Bringing Your "A" Game


Wedding Photography Problems and Solutions


Lesson Info

Bringing Your "A" Game

I would like to show you this and I want maybe you guys can participate a little bit on this one, so grab the microphone and get it ready if you're watching online definitely get yourself ready with pencil and paper two I let's do a little bit of mental gymnastics showing okay, I was doing a wedding and hope at the hotel bel air and I took some photos the night the day before. Now if the wedding if the bride and groom photo shoot is at four o'clock then go visit the place at three. Thirty so you can actually know what the light's gonna look like when you're photographing the bride and groom some people say oh, I got the day before to kind of scout but I I went at eleven eleven a m but when is the photoshoot at four p m well, that changes the whole like the whole lights the suns in a whole different place so if you can if you can make sure you try to do you try to show up at the location at the same hour that you're going to be doing the photo shooting okay, all right. Uh let's take a l...

ook at this what would you have shoes in here? There's this is a this is a full problem. Can you give you one solution that you could do here for as a background for your couple number four you're a couple's you could use the archway for framing you could you could let me mention one more thing it's pretty important if you notice here you know so there's grass and decide a lot of us goto grass for photos right grass sucks the light out like like factum sit on dh the lighted those pounds back is green so if you went for people to look like hulk he'd going to the park and how can you solve this problem you can solve it really easily you grab this guy right here if you ever have to go to a park grab this grab your future laid out on the put it on the grass in front that when when the light hits it goes back white okay on it also bounces the light better because if you don't do that whatever color that it's picking up is going to go back into the person's face okay so it's very simple just put that in there and they continue photographing yeah uh you can use the cement it seems like it's cement right samantha's the yes you can use it outside the future. All right that's exactly right in this photo I have the choice for wedding party photos I'm sorry for family photos where am I going to do the family photos? We have two choices here. We can do it here with grass because we have the bush but it's going to give me a green cast right or we can go to the sidewalk which gives me a total reflector it's a total beautiful natural reflector just sitting there for you to take advantage of it so when we were doing the family photos I looked at the grass I canceled it I looked at the sidewalk bingo let's go there you have this cool foliage you have a natural reflector everyone's gonna glow okay they could look how strong the light is hitting that art right there that is a point to remember because if you're photographing and you're in a hurry remember lighting is the first thing you want to keep track of so you're like you have an arch you have a dark arch here you have a bright one I'm gonna use this one okay yes another angle of that now do you remember what I said yesterday about repeating arches? Which lines would you use? Yeah because he contracts the scene right let me go through his quicker because I actually have a lot to go through this so okay um leone why would I use that location has got some you have a wall with some branches why would that be a good thing? Well, you can play with your deeper feel if you use those plans and just posed a couple in an angle or you can use it to create figures like frame them exactly, but it also creates a contrast between the pink wall on the green and the kind of scattered so evenly it kind of looks pretty cool right? Because you have green with with something very pink it creates a cool contrast that's that's another one look at this guy's totally symmetrical stuff here and you can use that and they look you have a perfectly good window right next to the art just like when I talk about like I did last time about the locations gifts this is a gift and if you don't take it's like somebody giving you a ferrari and your like nah, I'm good you know I mean when you have something is good on a big light source next to you it's like you couldn't be more giving to you on a silver platter, you know? So this one is a straight being qual but what's interesting about this location is that there's a roof on it on that little roof is very important because the sun comes hits the roof and he no longer you should direct light onto the world. It actually diffuses the light so the light is wrapped wrapping around from the bottom that gives you a perfect light source to put somebody there you could go all day photographing in that wall if that roof wasn't there that some would come hit the wall and it would be direct sunlight here you have some stairs, and you also have a fence. Why would I be interesting? Because that fans could be a problem, but we're doing solutions, right? If you have a problem turning into a solution, you can focus on the fence and you can put them in the inside the staircase, and you could frame them with a fence. Focus on the fence and you can make him go out of focus just that that do, like aperture f eight or eleven, and you're going to get them in focus enough, but that there still blurry, but you can still see what they're doing, and you can have them having a moment, and you could friend them with a fence. So you're you're making a problem into a solution. If you photograph something like this on two point eight, you're done it's going to be like oblivion on the other side. Okay, um, here you have a situation that most photographers would run into, right, let's, run into a location like this and it's fine. As long as you put the diffuser in the ground, you're gonna be able to get white lights back up there. So if you want to use a location like this, then definitely put a diffuser at the bottom and then bounce twilight or it here you have a bridge but it's kind of dark and the lights gonna spotty so I escaped all of that here you have a cool arch you could use it but it's kind of obvious you have a reflection on this lake and here you have a gazebo and guess he was like a fountain it's like obvious is that food is good against evil in kiss right? Oh my gosh let's go to the cozy but we could go there and kiss hug they kiss they kiss they kiss again case and then at the end maybe kiss so here you have an overhead light overhead light and you have all these walls on the left another right? How would you post someone when you have the light overhead like that? Let me ask crystal how would you pose them with the light overhead like that? Well, I know that it's acting as a diffuser because the light is going through that the lights coming from the top yes. So if you're in this position how would you post the bride or the groom or the morrow? Whatever. What position the head should be. Oh, toward the light remember yesterday with my mannequin I said beautiful, creepy, beautiful creepy remember that right when you have a light overhead you have it's like a gifted us in the silver platter I just get in there get available like this with the veil cross her legs with a twenty one points bring her to you know to the light have a close arises done you have a perfectly good photo you have a little round thing imaging um you could use it for the wedding party, right? Anybody school it's a little obvious but it could be fun right? This is interesting because the palm tree shadow is actually becoming like a leading line towards the if you put a person here you could have a little shadow kind of pointed towards that person right? So you're kind of leading the viewer's eye into you in a really cool and sneaky way is through the country shadow so that's gonna fund how could you use this for a portrait? This is the divider between the bathroom men went men's bathroom and women's bathroom there is a way of bringing up these things because this's potential problems for people you're walking around and you're like I have nothing here but then you see the bathroom and you're like, oh my gosh there's the bathroom of course it's not going to be a great solution but you can create solutions based on these problems. So what would you do something really similar to that actually used before for jewelry like if you use it as the accents and kind of just bring it in not necessarily a portrait but I would use that triggering the aperture down and what would your toilet for jewelry you would what like like if you're going to detail shots or something, you could hang the jewelry on it or just kind of bringing the figures that has a design right field toward exactly on me you could actually put something in the background on you can keep the background clear from distractions but still take advantage of that. The sign of the fence right you want to say is um yeah, you could also shoot light through it and create a pattern on their face exactly which is what I did on this one, right? Um let me show you something real quick let me show you this remember that photo I put the groom right there? I contracted the scene with seventy, two hundred remember, lance election is really important, right? If I would have done that wrong lands like a thirty five it wouldn't have looked that's good, but here is the photo that came out of that it looks quite nice remember this one bathroom divider? You put a very light through it and you get that people say oh it's beautiful it's beautiful but it's it's simple you're just doing that here you have something like this and you have the light there on this is my, uh my good friend second shooter took this picture of me that who was photographing with me andi he just took advantage ofthe the cemetery and then he took advantage of the light right next to it remember that sidewalk with family photos look how beautiful the lightest it just bounces right into their face so the white wall here we did we ended up doing something like this with it on this is cool because in the album you can do something fun with that you know, like you're not showing the whole phase you're not distracting anybody from it you're just kind of off, you know, keeping it um what is like well, when something's not obvious uh something more abstract or guess okay, here you have some trees and you have us and you have a road um this is actually the drive towards the hotel and I and I'm thinking like I did yesterday what's the obvious shot the obvious shot is put him in the middle of the road and have them kiss hug the case and maybe at the end yes, okay uh that's terrible, but they could look at these guys they look how we have a perfectly good balance off foliage on in the background right now we're not going to put the bridegroom and face the foliage because that means they're going to get a green cast on their face but what we can do is get down, get down at a lower angle, have the brennan groom tilt towards the camera, just attacked just a few inches stores, you know, they're not distorted, right? And then we need to contract the scene so it looks like a solid, clear wall background on, uh, again, let's election is key on this one. So here is the photograph, which is actually the title for this course. I think the title for this course this doesn't even look remotely the same as that tree shot at the beginning. I don't know. What do you guys would you guys be ableto you ass? You think you can start to work with locations like this? So start thinking, I mean, is this helping out like the sidewalk, being grey and the green grass not being green, having a green cast? I don't want to mention this because today we're going to do the photo shoot, andi, I will be, you know, way have a major problem in this location. I mean, we're very limited to where we can go. My good friend aaron doesn't let me go anywhere I want, so I have to live in myself, so when we do the photo shoot today, both you and I are going to be pretty limited. And what we were and where we can go on is gonna be our job to make the best out of the little locations that we do have. Okay, so okay, let me see if we have any questions before we get into some other stuff here. Yes, we dio do any of you folks have questions? You're more than welcome to jump in any time. All right, let's see there's so many questions just keep coming in about posing. Um let's ask a question from your story who would like to know about huge height differences between people and how to pose them? Especially a bride and a groom heidi for this yeah, if you have a serious difference, I had a bride who was five foot five foot four and the groom was six foot six. Um yeah, that was really interesting. Um but we were shooting in san diego after san diego what's it called balboa park or whatever, which is a huge park and there's little steps and little stuff everywhere. So the first you can do is think off what is the easiest thing to do is put him in steps. Okay, so you can put the groom at the bottom, the girl could be at the top and you lose the haif the second one is if you have a girl on you asked the guy to kiss her in the upper cheekbone to kiss her in the upper cheekbone and he's six foot four six foot five he's gonna have to reach down ben his final court on that for an automatic no, no. So as soon as you tell him, can you reach down and kiss your cheek bone, you're going to be like, sure, and then you're going to do it, you know what I mean? So the best thing to do is what you say can you just kiss the top of her head so she can look chin up, close your eyes? He can kiss the top of her head hugger closest hides like a little moment critical background, and then you have you have a beautiful picture without trying too hard, you can also another thing is angle selection. If you have a tall with a short, why don't you put on sitting, sit them down and then don't take the picture vertically, take the picture horizontally. That means that there are only seeing the heads like you're cropping from here up, you know, so you could have a moment and then crop it that way and then you're done, you don't have to if you have a tall person on a short person, you probably want to stay away from vertical orientation pictures if you had time for just one group party shop would you suggest mixing the girls and the guys to create couples around the bride and groom or keep the girls on one side and the guys on the other side if you had one go to group shot um and you can only do one I would probably separate but every good boy girl boy girl boy girl boy girl because it's more interesting to see that the color shifts you have the guy's wearing black I didn't go so wearing something because if the girls are here and the guys are here and the bride and groom in the middle it's cool it's just a little bit predictable you know it's a little boring obviously if you if you alternate black like and pink or black and green or whatever they're wearing it's a little more fun to watch I was also more fun because you can create more energy when you're posing them because there's a guy next to a girl on a guy and then a girl and you can create that energy if you have the whole guys on the left and all the girls on the left I mean all the girls on the right you have the girls old curly and the guys were just trying to be macho and it just doesn't match up very well you know? So in fact what? I spent a few minutes talking about what anybody stuff quick so okay, can we see that way? We can see that online internet. Ok, I think after yesterday, we can kind of decide how we can make this happen. Right? So I see lian yu have the microphone can pick a neural quick. You have a wedding party like this. You can't, can you? You can clearly see that he is the most important person in the group. Right? Because he's the honey badger? Yeah. He's. The one that don't care. What do you see in the photo? Well, I see that the gun is the main subject. Ah, he's, the one who is looking to the camera, he's right in the middle and everyone else in the back. They're just doing their stuff. So no visiting one of the problems that somebody wrote to me in my big list of problems that I've been collecting for awhile. Wass um, what happens when you have difficult wedding parties? What if they're not cooperating on he goes back to the same solution? This was a difficult wedding party. These guys were just not cooperating. I mean, maybe I should show you some of the photos like that. We show you, you know, I'll see you in a second, uh, this guy right here. This guy on in the back there, I put him in the back for a reason, by the way, this guy in the back, which is not much just not having it, he just wanted to go drink the groom and some of these guys were just too serious they were not having fun at all. I don't know what the heck the problem was, so I had to really go awkward and this is where I say if you can make yourself feel silly for a few seconds, you'll get the picture and you can move on so important to remember that the solution to this is to stay confident. If they feel fear in you because they're intimidating you, then they're going to just eat you alive. You know, these guys are just trying to get attention, so you give him the attention, you make him your friends and then they start interacting. I told everybody we're toe look, if you look at the photograph, everyone is looking kind of a cross, you see that it's the same thing as what I did yesterday everyone's looking a different location and I separate the group because she's, looking straight at the camera so it works well, here's a photograph of the groom's off the groom's men with the bride on look at all the heads are tilted in different directions again one thing that would be easy to do would be to just put on the groom's kind of like lined up all the groomsmen and they just have the pride and the prodigious holding her flowers and that's boring that's not going to give you that they're going to separate it um go ahead you wantto how about if somebody has like their camera in hand you know you always have that family member that wants to take pictures because he thinks he's a photographer but um how do you tell him hey, can you put that away so we can take a pretty picture? Yeah, so okay um have you got a shot of filipino wedding before you're filipino o m g it's non stop the family photos take eight hours but the whole wedding thinks like just two hours by itself everything thanks ten hours but he's eight hours of family photos same thing with the same thing with jewish persian weddings holy smokes like they actually scheduled four hours of family photos with me I mean it's good. But, um this goes back to the experience you provide your clients right? If you were running out of time because they did not see each other before the wedding and you have to take all the photos after the ceremony you may be losing sunlight on the solution to that uncle bob problem just continuing to take photos and it's a sad and it's a sad idea but this is what I do I know that I can post them so fast and I can take a picture so fast that by the time I'm done I always tell the guy looked me when I'm done quickly take your photo but I have to continue so as soon as I don't you have to two seconds take your picture and then we'll move on because I have to shoot the bride and groom coming up right? So what I do is I posed the group I think their picture him like pam done and then everyone starts to separate and in the new group comes in and I'm like papa papa post post picture picture picture move away quickly on the guy's like, oh man, I'm not getting anything they're like oh you're not oh, I'm so sorry your cameras a little slow see what I'm saying another thing is during the wedding party sorry during the uh, initial plant meeting I always do talk about family photos going out of control on sunday. Tomorrow we're going to be doing a whole climb meeting and I want to bring up all those points because if you don't mind see if you're if you're the photographer you tell uncle bob to stop taking pictures, who are you to tell him that like you're just a photographer? He's the family member so you don't have much of a right you don't have much seniority there so it's best if the bright says something tow them prior to the wedding says look during family photos we're gonna have to roll through this please avoid taking pictures we can put the pictures on pick tosh later or you can put the pictures in whatever hosting company you use and you can have access to all the photos I have told the bride I'm going to give you the disk it's included with the photos anyway so go ahead and tell your family members that you're going to be able to give him the picture anyway but of course they get the disc six months later because I wanted to buy the photo online, right? So, um what what you don't want to do is probably be a jerk, you know, like you don't want to provide an experience that's negative because if they tell the bride this guy's really rude or this girl's really rude, the bride is going to start she stressed out it's sort of that and you don't want to hear that so it can create a lot of problems. Roberto, I have a question on that last picture with the guys I notice a lot of like it's so dark and then their hands I think was the next one with the bride yeah, there you ah how can you have weighed it looking like it's just like a hand coming out of nowhere his situation like what I did yesterday where when when things happen when you have one person you can control all the twenty one points perfectly in one person right when you have twelve people who are not cooperating with you and you get them to react and this is the reaction they get you take the picture used to it and actually breaks me up to another point some people rode in their problems if you spend too much time actually this question was as to me yesterday night they're like if you spend so much time posting the twenty one points or whatever how can you ever shoot for a journalistic pictures like true photojournalism on I tell people if you look at my weddings and I'll show you weddings right now if you want I don't miss don't miss a beat I mean you have a second shooter for a reason, right? You have a second shooter for a reason you have to split up your time and you have to be aware and alert but you don't ignore photojournalism in fact, I always tell people if you have a photo journalistic picture that you want to take by all means if the expression is there and the moment is there don't don't go bust it because you're trying to get the hands right like don't bust the moments because you're like, oh, that needs that are ninety degree angle these twenty one points that I talk about are when you have complete control off the photograph when you are creating the picture, but if you see a moment that moment basically trumps everything else you can have all the twenty one points wrong on the moment will still be priceless for your clients, so yeah, if, um when I'm shooting bride, the bride getting ready or whatever my second shooter's always in charge of taking forty generalistic pictures just in case and we always put them together in the album if I'm shooting for a journalism, then my second shooter can do something else okay, they can do with britain grew importance or whatever, so I think that's a good point to clear up uh sometimes people think if you're posting people, you don't take photo journalistic pictures that's not true, okay, for example let's look at all the wrong things happening here you have a creepy hand coming out you have this it's like there's no origin off the hand at all here we have way too much origin. We have way too much arm coming up coming across, but but look at the expressions of everybody look how everybody is looking at different direction that's fun so if you were to not take suspicion you're like hold on hold on hold on hold on let me fix your arm okay go ahead and do that again it's you lost him by then it's over for them to have that kind of energy level it's like a one shot deal they give it to you and then you're done so here's the traditional wedding photo on you notice how I did put I did alternate the bride and the groom suit but I mean the bridesmaids and groomsmen andi you see you still see how all their heads are sort of magnetized towards each other people's hands are doing something it's okay to have repetitions and patterns here because this is the traditional photo for grandma for mom so no matter how many cool photos you take that are not traditional you still have to take a traditional shot or otherwise the ant or the uncle is going to get mad that you didn't think anything that you can see their faces normally so here you have another photo off the bridesmaids take a look at the bookcase see how the bookies are all in different directions that's why I was able to control the post okay you put the girls together all their chiefs where the heads are being magnetized like it says in the twenty one points and then all the bouquets are in different locations here you have a candid wedding party shot so instead of just doing everything post, post, post, maybe go out and do one where they're walking, whether having a moment together or something like that, so it avoids just having this static posters all the time. Okay, I have a question roberta can go back to that photo real quick, we want the veil and the bridesmaids, which one? Ah, the last one you're just okay, so I'm noticing a lot of the leading lines in this photo where the bridesmaids are placed there's like a lot of your techniques that you're teaching us here just so president, like, I see the v with the bride holding the the gown I mean, there's, just so many like interesting things that and you just said it was candid. So when you see a moment like this, do you look for the leading lines that the moment could create or dio just place yourself as quickly as you can when you see it, does that make sense? You're on that's actually, interesting because you're not creating your this is not a candid photo by any means. I created this photo one hundred percent okay, so I misinterpreted. I clear the point, but there's a sense off this, a sense ofthe candidness to it, so you will lose control because they are in motion so you get us much control as possible and then when you tell him to do it and they're walking in there smiling things may not go your way one hundred percent but at least you have eighty percent of the of the situation under control. Oh here for example that bride looking in that direction it's not by accident, right? Like I told her I told her to hold her veil I mean her her dress like think about why she looking over here by accident now so you this nose is going this way there's no sense going that way that creates an x right? This nose is going this way her nose is going that way that creates the next between these two. Imagine if I would have said imagine if I would have avoided that nos x factor in the twenty one points on all the girls were carrying it and there were a pointing straight in front of the camera it's like oh have fun and everyone's looking no one's interacting so that that that no slyness not going anywhere you're not creating access you know what I mean? So then going off of my original question than if it were a candid moment that was like during the ceremony or something um and you notice certain patterns and leading lines and things like that are you like intently waiting for that to purposely happen like hopefully you know I mean do you get what I'm saying like do you just make sure toe place yourself in somewhat like like that where oh, they're going to pick a per veil now so that I make sure to frame it and then balance the photo you just I need it very quickly yes, you do try to position yourself as fast as possible, right? Sometimes you can't you have to capture the moment remember what I said at the beginning our ten minutes ago I'm a true moment trumps everything if you have a true moment happening in front of you and you are there, just take it don't worry about anything else you can do whatever you need to do afterwards, which is take it I think in the ceremony a lot of people say I don't have control because there there you have a lot of control you can control where you stand, you know at ceremonies you can have like wood panels that are showing up and you can frame the bride and groom getting married through the wood panel all you can frame the bride and groom getting married through the parents like you could put the pit that that hear them, the bridesmaids here, the cousins, whatever and you can shoot through them to show the bride and groom in between them you can use framing techniques even when you have no control about where they are you have to use usually use your imagination use your skill set right? Sure let me see if I have an example of that I don't take a look at this real quick, okay, right here they're here you have the father framing the framing his daughter and you have her maid of honor in the middle you know, you just have to kind of think if you stand in the middle of the aisle and you stay there the whole time and you never move away from there you're probably just going to get the back of their head all the time you have to move around, get the left look look, look, I look through people shoot through people so you can frame them from the bride and groom through that look for pieces of furniture like like wood panels or something you can shoot through look for doorways, you can walk out and shoot through the doorway and in the door you could have them getting married, you know, that kind of stuff, that kind of stuff creates great photo journalism instead of just I'm standing here in the back and I'm not gonna move I'm just going to stand here so okay, all right guys, do we have any total still close this like manner questions real quick? Absolutely. Okay, um, do you do you mind specific questions, roberto? Or do you want something a little bit more? Throw anything you want? Okay, question, uh, it seems like you always frame in camera, but the question is, do you shoot and crop during post or and they're talking about the headless shots that you showed earlier? Well, you always you always cropping camera, and you recommend doing that? Um, I don't know how many photos you guys take on a job, but I don't think that mean, you think about a thousand total on dh I'm a big advocate for getting things done right on the camera, right? If you have a camera that can connect and compose, why not use it? Why do you have to go home on photoshopped everything afterwards? I mean, this is what sometimes people go out of business because we spent so much time on post processing, you know, if you do a good job in composition and you do a good job in lighting and you have all these techniques that I'm showing you're going to get, you're gonna blow claim side of the water off the camera so there's no need to spend ten hours and photo shop, I'm sorry, fifty hours in photo shop later, anybody that I feel bad like when people are saying that they spend who knows how many hours editing photos and I'm like all issued twenty for print competition for like a wedding photography or whatever prince competition I barely even touched for a shop I don't bear very small basics color correction maybe a little filter here and there for some of the most important photos, but for the rest, do a good job, maybe make it black and white and just move it crop on camera don't crop, don't crop in post production if you have to corrupt in postproduction fine, but don't rely on it, you know, so okay, this one is from robert ortelli do you take multiple pictures for the best face facial expressions and then match it in postproduction match it in postproduction? I don't take multiple photos with the best face expression agent a three so if I tell him to react and laugh out loud so they can make noise, they're laughing and having a great time and I want three or one two before you know what I mean, but one of those photos will be the one that comes out right, and I'm not sure of this person was actually asking if you like, we'll swap head yeah it's a group shot I'm not exactly right well, if he's swapping I mean I haven't swept past in a long time but it's an option? You know I just try not to spend too much time in photo shop I have a pretty pretty good routine now I have trained myself to be to be the best I possibly can with my camera in my hands andi I know that's going to blow them out of the water anyway like I'm very keen with emotion I'm very keen with composition I pay a lot of attention to details when imposing on lighting on my backgrounds to be clean and not distracting from a photograph. So why why kill yourself in post production on wedding already takes ten hours to shoot preparing for it already takes another ten in meetings and stuff that's twenty hours you should spend no more than ten hours after the wedding on everything else it should be a total of thirty hours per wedding by people spend forty hours just in the photo shopping you know and then if you photoshopped one image really cool what happens on the rest of the photos that are that are adjacent to that photo they're going to be raw like they're not going to have the same filter or you're going to spend three hours on the phone every photo in the book you know it's just too much it's like if you do anyone, you have to do it in the rest so okay roberto I want to ask you a question we were talking today about the posing evolution product this morning you were kind of showing it to me it looked very amazing and I guess I haven't really I don't know enough about it so I want you to I want you to tell me more about it picture perfect practice is the website where you can find this product and I know you kind of just raced through it this morning so can we take a couple of minutes and explain to everyone else because if I am curious and I need more information than everyone else probably does um I think posting evolution is going to be one of the most important tools you can have to improve toe constantly be able to refer back to it if you don't have this then you may forget about it if you have something like this you can always use it as a reference guide and continue to practice with it because I went wedding photographers to be respected and succeed and do well in their careers I wanted to put together a product that would really raise the barn really help him out so this is winning this is posting evolution I had my friends uh post for me and I go through every single point I don't if you can see that every single point is talked to I'm sure how to put the heads I explained how do not get out of the gringos on the wrists which will do today in the photo shoot. Um, if you keep scrubbing here, you have keep explaining all the twenty one points. This point is about the ratio equal, rachel. In the bodies, you have the full woman, but only ten percent of the guy. Remember that one? The full woman. Only ten percent of the guy. And you see how that looks kind of funny. That goes very natural. So you keep we keep going. I talk about shifting the body weight the feet, there's mirroring the hands right there sitting down. This is invisible. Plane angle. Check. This is the nose right over the nose. When you have the sticks in their nose right there, let's, see here of the nose in missile, lean angle, check nose direction with us thick. And then I jump into some portrait's here, and I explain how so you can see the color bones are in this direction, but the chain is in this direction and the either in this direction. So I explained all of that very clearly. You can see which which post is this guys so metrical so you can see the line right there, symmetrical lines here, going right through that. And you have came there you remember that white of the ice you can really see that right there you can see the ratio you can see the nose position you can see where the light's coming from so it really goes over high detail of what we're talking about you know the hands look at all that positions off that this is just pretty useful stuff on dh I'll go over these quickly to finish this up hey we have ah model that's not a wedding on I did photoshoots and actually did the wrong thing on purpose so that we can correct it s o for example here we have all these lines to kind of show what what's happening in the post do you see that creepy hand coming out of nowhere that's that's the circle that's that's that's not mistaking you see how there's no arching her back you have all these lines this is the invisible plane angle check you have quite a bit of material here to kind of go over and study it roberta can you just talk a little bit more about how it complements this workshop? This workshop is in problem solving on dh one of the biggest problems we have problems from all kinds of things we have social problems, psychological problems we have had to deal with difficult people, parents and so forth one of the biggest problems we have is people incident opposing section this this product, I think that the course helps you in every in, every way, from psychological problems, to posing problems, to lighting problems, to lighting techniques. This product is only going to focus purely on the posting aspect ofthe people. Whether you're a wedding photographer or not, this is going to help you out. Asser reference and as a resource for you to do your homework and so forth.

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!