21 Point Posing System Recap


Wedding Photography Problems and Solutions


Lesson Info

21 Point Posing System Recap

I wanted to do a quick recap of the twenty one points from yesterday just to kind of get everybody warmed up against us we're going to be hitting them so much on dh let's start with this one now by the way there are twenty one points I think there was some confusion about sixteen or seventeen there's twenty one I can assure you I can assure you I developed it the first one. He's quick! I'm gonna go through these pretty quickly so we can move on. But the first one wants about developing keeping the spine straight whether you're sitting leaning down or standing up you never want to give up on that spine being straight you gotta keep an eye on that. Keep on eye on that's fine all the time if you want to lose haif because one one percent is taller than the other you do not lose haif by hunting the back, you lose height by separating the legs, getting further away from the person and then tilt in the head. Okay, the second one was positioning the heads by tilting and not by slouching, which...

is what I really discussed on I don't know if you guys noticed when I was posing the group's when I said to magnetize the head stores each other that man is icing the heads gives you a warmer feel to the photograph and I also want to show you the photos we took yesterday I actually have him ready to go and you can see how we went from problem to solution in that room the third one is about minimizing, not avoiding not killing just minimizing or being aware ofthe ninety degree angles in the joints that includes the knees, the elbows, the fingers, the wrists everything should you should probably avoid ninety degree angles does not mean that none of the gringos are bad and you should never do them not at all it means I do not in agreeing goes to as long as the arm is resting on something that ninety degree angle works fine but if the arm is being self sufficient or it's carrying itself or the legs are caring themselves like if I was standing like this which people do when they get nervous that's not gonna work if you have to have a ninety degree angle make sure that that part of the body is resting on something it could be resting when another person you could be resting on it on the stool and make another degree angle there. But if you want to make it more finesse and you're gonna get that smooth natural look maybe just grab that leg and maybe just bring it back a little bit okay? Um the fourth one wass about the finger so often in the fingers of course you know, we don't know about this, but in the midst of posting and in the midst of pressure we may forget one or two a beautiful pose with a beautiful expression with fingers that I looked like a claw kind of root puts a damper on the whole thing so that's another one to remember soft and in the fingers I also said yesterday if you make a fist and then you let go of your fist that is the most beautiful where you can post a hand with your girl or a guy and if you bring that hand and you bring it towards you and then you bring it towards if you're a girl, it looks beautiful, so you're gonna just keep that raced soft in the hand and then just post that way that way when they're acting funny, you know how to bring it back, you tell the person faced relax, put it back, okay? The fifth one was about giving the hands something to dio if imagine if I'm standing here and imposing on being post and I'm just with my arms like this, how does that look to you? It's pretty bad, but if you hand if your hands are doing something, your legs are shifting the body weight you start to look a loser so that's a nice that's, a nice one this is a big one people don't really notice the origin of the hands must be visible if you see fingers coming out on your photograph in from an angle that you don't see the wrist or you don't see where the singers come from you're gonna have a major distraction people when they see the photo they see fingers coming out it's like well what's that where does that come from and it takes away from the person's eyes the next one is having near equal ratio in the bodies this is only for couples by the way in other words if you show the whole that the body of the whole guy like the whole width of the guy and then you only show five percent of the girl it makes the guy look a lot bigger and it kind of makes you look awkward looks like the girl's barely existed if you put a girl first on you show the whole width of the girl but you only show five percent or ten percent of the guy looks really strange you want to turn your angle so you can see more of the body and you have more of an equal ratio the girl's body should be about this much on the guy's body should be about equal doesn't have to be perfectly equal of course not just has to be somewhat similar okay number eight is the color bones should be at an angle on ly if you wanna soft in the post if you want a strong striking spur post then you keep the collarbones directed towards the camera on yesterday when people were asking me about the problems that we're having with wedding parties and posting groups I think we we actually solved about three hundred problems yesterday not one hundred but one of the problems wass creating alternating v shapes remember with a color bones so if you have one person facing this way the other person's facing this way that makes an open vee then you close the v then you open the and you close to the end if you start to get into a pattern you break one of those so he breaks the pattern makes him more visually appealing of course we have to shift the body weight we always remember that shift the body weight do you have to always shift the body weight know ifyou're doing symmetrical posts you don't shift the body away because then that would be symmetrical so you have to keep it if you want to do a strong post you could keep it symmetrical you don't shift party wait if you want to make a look relaxed natural candid then you do shift the body weight number ten west creating gaps against wells right david and that means if you are posting somebody against the wall you want actually you arch your back that gives you better posture that lower back becomes six year becomes you can see light coming through the back and it looks a lot more pleasing to the eye then having just this big block of war with a plug of a person and they're all smashed together. Very you know, this is not easy, right? We have to work on this because you have twenty one points to remember when you're posting people. The number eleven is one hand higher than the other. Avoid mirroring, right? If you have that two hands are on the guy's shoulder and find the girl and I'm hugging the guy on my hands are like mirroring each other. It looks too posting posey. But if you put the girl's hand over the underneath the guy's armpit or something on your caresses head, on the other hand is on his jacket. It looks so much better because this is natural. This is beautiful. This is like awkward. I'm posing for the photographer. Okay, symmetrical posting. I talked about it. This is to create a strong single person posts so we can just move on from there. The three point check single person finesse is when you want to strengthen the body was stuffed in the face or strength in the face and soft in the body how do you do that? If you turned your collarbones towards the camera you're strengthening the body but if you turn your change away from the camera you're soft and in the face if you turn that chain and the ice towards the camera but the color bones are not then you're strengthening the face big time and you're soft in the body so you have to make decisions when you're posting what do you want to achieve don't just maybe now just start deposing and creating as your posting maybe tried to have an idea we talked about it yesterday trying to have an idea of what you kind of want and then start to post it will go a lot faster than if you're kind of coming up with a b s as you're posting your clients plus if it doesn't work you look like you're not you don't know what you're doing and if you start saying yeah that's not really working right now is it? You look kinda weird you know? So I I'm big on that because we call ourselves professional photographers that should be our expertise that's what we do if you ask my wife's an engineer if you ask her to do some crazy engineering things you should know how to do it if you ask a photographer who photographs people how do you post people issued a second nature to us is what we do placement of subjects must be self explanatory unbelievable you know those photos where you have the two, the two, like the bride and the groom, or you have random people, but there is no explanation off why they're there, like, for example, when you have the bride in the front and the guy's kind of chicken around from the back and it's kind of out of focus, and you're kind of crossing his arms if he's checking her out, why is he not with her? Like, why is he not closer if you want to separate them? That's totally cool. I do that all the time, but create motion or do something that explains, oh, maybe he's just walking by and the girl just happens to be sitting there. Create some sort ofthe believable position for each person in your photograph. If there's no reason for them to be there, your brain will reject that we'll be like why they're there? Why? See that so number fifteen is the importance of posting the ice. And I also broke down the eyes into three different sections. The first section wass where is the pupil? Look where's, the iris or where's? The iris pointing at remember the second one is how much of the white of the eye ball is showing up in your photographs. In in, in relation to the iris like, do you have the ghost white eye? Or are you having? Are you bringing the iris back so you can get a nice ratio of iris with white eye ball? I say that because I said so many photos where the bride is looking at the wrong direction, and you're photographing her from here and she's looking that way, I now you have this beautiful person with this scary, like, possessed ghost looking eyes and it's very strange on this number sixteen is one of the more popular ones, which is the invisible plane angle check, and that means whatever angle your lands is pointing at, you try to make sure that the eyes are the first thing that that lends hits. If that something was to come out of that lens, you tried to make sure that that lands hits the ice first, you will never be ableto always get that. So I always say, minimize the distance from wherever that lens hits on the eye, you can do that by bringing the body forward. You can do that by changing your angle. You can do that by lowering somebody's elbow, so they're not sticking out, and the camera comes coming from there there's so many ways to make sure yesterday, when we were doing the I think he was way had the bridal party, I think us where she was hugging someone and her elbow was sticking out or something and I was shooting them from that angle a pointed towards the camera if you're shooting it from your angle with your watching online and you see my elbow like this and I'm hugging someone, this is the you're taking a picture of somebody's elbow you were no longer prioritising their face, but if you just grab that and when you bring it down, you now get back into the face. So this is actually important when you have a person sitting down because then the stick out so important to remember number seventeen is that the face should be the brightest if you have a neutral even photograph on the person's face is the same exact light level as the body you're not really giving the face importance you're just going to saying it's equally important does everything else you should in fashion you, khun brighten the clothes and the face could be a little darker, but if you're shooting anything else, the face should probably the private's part okay number eighteen was the nose x factors they're no sex factors is to remove cheddar cheese or swiss cheese out of your photographs we all often do, but not in our photographs do you guys like fun doing your photograph? No when you have the girl and the guy and they're hugging and they're both looking into their future and they're both looking in the same direction your guy like fondue party going on massive fondue party going on you have enough cheese for a football game see what I'm saying so by turning their heads ever so slightly you create a more romantic more candid look very important to remember that number nineteen is subject emphasis three ways to create subject emphasise one is through light make the person the brightest part of the scene the second one is through size make the person take up the majority of the frame on lee should doing like a landscape incorporating a landscape on number three make sure that your subject is indeed in focus sounds obvious but actually if you're photographing someone and if I'm if that's the camera and you're photographing someone and this is the first eye that camera hits this I should be the one in focus not the other eye sometimes when we're shooting with two point all insist like eighty five was shooting with yesterday it's easy to think oh it's okay I'll just for I'll just no matter what I was good enough but it's not because if you fall if you get this one out of focus this is the first one that person sees when they're looking at your photograph on you invite people to see a blurry eyeball first now having blurry photos it's not always a bad thing you know so that's like a cool feeling off mood and on motion nothing is bad I'm saying when the ice clearly out of focus, right? So that's not a good thing nineteen number twenty is be specific when you're posting instead of telling them to look into their future or to look at their unborn children in the other person's eyes, you know so it's the way that it's right be specific look at the corner of that chair. Look at the corner of czech bring your knees towards that fireplace right there. Put your eyes right at the shoe laces off cecilia keep looking at the shoe laces no matter if you cry, no matter if you laugh, no matter if you tear up, no matter what happens, you do not remove your eyes from cecilia shoe laces and then it makes it awkward because when you're making them react emotionally but they can't, their eyes are fixed, they're not used to weigh and they're going to start laughing because it makes it all court again and last but not least, once you have everything done, you finally inject feeling expression on dh multiple points of interaction, which means I'll do that today if you have a bride and a groom and you have the leg touching the groom you have the head touching and you have the hands touching your three points of interaction if you only have one point totally okay, but if you have two points it makes both hands doing something and two points makes it look a lot more believable three points makes you look very romantic if you cannot three points to a post you can have a very intimate looking post okay, twenty one points guys that's it so for those of you who thought there was twelve or fourteen there's twenty one points of interaction um would you guys like to see the photos from yesterday? I am so excited to show you those turned out beautiful, beautiful let's see here and just so people know you posted these to your facebook page. Well correct, I did I went to my facebook page and I just gave people a quick preview because thiss photos are those are the results of problem solving yesterday we were problem solving the entire time so I wanted people to kind of see what came out at a problem solving okay um let's see, we can all see that we don't see that pretty well this is the photo this photo is when we have a problem when we start photographing the dress or the details but we don't add an element of photojournalism on dh then the photo has become static so the problem here wass you have a static photo off the dress that doesn't sell anybody that doesn't excite anybody it's just another photo of the dress a photo like this shows you the dress but it also shows you her interacting with something about herself if you're watching online remember to inject a sense of photojournalism and as many details as you possibly can you don't have to do it every time if you want to take a picture of the rings, you don't have to have them interacting but just keep in mind that if you trying to elevate yourself to a higher level you're gonna have to add a higher level of complexity to your photographs I picture of the dress anyone can take it this photo if you're watching online you can see the gaps between the between the hands you see that and remember how we talked about softening your hands I kept herself turning her hands her spinal cord is perfectly straight there is no she's, no slouching putting on her her on bracelets and this is what we call a semi silhouette situation I send my silhouette is like between a silhouette or not it's a very moody technique so pretty cool right? This one here is when you add a hint off her smile I don't know because remember I said I can use my a little bit I was focusing on her anyway that smile was going to be her reflection but because the smile is out of focus, it gives you more off mysterious look it's, like, you know more. Well, you're a stick. Is that the right word? Right? Sorry. Is that the right one with heuristic yesterday? I couldn't pronounce on yeah, pretty well. Remember, this one totally missed the focusing point. It's out of focus. I don't care. It could've been focused. This is a beautiful picture. Um, what? I wanted to show the people on the internet that opera line, the upper line off this photograph off the framing of the windows is exactly parallel to the top of my frame. So it keeps it keeps this from being a distraction. Imagine if this was tilted, like the whole thing was if I would've killed that the camera, that whole thing would be, like falling down. So you're looking at the foreign. You're kind of going like this, you see what I mean? Um, you see, her had a slightly turned to the right to kind of see that hint of her profile. These have the little details. You know, people say, I want to go to the next level in photography. I want to go to the next level, they say, so you get to the next level, those little details, those subtleties if you get to the next level there's the same subtle to hear when you see the smile in the mirror it's a subtlety it's a little poke to the brain how you didn't realize it but it's there you know um this wood has multiple reflections going on and it's quite an elegant picture in a beautiful again take a look at her hand interaction they could look how she's holding her shoes right take a look at she's turning her head to the left and you can see her expression here you can see her reflection for the third time there and it starts to look how beautifully framed everything is so if you're watching practically the whole room it's a one is one giant problem right? So you start to realize how can you create solutions to these problems on er you don't lessen their location where like you don't listen the double mirrors this mirror is right here on this mirror is the closet door that was in the other side of the room remember that remember the classes were full of mirrors so bye bye you don't listen the both mirrors you're actually solving I feel like rooms are like puzzles you have to kind of sitter and solve the puzzle that's when you walk into a room, try to scan the room and see where your opportunities I also um remember when I was taking this I had the photo done and then I took about a minute and I wasn't even saying anything, and I took about a minute to just look around the room and see if I can make it a little bit better kind of like what I did with ashley yesterday when I put her on the spot and she was totally like I was just going drilling remember that I was drilling myself in order to be able to capture something like this, so no remove this guy's cool, right? This is a photo where it's more abstracting nature is more it's, not obvious it's a picture off her details of her makeup picture of her earrings and picture of her of the detail of her dress do you have to show everything off? Course not show what you want if you were to see be selective in what you want your audience to see when you have a photo, what is the message that photos is relaying? Is the message look at everything I don't care everything's good. So what everyone or is the message is I'm a photographer. I'm going to be specific about what I want, what I want to show you my photographs in this photo, I want to show you her detail for dress, her beautiful earrings and her lips and that's what I'm going to show on that blue chair which was a problem for a lot of the other photos we have to keep moving it move it left moving right movie left for these photo we actually make that problem into a solution because we created a contrast can you see the twenty one points going on in this? Can you see how dark the back is? Arched can you give me more? Give me one. The collarbone is angled away from the camera and there's no ninety degree. Well, I mean, her hips kind of are but it's resting on the chair. Um um you know, it's funny, you know how you had to refer to it? You keep doing that for five minutes a day. I tell people this is not really that hard, but if you do do this for five minutes a day, you'll be surprised how quickly you start memorizing these is almost like, uh just become second nature to you. So there's, no way I'm asking is because if you spend five minutes yourself for five minutes out there in your house going through these and you kind of have your twenty one points and you can refer to it, it becomes second nature to you, so go ahead. Ah, okay, so also she her body weight is shifted back turned to the back hip it looks a little, um you see the three point, three point check here to see yeah, her collarbone is that we'll say, but her face is more towards the camera on her ice, but horizon show, but they're still so it's. A stronger, so soft body, strong face. Okay, very nice. Anything else? Her face is brighter than her body. It is. And there's also the nice big gaps that show up right on her spinal cord is totally straight. Right? Um, this are pretty crucial points, because without these, she could have slouched. You could have been, like, not interested on your photo goes out the window. So remember this guy's those where that little that was a little the little picture on the right. There was too little frames that were had a glass, a glass, what you call a classic cover or glass frame thing going on on, uh, when you put the camera angle close enough to the glass. Like if this is if this is a a picture or painting at a hotel room, which happens in all the hotel rooms, if you look at a perpendicular lee, you're going to get the reflection of what's happening on the other side, but if you put your camera parallel to it, I'm very close to it. You actually just see a beautiful reflection off and it doesn't show that anymore he just shows what's right next to it and it becomes like a meter instead of a reflection I mean just like a glass now remember in this photo I actually made an initial mistake with the lighting like I didn't move the the ice like very well and then when I had julia moved the ice like we corrected it and we may her face the brightest without introducing crazy shadows in the face this is a lot of variety in one room you know um let's take a look at this one remember this they were helping me out with that good time so this current was a problem at first but then we started using it as a solution right uh this silhouette create because of the diffuser is just white and the sun was coming through it's an idea you know what could what could have normally been a problem becomes the solution on becomes very cool photograph if you want to show your clients all these selections of photos so you're looking one single room you'll probably be well on your way to booking jobs okay, this is more of a beauty shot more fashion oriented in the lights a little bit harsher is a little more fun um not everything has to be soft I have lots of south photos I have this one I have this one, this one, they're all pretty romantic in nature, which is my style. This one has a little bit of a stronger field tow it so variety. Now, this one is when we started getting those reactions and killed in their heads and getting them to react and so forth band in the elbow a little bit, making an open v with a body and stuff like that. And then I made it a little more awkward, and I made him laugh and that's a little more fun, and then we put them all together and it creates interaction, or the arms are all in different places imagine if all the arms were like holding the girl's like one, two, three, four and you're like, and you're looking at the camera boring. So, like this girl's not even interested she's like the honey badger of the group, right? By the way, every time I do a photograph photograph of a group, I always think who is going to be the honey badger who's gonna be the one that don't care? You don't care? Have you guys seen that youtube video, honey, but you don't care o m g that was funny, I've been rolling with that video, so she's the honey badger of the group. They went in a couple of porters. I actually close to the window toe increase that intensity of light on his face because there was a problem with the lamps because the lamps were kind of a distraction. I actually balanced it with the two paintings on the right. So it gives you kind of like a frame for him. Does that make sense? If you have something, this is a major distraction. Toe a photograph, but there was no place for me to move on. What did I say about distractions? You khun balance them? If you can balance a distraction, you create a u turn a problem into a solution. Okay. And last but not least, that crazy wedding party shot that you guys didn't get a chance to see the interaction. Um, I'm actually gonna go over that interaction. Take a look at the photograph. That's pretty fun. That's a good group shot everybody. I have to work on this guy quite a bit because this guy was kind of sitting like this. He was just going to sit in with his knees like this. And he was kind of tight if he wasn't sure what to do. So I told him to put one foot in front of the other, so it loosens them up. This is part of the twenty one points about avoid mirroring if you have the two feet like this that's me a ring if you can go like that you avoid the mentoring look how everybody everybody's feet is doing something different nobody has their feet together look at the gaps in everybody on dh this girl's obviously laughing we have two hundred badgers in the group we have this guy on the right he's the honey badger he's the one that don't care and then we have this girl who I really enjoyed actually photographing she was really fun she was just like turning and doing whatever she was when she was looking at the camera I was telling you guys I was telling my students actually yesterday when you're posting a group like this the reason why I didn't have these guy and this girl looking at each other is because they're too close to each other and their fire away from the center of attention in order to bring the attention back to the breading room is best if the people that are far away from the bride and groom are actually looking at people opposite completely opposite of them so basically you went this line of interaction to be this girl is looking at the door frame all the way across the room this guy's looking at the camera this guy's looking all the way across the room as well it creates this like access or the cross and went there crossing you basically get to the bride and groom you center them okay if this if these two guys if this current this guy we're looking at each other you create you create like a little centre of universe here instead of crossing the center so you can concentrate on the bridegroom a tion I also told the groom to point his forehead towards her and to keep looking at her collarbone because that's funny and has an awkward request and I told her to keep looking at his knee and I said no matter what happens even if you're yelling or screaming or crying you keep looking at that me and that's why she staring at it she looked shy he's looking so it looks like they're having like, a little moment I also want to mention how symmetrical everything else is here so you have symmetry here and you have all these broken patterns in the bottom um so that is that any questions you guys on these at all? I have one roberta on the silhouetted photo that we did with her putting her lipstick on I was thinking this morning do you think that would look better if we had her fingers pointed instead of in a fifth shape? Um I think if she was she's actually holding it the way you normally would hold it it would have been probably a little smoother if her fingers were soft and and she would have hold it with her thumb in her middle finger. That way you can see your fingers, so yeah, well, we have some questions from the internet. Okay, there they're just they're questions that I've just come up. Not necessarily specific to these pictures. Um, question from pro photographer from california. How do you respond to subjects who constantly give suggestions to you? Propose is particularly when the poses aren't strong ones. Yeah, I know. Right. That's actually a great question. As soon as guests go to another wedding. Like if they go to a wedding three months before they go to your wedding or two weeks before there's not only for photography experts right there. Oh, no. I know exactly what to do. Oh, uh, you know, I know that if you if you do this and that is gonna look really awesome because you think I did it and it was awesome, and you're just like, and the thing is, what I want to do is not what I should do, right? What I want to do is write it's like polly sister or brother, right, but what I do is try toe, do the pose that they ask you to do and say, you know I can do that if you don't want to if you don't have time, so let me do that in a minute I have to get through this photo first, but it's best to be on the side of the wedding party is best to be on the side of the door of the bride and the groom and the maid of honor. People tell me this all the time if if you have the cake off the wedding at the reception, if it's not in the right place and you're like, oh, this is not in the right place, I'm an awesome photographer, I have to have it in the best place possible let's move the whole cake to meet us. Too much risk for the reward. You know, if the wedding coordinator has a problem with you moving the cake and you're like, oh, I'm moving the cake you getting into a battle with wedding coordinators you getting into about always brighter, bright mates, it's absolutely not worth look it's, just another wedding, right? Like do your best job, I didn't go home and eat some cake and have have a nice drink who cares if you had to take two or three photos that you normally wouldn't take who cares? I think that the day you want to give your clients the best experience possible and if you're too good for them or they think like that, you're going to basically turned them off from you. So I've had people even at this stage in my career, I've had people ask me, what do you do when, um, the bridal party asked you to do a jumping charlene stuff? I'm like, are you kidding me? I'm still doing the jumping shot after all these years. But when somebody comes up means like, can we do a jumping shot? I'm not only god, that is such a good idea. That would be so much fun. Okay, everybody, this job, you know? Yeah, let's do it. But, you know, you make him feel good. They're like, oh, it is, yeah. It's totally good, daddy, isn't it? Totally? Oh, my gosh. Let's jump and threw the flowers up in the sky. So another quick question from antec uh, anna tags? Not really. Sure. How long does it usually take for a bird? Pose? A group? The group photo. In real time, it will be pretty fast. Um, it will take me about five three to five minutes per per variation. Five minutes as I was saying the long side in alongside, uh, people are not hard to post we talked about the twenty one points once you have that in your head really well, you never have problems opposing people again if you see patterns, you break it, if you see ninety degree angles, you switch the angle. If you see me entering, you break the meeting, so when you have that down, people look good all the time, it's just a matter of where you place them to create balance, you know what I mean on uh, actually what you said, sarah creating the interaction it's probably the most difficult part, but you can also solve that by making it awkward by telling them tow fix their eye in something and then making them laugh. Um, but I got to tell everybody in the internet if they're watching this, that if you are interacting with the group and you're not confident on your own ability like you're not, you're not confident in what you're saying it's going to come across loud and clear and you're gonna lose the respect off the people that you're photographing, they're going to look like this guy's a weirdo or this girl's totally it's strange even if you sound stupid or you sound like an idiot or whatever you want to continue to be confident in what you're saying say your stupid comment with full on confidence you know because yesterday I was like saying like yeah, whatever look julius lips yep and look at her eyes and and when you don't doesn't mind others toby thinks people started laughing at you it's funny, but because I'm so not care I'm like honey badgering I'm honey badgering this whole comment people start to laugh because they're like oh, this guy this guy I don't care you don't say oh my god here you have to stop with the honey badger I have it since you know it's so in my head now it's I just have uh tell you about using my heart all the time everyone at home please do not google honey badger just don't do it or or do guess that's hilarious that's a hilarious thing um, so yeah, I don't want to tell people that, um it's very important to remember if you're gonna be silly basically with confidence okay, you have a question. I do have a question on the twenty one points um the one about the three point check single person finessed I've got the strong one so collarbones away face turns the camera eyes towards the camera right the finished one is that collar bones away head opposite direction and then eyes back to the camera or eyes where the ice core so there's three types in the twenty one point system the three point jack has three gives you three options option one is symmetrical collarbones chin and ice look at the camera okay that's number one that gives your strong confident powerful look number two color bones at an angle chin and ice on the same at the camera that gives yourself body strong face is that what you're asking next one next one is collarbones at an angle for away from the camera chin away from the camera ice back towards the camera or eyes away from the cameras well that's soft turning the whole thing okay but I should be going back in the direction that the collarbone is going opposite yeah, you have color bones chin eyes sam russell right on the ice would go towards the camera or they could go a little way past the camera so that's what you tell people to look six seven inches away from the camera you create this you have color bones or this way face actually gonna do it this way collarbones are this way faces this way on the ice are going in that direction and you put the light right here on her face you don't put the light here that would mess it up okay, you have to remember where you put the light so collarbones chin ice okay got it is that last one more feminine pose or it cannot be used for it could be this guy's all three of them can pass for both okay remember the position of the light changes how the face looks if you have a person with broad fit with a wide face um then you have to brought light um I mean you have to think like you know what I mean it means okay actually let's use this light here if I'm if if the camera is in this direction you see here okay if the countries of photographers here on you're photographing here if you lie down from this side but the cameras on this side you're basically making the part of the face that doesn't show us much you're making that the brighter side does that make sense and that's a good thing that's when you're you're making the pilot shows up in the face shows up the most is in shadow but the part that show so just a little bit because it's opposite of the opposite of the camera you're making that part that bright part on what you do is you create a much thinner face because you're taking away all of this from her face okay however you could do the opposite um you could have the camera on this angle and have the light also in this angle I know your broad lighting you're making the the partner shows up the most in the face you're making that up the center of attention, you're making that the bright side. Okay, my suggestion is you turned the body away from there's the light source right there, right? You turn the body away from the light, then you turn the face towards the light, right? I daniel photograph from the dark side of the face that dark, sarg okay, the dark side of the face. Any questions on that? But that makes sense, right? If the side you're photographing is dark on the other side is bright, you're making their face dinner. If you're photographing them from this angle and the lights in this direction and you're making them look this way, you're making this side bigger. So you're broad lighting instead of saying lighting so that those are all good things to remember that's great roberto, thank you so much for re capping the twenty one points. Everyone was very appreciative of that, so yeah, thats good. Yeah, I think it's a good thing to wreak up a little bit so important, you know?

Class Description

In this photography class, Roberto Valenzuela will teach you solutions to common wedding photography problems facing anyone who picks up a camera to photograph people. Roberto will use his practical methodology to give you a systematic way to break down and overcome your challenges.

In this class you will learn:

  • The 21 points for Posing
  • How to find the best light
  • Practical tips to quickly read the room

Roberto researched and polled various photography communities to find the most common problems facing anyone holding a camera. Through hands-on demos and easy to practice challenges, Roberto will show you how little changes can make big differences in your final images. 



Roberto is a great photographer and a great teacher. Roberto took me a little bit to get used to because rather than just memorizing, Roberto teachers you how to think like a great photographer. Roberto studies the best of the best photographers and painters and he incorporates it in his photography business and his teaching courses. Over and over, I have heard other top photographers referring to Roberto. Cudos to Roberto, for being the go to Pros,' Pro. Roberto is a great teacher and a great photographer that takes beautiful pictures with mastery of beautiful light, posing and composition.


Roberto is a photography mastermind. I'm very grateful for his CL courses that are available. He shares so much during these courses, I cannot help but making many, many, many notes and I'm sure if I rewatch it, I'll still learn new stuff. This course is not only for the wedding photographer, but the information he shares is applicable for all kinds of photography. If you want to learn how to make use of the gifts of any location (while throwing some very helpful posing advice in the mix), this course is for you. I'd also highly recommend his course "Location, posing, execution", which I saw before buying this one. And besides his very inspiring teaching style, he's also very funny! This course is a joy to watch.


Absolutely amazing. Roberto's background as a classroom teacher (and crazy OCD perfectionist) is a true gift to us, the students. He has analyzed, practiced, and tried/failed his techniques countless times and it shows in this course. I have become so much more aware of an environment's "gifts" after taking this course. I myself was a science teacher (and am also a goofball) so his style of teaching resonates with me. While some workshops are amazing at making us feel inspired and fantastic, these are short lived emotions. Roberto's preaching of get out there and practice is a no-brainer!! Best course to get me started on my wedding photography career! Thank you Roberto!