Photoshoot #3: Indoor Challenges & Posing

 

Wedding Photography Problems and Solutions

 

Lesson Info

Photoshoot #3: Indoor Challenges & Posing

We're going to continue to create cool photos with limited locations and limited situation so um let's see here so one of the things that can provide a solution for you is if you find something with contrast I'm kind of seeing a very dark room here but if you guys take a look at that little window by the on the door that frosted glass is like a really cool texture to it and that picture could be a cool photographs to create an abstract picture so this is not officially it would take for grandma or say this is the picture that the bride will probably love just because it's it's interesting in nature let's go ahead and see what we can do with this and then we'll go from there let me see I'm gonna experiment here so let's see if this works out well so the idea here is we're probably gonna have her face very close to the glass but not touching the glass okay on, you probably want to be acting like you're walking across but you're not you're going to stay stay stay still um let me see what ...

else I can do here I'm gonna probably shoot this wide in order to get the whole beautiful beautiful symmetry and the geometry is in this room but I'm going to make sure that she's close enough to the window where she provides you can see this this hint of a face kind of walking around with a cool little veil kinda going in the back so let me change the lens to the thirty five millimeter and they will go from there all right thirty five millimeter lance on dh let's see we can do this when they step back over here I'm going to take a test shot that looks pretty cool so let's see if we can do this so I'm gonna have you step outside really bye thank you for coming just can't go on and step outside all the way through all the way to yep ok come back over here and put your face in this one now turned that way now tilt your head towards the glass good not that much been your chin closer to the glass now bring your no stores the glass a little bit and take a step that way right there now let me see what that looks like when it closed this we'll hold it there okay close to the glass again but don't touch it now bring your nose closer to the glass good I think just pretend you're taking a step forward there you go just like that keep close to the glass let's see here that's nice let me see something okay we think a quick shot very nice me take one more here when your bring your hands a little close to the glass the other one too you know I put your hand over your head like that and then look slightly to the left and then drop your hand a little just this relax the hand keep the hand up and then relax the hand there you go raise the hand just a tad just over your head let me touch your head. Just a ten right there on dh picture here. Very nice. Go ahead and, uh, looks closer to the glass and close your eyes very nice and stay there for a second. I'm gonna switch lances when I switched lances and I'm going to do an abstract photograph of you. So go ahead and look at the camera on dh that's if we can get this to look cool chin down a bit eyes up towards me separated from the glass just a tad an inch away separate more keep looking at the camera bring your nose towards the glass and then take a step back there you go. There you go. Maybe move half a niche closer right there. Chin down. I stores me beautiful. Now look to your left right there, right there. Keep it up. Keep the face close to the glass on dh there you have it on me, the one more just a sec on and hold on a second, go ahead and come in so you're a veil actually came out of the door which was beautiful and I ended up using it to create a more abstract photographs so that's where the cool let's go ahead and move on to something that I see here so we have our mirror and we have a little bit of a battle with a mirror we could do quite a bit of stuff with that on so let's see what we can do wanna switch my lens again to the seventy two hundred actually thirty on so if you have rainy situation and you have to do shots inside you can create some pretty cool stuff creatively using just the tools that you have around ana I'm going teo basically let me see go ahead and take a look at your shoulder again right there's they like their stay right there all right joe they're gonna have a nice light please let's eliminate her from that side miss each other come around sorry this way and go high up and get her cheek really good especially lucy tried doing it yeah all right get close to the mirror little closer and closer to this side come towards me towards me stop stay right there is only one don't move anything don't overthink perfect don't move a thing you're right on I don't have anything you're good one more bring that light right here on nbc something keep keep doing what you're doing exactly like that just a second here right there bring your change towards your right a little more chicken right there keep that chin up more more write their hopes hold on a second that was not the right one when your lips to the right right there stop stop don't move don't move you're perfect you're perfect what? Okay very nice alright calm let's get out of here let's let's come this way now around let's go this way you thank you all right uh you know what before we do that let's going back because this is something else here you mind switching this land since it's thirty five millimetre thiss way let's go ahead and bring ah the wireless flash on let's put it behind over there by that door police let me see the setting someone it's a change of saving serial quick okay, I wanna use the wireless flash what I'm gonna do is I'm gonna use this room I wanna shoot from back here on basically gonna use the symmetry of the room and the cool orange lights so I am going to change the city oh, to the bigger city oh, to the one that has the one has a full cto on it the reason why I'm doing that is because this is a very tungsten environment on we want to make sure that we continue to mix the lighting with our flash with the environment seamlessly very nice so this orange they sitio is going to be similar to the orange that comes out of these lamps so it actually works quite well we're going to go ahead and put this over here again on gonna put it on minus one and a third right there okay it's gonna be a forty five degree angle so it reaches up into her veil all right, come over here elena right there yes you come right in the middle of that light beautiful take a step grab your grab your veil just like that hold on a second actually while you do that I'm gonna take the picture because it is quite beautiful when you pick up the veil so I have this master let me do a test and of course it doesn't there you go all right stand here all right take it take two steps back stand right in the middle go ahead and drop it now walk forward for me but keep looking at your at the carpet now stop pick up the dress take a step back right there right there good pick it up gently take a step back and chin up let's look at the camera okay, good drop it. Stand right there stand right there right there right there. Keep looking. Here you go. Okay, very nice let me do one more here I s o n hundred take a test shot there you go take a step come this way right there. Okay, do that with your spinal cord totally straight so reach keep your spinal cord straight. Stand in the center of the room when you're a little bit off the center right there now pick it up now what right there steroid test orator along a second we lower the power of that flash I like to keep that facing that direction keep your face in that direction on dh that is quite beautiful. Okay, take a step to the right so you're in the middle of the room again right there now going and keep looking in that direction take us that forward on stop. Beautiful. Okay, very nice. Okay, so that really added quite a bit off beauty, that backlash right there so that's going to be that looks really cool. I'm sure that photo real quick nines, right? All right, let's, move on to the other room and keep your allies in the room to the best we can. Okay? As you can see by one of the cameras we have a patch of sun coming in through here. You see that? So it's a little patch of sun going into the carpet on we can come over here and you're going to grab the full blast of that sun is gonna hit you right in the face you see that so let's see grab your veil and put it across with both of your hands let me see what that looks like right? Seeing how the sun's hitting your dress and it will hit you right in the face that's a terrible that sounds really terrible I'm going actually use the store to frame her so meet back up a little bit I'm gonna stand right here sorry okay okay this is beautiful I do have a bit of a problem we have chairs so stay stay doing that that looks beautiful just freeze for a sec I'm going to move this chairs around we have to be like furniture movers on one more thing okay, so the problem was we had rain. The solution is we come inside and we take advantage of every little thing that the room gives us to photograph this beautifully so we have that's very nice and wanna take my camera here alright, grab your veil and wrap it around with both of your hands across your chest good. Put your face right towards the window going and give me a quick second right there looks beautiful close your eyes on that is gorgeous very beautiful so I'm using the door to frame her actually so I'm gonna call the son disappeared one more time son comes out china slightly higher open your eyes and look straight up very beautiful good chin down now when I tell you bring your chin back up and look up into the sun for a split second there you go, it's beautiful. Take a step closer to the window on take two steps closer to me to your left right there do you still get hit by the sun there? Okay, actually right there right there much better is beautiful when I walked up here one thing, one more shot here we'll get the sun in your face he can't disappear right? And it's coming up it's here coming he's getting brighter in your getting brighter is getting brighter on don't think no more time! One, two, three position your legs went over the other. Use the left leg and bring it over the other leg because that's the lake listens to the camera right? Grab both of your hands and put him near your chest in your heart you should go up like this bring on like this towards you beautiful on we need to get the sun to come out and it's not so we can it's beautiful actually really quite nice comfy now it's coming out that's good. All right, that looks really cool is to another one here let's see, let me show you what that looks like actually so what's happening right now in the room that we were just photographing, there was a quick there was a spark it off, son in the carpet that was coming in through the window. So if you're in a in a pressure situation and you feel like you have to produce no matter what, you gotta take advantage of every little hint that the location gives you are eric a little gift that the location gives you on right now. The little popular flight with a window in a beautiful room like this, it was golden. So instead of going to the obvious and posting her by the fireplace, I decided to post her by the window and let the light dictate my post instead of letting the location dictate my post, which is a big difference. Um everybody so the let's see, we can pull out mr show you this room quick looks pretty cool. So that's photo number zero zero to nine it looks quite nice and I actually used her head toe bluff. That painting that was there, there was a painting in the room and I wanted to make sure that was blocked. If we put for number zero zero to three zero zero to three that is using the door frame to frame her, getting late by the window with the sunlight through the window, so at first I used those doorframe then I went inside and I start using just a room I usedto her head to block the painting so that's that solves that problem and you kind of just keep looking at the angle to make sure that those little distractions on the walls are no longer part of your problem on you can continue to produce good photographs regardless of the situation. Now, if you walk into the room now wei have you see we have a nice we have a chair and we have a lamp on that could produce good work as well. So I'm going to grab this holder right there. Let me see here. All right, can you come all the way around this direction, please? All the way around keep that right there. Come behind this guy right there on that c could we grab these glass and the kind of lift it up a little bit in this direction so you can see how the reflection shows up quite nicely alright grabbed the lands here. All right, let's, see what this looks like? Okay, we have to grab one of the ice light so you know what this grab the ice like real quick, let me see something grab your veil on dh, bring it around again step take a step that way lean your back against the corner beautiful on dh look towards the light beautiful when you change them so I can actually see your face that was really nice. Okay all right come this way, way way, way eliminate her and not the reflection on the lights actually quite aren't quite light we need to get like an orange field personnel for that hold this right here waking up someone else can we get one percent to help cecilia cecilia, could you help us? Can you hold this glass right here from this time brother from there and hold it right there. All right? You're gonna look towards the light and in this hand out of the way right there and let me see something here let's get that see this light so quick you it's funny actually need the sixteen to thirty five would be nice scene my thirst on right there you made quick sec once which my lens for a quick quick second unrest that glass for us one of such violence or keep holding that keep holding that to see house so much you can hold it for you, right? Okay on that's good struck this on dh let's move this this way and let's get you out of the way. You okay? Go bring us out here, okay, now we have another door frame here andi we could is jay still here? Let's get jay over here hi j wanna have you stand right here let's grab that wireless flash and this put it in this direction no thank you my removed the cto filter out of them now just do without this witness around on the ground on I want to put that out pretty much full power someone switched to manual okay using my camera here my camera I'm allowed I'm ableto control that flash using the camera menu so I'm going to go to external speed like control flash function settings group and then I'm going to go toe my age group which is where that one is I want to switch the two manual flash and I'm gonna put it in almost full power I'm gonna make sure that this flashes and transmit any light and I'm gonna test it oh that's a lot maybe that's a little power so I'm gonna grab that on dh flash function settings were going to go ahead and make that flash a little less powerful one fourth all right so the problem here is that we have a lot of the bags and cables from the cameras all over the place and the solution to a problem like that is to blow it completely out it will be pure white okay so this I'm gonna use the frame of the door I'm gonna use that flash to get rid off all of the cameras the tripods so whenever any of you are in a situation where you have a lot of clutter in the background and you have to take a shot and you're indoors you can actually get rid of the background clutter by blowing it out with a flash that's why I put the flash are almost full power with your eyes so settings you can actually if you go up on the so you can actually blow it out even more and if you go down in your eyes so you can reduce the amount ofthe amount of flight to get into your frame you can also reduce the amount that gets off light to get into your sensor if you change your amateur so the aperture will effect your the light that comes in from your flash on the shutter speed will affect the ambient light that's available so let's go ahead and start this guy someone make sure this is in the middle here almost full power and if this works well you shouldn't see any of those cables or any of the camera bags or anything around all right guys go ahead and go there stop right there let me see stand right there and get really close to him and just lean comfortably against that door yeah just think comfortably keep keep it keep it rolling in school that's fine there you go and put your hands with your hands on him and engage with each other not with not with me okay there you go let's create a legal separation between your bodies so I can see the flash going through I'm gonna bring that elbow down and let's see how we can we see very nice all right this will be a full power that should work well see woon julia we move that flash a little bit that way right there yeah okay let's see if this works two thousand well it's working by the way okay, we probably need more power than that or change the angle julia can you bring that angle of the flash and change it up changing point hide it and I'm gonna put it on put it on full power I'll do it full power flash go ahead and get together again time okay or can aperture continue doing that looks good good and you can I get my seventy two hundred again? I think one was shot here going thank you on dh that's it that's good, beautiful. All right all right guys so we can talk about it yeah let's talk about it. Um I really wantto make a point which is I think it's hard maybe for people at home to understand that you have just walked into this room this scenario with this specific lighting what you have never done before of course you've never you know, shot in this room before or lighting will never be exactly as it is right so I feel like maybe there's people, a lot of people at home who would feel well, I don't you know it's easy from reverting to come in this situation and shoot this but it's a beautiful room with a beautiful bride, etcetera. So the point I'm trying to make, roberto, I'm trying to get across to everyone at home roberto's mentality around shooting and the whole purpose of this course and roberto and really hit home for me during your last course when you talked about going out into the hallway of your apartment building and seeing the guy that was sweeping the hallway and you took your camera out and practice with the man sweeping the hallway because you had seen during a wedding, a bride and a hallway so many times before, right, it happens over and over again and you practice it to the point where you'll never again see you bry in the hallway and not know exactly what you want to do it. So I just want to get across to everybody that roberto has an equation for each one of these photographs and for every wedding there are only so many equations that are going to be presented to you and you basically mastered each one of those and that way you can come into any scenario one that you've never been in before and capture amazing photographs, right are you feeling me? Yeah, I think it's right. I mean, when I'm not into a room, my mentality is I look for balance. Hello for geometry. I look for symmetry. Look for contrasts, there's. A look for texture. So look for translucent surfaces. This window shot behind me, uh, with a veil coming under the door is pretty cool because he creates a cool contrast and creates a translucent service. Makes it over the abstract and fun. We can all take a regular picture of the bride or of a subject just in the grass or in the park. But to recreate photos that are a little more complicated in complex in nature, you have to think way above that and way beyond that. So when the wind blew that veil through that door and my finger faces right by that glass door, you get movement you get, can you get something that looks abstract? You get something that looks has a cool texture to wear in the face. When I also walked into this room over here, there was a spot of light that was coming through the window on dh. I wanted to make sure that I used our pocket off light to illuminate her. I also used this doorframe toe to frame the photo frame, her look, getting showered by the sunlight, so this is gonna what's what's happening through my head when I was just taking this pictures if you're in a price it with a real wedding situation and you don't have to come inside and you're stuck indoors if you cannot find beauty in the room so you can go find the gifts in the rooms on you say I'm sorry I'm stuck I can only do regular photos in the park um you're playing not going to do very well for very long so this are more creative in nature on dh then standard so well and I think that that's the point roberto that we're just trying to make is that because you have all those things down in a real wedding of people are saying online like yes in a real wedding you're not going to be taking this much time to do this we're teaching you that right now and so because you have that vocabulary in that language and so how how do you best so just for everyone at home that they learned to have that vocabulary down well they started to look at home and be able to see what's happening right if you're looking at home I mean the best way to work in it it's at home at your own house you have furniture you have windows you have doors um I tried to create a white background even though it was a lot of mess in the situation on dh when I couldn't do it, I just cropped in and I change my lands and I cropped in, so when you try to fix the problem and you can still see the camera backs in the cables and snow working, just change the lands and crop it out on day light was still look cool. That point is you have to roll with the punches, you have to roll with the punches, and, uh, and this is the problem solving class, so everything we're doing is problem related on I have to come up with a solution right here right now. Eso there's a lot going on in behind the scenes and practicing from home definitely comes in handy. Yeah, I just I just really wanted to reiterate the practice part because I feel like you have already found the solutions to so many problems, and you've practiced them so many times that it doesn't matter where you are, the problems remain are always the same. They come up over and over again, wedding after wedding, same problem, same problems, right? And you've mastered them, right? I mean, there's, you're gonna have every location gives you the same type of challenges there's, about eighteen to twenty one challenge is there in my location chart from the last creative life I did if you can master each one of those, you should be able to find those elements in any location you walk into. And of course, if you have a situation where everything's doing great, you could walk to the park, you could walk outside and you take all kinds of beautiful, candid shots, like I can show you from other weddings that I've shot on. It wouldn't be so abstract in nature, so yeah, all right, so we asked a couple questions are alright, let's, ask some questions. A really good question came up with regards to this is from bella tog who said who asked his roberto take his exposure from the brighter part of the face or the more shadowed section? And does he increase the exposure by a third of the stop to brighton caucasian skin tones? Uh um it's talking about pictures that I was doing it was actually outside that this question came out outside when the sun was on her face. You know, outside, you don't really whatever the skin tone too much, you know, I worry about the sun hitting her face and it be exposed for the highlights. That's what I worry about, I want to make sure that she's exposed for the highlights if you have a problem with pale spell skin or something she's got white skin or whatever you could grab a reflector that zebra like a golden us on a silver and then you can actually point it towards her and warm her up. You can also shoot with the, uh color check her passport and warm them up in post production if you went toe if you want to do it on camera, use a reflector and only pointed toe the pale person so but you of course you do have to expose for the highlights in the face when you're turning her towards the light towards the sun. Yeah, all right, well I just again why it's so interesting for me to see the comments and the chat rooms which where did ago that someone was saying that you are a mastermind on and then and then lina says, I would like to see what roberto would do with normal looking people it is easy to photograph this beautiful bribe that's an excuse I'm sorry lena, but it doesn't matter that's what this whole course is about is it doesn't matter what this bride looks like you started off saying that yesterday like it's, every human being has the same body parts of the same angles in the same all those things and that is I'm sorry but that it's frustrating to be a friend to continue to see people to make excuses, no offense but saying saying something like that is interesting er, the first one hundred weddings that shot where in my first two years off wedding photography and I photographed, the majority of my brice were very lovable. You know what I mean? Okay. I love to love ah, lot to love with this beautiful writes on dh. It was actually those brides that really helped me find too, and how to post a person's body so we can make them look their best. They're very best. Um, photographing roberto can photograph she because she's beautiful and he doesn't really matter. Everybody has a face and arms and everything was the same thing. You can hide the part you don't want. If you cannot hide him. Crop on, you know, that's, the way you do your that's, where you fix the problem. So I mean it's, just a matter of your mentality, you know, we can learn from this on or we can say, well, she's, good looking so it doesn't matter, you know there's, no matter if she's good looking or not, which she is, by the way it's beautiful, but their rules applies to all the bodies, everybody, so

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. 

Reviews

Sean
 

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.

Nadine
 

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.

ogonzilla
 

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!