90-Day Study Photographic Results
by Ashley Black
We are so excited to FINALLY bring you these photographs from our 90-day study in Tampa, Florida! Please click here for a summary of the study and our findings!
One topic regularly brought up by both current and potential FasciaBlasters is that of getting quality before and after pictures. At home, it is almost impossible to achieve the exact same lighting and angle. This article will explain the process of the controlled lighting, angles, and photography used to document the visual results of our research.
During the 90-day study, the 35 subjects followed an at-home FasciaBlasting program, and no diet was prescribed in order to show the direct results of the FasciaBlaster on the reduction of cellulite. We identified additional benefits of the FasciaBlaster including an initial increase in resting metabolic rate (RMR), decrease in subcutaneous fat, and reduction in inflammation.
Photographic assessments of each subject were taken at baseline (Day 0), and Day 90. More information on the controlled photoshoot is available at the end of this article.
The at-home FasciaBlasting protocols were designed to reduce cellulite on the thighs. Subjects were instructed to heat up in a personal sauna provided to them for a minimum of 20 minutes before each FasciaBlasting session. Each subject was then required to use Ashley Black’s “Blaster Oil” and spend 20 minutes FasciaBlasting the front and back of each leg for a total of 40 minutes, plus 5 minutes on the abdominals. The protocol was to FasciaBlast a total of 5 days per week, with 2 days on, and 1 day off. The subjects were allowed to FasciaBlast any other areas of their body at their discretion.
The “After Blaster” cream was then used to flush the areas they treated for 30-60 seconds per zone, followed by isometric activation exercises for the quadriceps and hamstrings (15 repetitions with 10-second holds) immediately after their FasciaBlaster sessions.
The following images are the before and after pictures taken at Day 0 and Day 90 of the study.
The following specifications were used for BOTH shoots to capture accurate and consistent photographs and the same setup and specifications were used at each testing time period as the original photographs, from camera setting to light positioning down to the inch.
Lighting: Kino Flow lighting with daylight bulbs as well as the white paper used for the background. Kelvin temperature of the lighting was 5500k.
Camera: Canon 7d with Canon 24-70L shooting 37mm.
– Manual, 5500k
– Shutter 100
– 4.0f up to 5.6f depending on skin tone
– ISO 320
Camera Specifications/Positioning: Camera was placed on a tripod lens 29″ off the ground. Distance from camera to the subject was 6′ measured at sensor. 4×4 kino right and left of cyc paper with a grate in cut off of the subject, only hitting cyc behind the subject to limit shadowing from subject on cyc. 4×4 Kino’s sitting on the ground all daylight. Camera right Kino diva 67″ off ground to ballast horizontal. 5′ from subject to Kino. Camera left diva 54″ vertical and neither have diffusion or grate. 5.5′ from light to subject at slight angle.
The FasciaBlaster after stills used the same Kino Flow Lighting at the same exact heights and distances from subjects as the original shoot. There was absolutely no additional lighting brought in for the “after” shoot.
The slight color change on the white cyc background comes from a white balance being done on the cyc while the house lights were on. When we started shooting the house lights were turned off to mimic the “before” shoot, and the background color change wasn’t noticed until looking at the photos side by side after the shoot on a computer.
With that being said, most professional shoots (regardless if it’s still photos or video) go through a color matching process in post-production. This is industry standard. The FasciaBlaster stills did not, and are instead direct and raw and without any post-production editing. The lighting on the participants matched within millimeters of measurements taken on the initial shoot day, and the camera was at the same height and distance as well. Slight variations in skin tones and clothing are only due to the participant’s time in the sun or clothing being in a pool or being washed. That is out of the control of any photographer, but we do our best to make any “before and after” shoots match.
The following photos are the setup for the photoshoot.
For More Information on the Findings from our Research Please See: