my personal choice. Anybody can do what they want but whenever someone is minor, they go into two categories for me. Either it’s a fashion catalogue for kids’ fashion and then it’s fun, bubbly, running around with colored lollipops and jumping around or it is in the category of where the parents would love a gorgeous portrait of their children, something that they usually cannot do themselves. Even though nowadays, everybody runs around with a camera, it’s still different because I’m the biggest child in the world, I’m sitting down with those kids and play Lego until they forget that there’s a camera involved. Mainly selfish because I just like to play a little bit but anyway so, that’s where I’m comfortable with. Anything else you know I have very often like 16, 17 year old models contact me and say can we do a portfolio shoot? I want to do this, that and the other and they send me bikini shots and I understand with 17 you’re fine with that. Me, I’m an overprotective dad okay? I have difficulties with that so I usually reject those and say call me when you’re of legal age because I don’t know maybe it’s just me but that’s where I draw the line for myself and I hope that when my daughter is that age I’m allowed to draw that line for her as well.

Brent: For sure! Definitely! No, I agree with you. I’ve photographed many girls from 13 to 17 because we had this model search for the company that I just sold my studio to. I sold my business and we do model search for under aged girls and I was always with someone on the set with me. A stylist or the mother or the brother or someone and just to give them the confidence but it definitely does give the girls at that age confidence when they learn how to pose when they got the right hair and makeup but I hear you about not photographing girls which is your choice and that’s great!

It’s a Team Effort

Brent: Awesome, Stephan let’s jump to the last one now. You’ve got so many great images. The one with the eyes and the mouth, it’s a black and white, it’s a high key image, you can’t actually see where the face ends in the white background. Tell me a little bit about this image.

Stephan: I guess this image represents pretty much what goes through most of my images. You feel like photography is quite an individual sport but really it’s a team sport and be it with a dancer shot of Megan where I said my wife was on the outside of the frame throwing the fabric. In most of my photos it is always a team effort and this photo here shows that you know, the makeup, the hair, the lighting, it’s such a huge part of photography. I guess it’s different if you’re out on the streets and you just snap away but as soon as you work on the slightly more polished productions it’s always a huge team effort and this photo for me represents exactly that with those amazing makeup I knew exactly want I wanted before an artist does this and it was actually the mother of the model who did the makeup because I was about to get the makeup artist in and she said “Well, my mom is a makeup artist” and I’m like, “Oh crap”. Because generally when people say “I’m a makeup artist” you have idea what walks through the studio.. I would much rather work with the trusted people that I know that could pull it off but I thought “You know what? It’s okay let’s give in”. So she walked in absolutely gorgeous young woman and super funny mom and I didn’t know what to expect so I explained what I wanted and I said “Look, I wanted the feeling of a photo turned into a negative but still with the eyes and the mouth and the shadows correct.” So she just looked at me a little bit bedazzled. I said, well if you take a photo shot on black and you invert it then of course it becomes all white however, of course with the eye liners, the eyelashes, the lips and everything will become white as well but that’s not what I want. I want all the features to be correct but everything else reversed and she said “Okay. Got it.” Two hours later she walked up to me and I’m like wow! That mother has lined up every single eyelash to be perfect and the other thing is I wanted it symmetrical except for the shadows that fall towards the left of the frame, everything else make sure that the eyelashes, the lips and everything is like a mirror. She spent so much time in getting this makeup right. When she stood in front of the camera the only thing I needed to do is to turn it into black and white. She was very pale makeup, very pale makeup to create this effect right? Very, very perfect makeup and gorgeous woman and a little bit I had to do photoshop but it was actually surprisingly little and that I think surprises a lot of people but for me it underlines that once in awhile you just have to trust your instinct and say “Okay bring your mom in and give her a go” instead of just saying no because we professionals sometimes have this stupid idea of “Our way or the highway” and I think sometimes you have to take chances and give people a go and so I’m so happy I did instead of insisting on my own makeup artist. She did a brilliant job, they had fun, they connected like only mother and daughter can and I guess the model was also happy to sit there for two hours to get it perfect. I think with the makeup artist she would have gotten itchy at some point but the mom is allowed to tell her off and say “Hold still it’s not perfect yet” so it was amazing dynamics and the final result is just so alien but so perfect. For me it’s the team spirit here that makes that photo. And maybe I guess being able to visualize before you shoot what you actually want so you can communicate with people and say “Look, I want to create this alien negative symmetry portrait” and if you know that beforehand you also know what you’re working towards it so it’s not… I don’t know how you call it… It shouldn’t be a surprise at the end and woaw!

Brent: You’ve taken your vision and you’ve communicated it with the people involved and if you communicate it right they buying into your vision and you get this final result. It’s just incredible, Stephan I love it! So, my question for you is what color were her lips then and the rest of the makeup?

Stephan: Nearly black. They were dark purple and eye liner, eye shadow and everything was very, very dark gray and purple so it’s nearly black and there was very little to actually change.

Brent: Okay and it looks like she’s got obviously false eyelashes on the top and yeah just incredible. I see you’re using one… Looks like a beauty dish in the reflection in her eyes or maybe a round…

Stephan: Yeah it’s an octa bank and I pushed relatively close. I have different sizes of modifies but what I’ve done is for all of my modifiers be it normal square, softboxes or be it an octa or whatever, I have someone so round diffusers so that even if I use a one by one softbox I still get a perfectly matched round in the eyes because that’s one of the problems I had personally is when you look at a female form, everything is rounded and it’s balanced and it is beautiful. There’s nothing square unless you put glasses unto them so why would we then produce a square box in the eyes because of a soft box? Keep it round. We look for the shapes, we look for the poses, we tell models to drop one shoulder, create the S curve, create curves and lines and everything with a female has to be smooth and then we put that square box in the eyes? That makes no sense!

Brent: That’s a good tip there really! I think the reason it’s there is probably because of the windows you know like seeing someone with a window catch light in there. A square catch light in the eye but I agree not that you’ve actually brought it up I’ve never actually thought of that before, Stephan that’s amazing, round and round catch light. I like it! Awesome, Stephan!

If Stephan can Look like a Dork, I Can Look like a Dork

Brent: Is there something else you can teach us in the create section of have you already done that?

Stephan: I don’t know. When I teach workshops, I always get the photographers in front of the camera and they feel really, really, really annoyed and I’ll say “Okay, I need some volunteers, you and you” so they don’t really have much choice but I want to give them the feeling of being vulnerable and being in front of the camera and how weird it feels to produce. And I think this is something that we photographers should do in a regular basis and I’m not talking about selfies. I’m talking about in front of the mirror or in front of other photographers. Because if you cannot understand how someone feels in front of you, how can you be in a team? Because I always tell everybody that I’ve photographed professional or not I’d say “Look, we are here to produce something awesome for you. You are here for a reason. You are here mainly because you look fine that’s why you’re in front of the camera and not behind. So, you do what you do and I’ll help you as much as I can but at the end of the day if the photo doesn’t turn out I’m the one to blame because you’re already beautiful as you are. If I don’t capture it, what’s my mistake?” But I need now to help them. So, I need to give them that confidence that we do this together, we are in it together but now I also have to be able to help them. So, if I see that they’re stuck or they don’t know what to do or how to stand, how can I be helpful if I can’t do it myself? I have absolutely no problem in the shoot to look like the stupidest clown on the planet then say to the subject “You know what, stand behind the camera and pretend to be a photographer for a second and I’ll show yo”u and you know I stand there and I rip poses and play with my non existing hair and look like an absolute dork but not only everybody on set has a good laugh and then I forbid them to use any behind the scene footage.But you know then the one model would say “Okay, if Stephan can look like a dork, I can look like a dork” and the ice is broken now. So, this is something I think is so important. Put yourself into those shoes. Same with ballet, talk to people who know about ballet. You want to go and photograph tennis? Pick an amateur tournament before you go to the grand slam. Learn about what you do. Make sure that if you can hold a racket and if you can hold a few balls and you can anticipate where the next ball goes or you can show the model what the next pose is or show a model how to be more flattering or she wears a wedding dress and she’s already a little bit oversized and the wedding dress is white and there’s sunlight and that bum becomes bigger and bigger and bigger and bigger just by light reflecting and eyes guided to the lightest spot, the more we do all of these things we start to realize how much we can slim down somebody or bulk up a boxer or soften long nose or heighten eye lines or all of those things by posing, by lighting, by understanding highlights next to shadows and all these little technical things and then put them all into a verbal conversation with the models so it never feels like teaching. It just feels like fun and awesome.But at the end of the day they look at it and they’re like “Look at me” but they had to pick white dress and it was really, really bright and you shoot from low because they’re a little bit short and they want to be taller but of course the bum is now closer to the camera it becomes even bigger so you stand there and show them the S curve and back them away and everything, at the end of the day you make them happy and they’ll look at it and go “I love it!” and they don’t understand all those little technical things but they’re all there.

Brent: Yeah awesome! Well, thank you Stephan! That’s some great tips over there. I like that you’ve put it about a dozen really…

Stephan: Oh I’m sorry about that.

Brent: No it’s great I love it! You’re just full of info. You’re just giving us all these stuff so thank you so much for being in the Share, Inspire, Create show and we’ll have all the links to your website and everything you’re workshops in the show notes and I’ll catch you next time in the Gold Coast.

Stephan: Absolutely! We have to catch up on that beer. It’s long overdue.

Brent: And when you’re down here I’ll do the same thing..

Stephan: Absolutely.

Brent: Man, He’s an absolute master at photographing those dancers I love his work.

Johny: Yeah they’re just beautiful, Man! You know what I love is that he just get so much right in the camera and again there’s nothing wrong with Photoshop, I use it a lot every other day but man, just getting so much perfection in the camera. It’s just, Man!

Brent: And all the time that actually goes into creating those images and you actually don’t realize that. Like his wife holding that fabric, just crazy and I love the way he’s taken that image. He’s taken that face and done the negative, positive symmetry thing with the makeup with like wow just for one image all that work? Man!

Johny: Yeah that’s crazy Man! Well, awesome epic show.

Brent: What about the fastest female 400 meters?

Johny: That’s a classic there. It’s hilarious!

Brent: I like him!

Johny: Yeah I like him too, Man!

Brent: Stephan next time we’re going to go out for a beer.

Johny: Cool man, it’s been another epic show and Guys as always don’t forget to check out our free courses. Get them while they’re hot, man. People are loving them and I’m so passionate about it. It’s great Man!

Brent: Awesome and just so you Guys know, Stephan is a part of the archenemy so if you want him to be your master click the link above or below or wherever it is. Awesome, Guys, we’ll catch you next week.

Johny: Yeah take it easy!

Brent and Johny: Bye!

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