Wedding Photography Problems and Solutions

Lesson 6 of 21

Points for Posing

 

Wedding Photography Problems and Solutions

Lesson 6 of 21

Points for Posing

 

Lesson Info

Points for Posing

This section is going to be very important for you guys because this is a segment where I am put together twenty one points that if our that if those points are followed you will probably never have problem problems posting again it doesn't matter if you're posting ten people twenty people or one person um I have a list of all the problems that you guys emailed me on a lot of them have to do with posting whether it's one person to people or ten people on I'm going to go through this there's about fifty questions about posting I'm going to go through all of these basically talking about the twenty one points that should basically cater to all those people that have questions about that, um what I said at the beginning of the day one challenge with posting that it becomes such a problem for most of us it's because we're tryingto think of posing as something we memorize like you memorize three or four poses on dh I'm not going to do that today I'm going to teach you the grammar like I sai...

d, so you stop memorizing words ok? I'm going photographing memorizing posters it's not it's just not going to be effective as soon as you get nervous you're gonna forget so let's not do that this sounds really strange, but if you can look at our beautiful model alone a lot so you get it right? Alana has two arms, two legs, a neck on a face and she's got fingers in her hands and she's got joints if you if you cannot just understand those things that you said you bend the joints properly you never have posing problems again they're betting on how you banned those joints you're going to go from a photo the looks fii nest and elegant toe off order that looks strong and confidence and it all has to do with how you bend this joint's okay, so, um I'm gonna step over to my computer. We're going to go over the twenty one post posting points a lot of attention and this this is something you really wanna be ableto right down in your computer capture it well, review once you get this course review it after it's going to really help you tremendously this is also what posting evolution is based on but in much more detail so we're going to go ahead and get started. I'm going teo turn my computer around actually that we have a clicker okay the first point off posting off twenty one posting points it's very simple I know you have clips in your dress but that's okay, go ahead and turn around I already spoke a little bit about it the first thing the foundation ofthe everything has to do with this spinal cord right there. Okay, go ahead and slouch for me that is not exactly attractive. I don't care who you are. You could be george clooney that it's not gonna work. Okay, so slouch even more. Okay, many times when grooms are when you're trying to make the groom loose haif because you're trying to make the bride and groom put to get together, you usually try to lose height, right? Like if the groom six foot four usually try to lose height by having him kind of go down like this that's actually bending her back and that you do achieve losing haif but you destroy the body past posture, post posture, posture you destroy it completely. This spinal cord never never gets bent whether you're laying down, sitting down, standing up, crossing your legs doesn't matter what you're doing you never let go of this, okay going and sent straight see the gaps in the arm that needs to stay straight if she's laying down, keep the spine straight if you're sitting down, keep that spine straight every time. If you want to lose haif you do that by the last joint in the spinal cord or one of the last joints you actually killed him so you can just tilt your head like you can just tilt your head down that's how you do it you by no means do you lose highs by actually slouching your back okay you want to lose haif you can separate your feet and you have to tilt the head down using the top bone okay let's go to the next one here and I just talked about this one position their heads by tilting tilting not by slouching okay so let's try real quick let's do a slouch to lose height terrible send up normal now tale to the opera bone dance did you bring your head down that's that's that's a that's a tilt now bring your chin down a little more that's a tilt if you can see in the in your computer screens this it's staying straight it's only this bone that's actually bending down to see that it's this bone here now um thank you the next one is minimized ninety degree angles let me talk about the really fast ninety degree angles in the joints is the same angle architect issues in order for them to build a strong foundation for a building you seem like those roman buildings where they have the columns, right? Well, the columns have a foundation that makes another degree angle some accents ninety degree angles means strength powerful if you're trying to make a girl look beautiful on dh feminine and finessed you gotta get rid of those super powerful angles that don't compliment a person looking good so if you're opposing somebody and she's posed like this or she's supposed like this that is a straight up ninety degree angle that doesn't look finished if you're watching what you're really wondering what's wrong with that it doesn't look finesse that was no smooth now look at this simply tone down on that looks a lot better so when you're posting a bride I always tell her can you pick up your dress just a tad so she grabs her dress she picks it up just that that and look at the angle now is perfect okay so you want to create an angle by giving them something to do don't just say can you can you bend your elbow a little bit give arms something to do on getty able to bend just a tad if you go up to another degree look how awkward it looks strong against like strong now you've seen fashion photos where the girls are like this and they're going like that they're going for strong so that's what you do there's not you've done this before that's why they do this ninety degree angle stuff now can you take a seat there for a second and keep your legs at a ninety degree angle so face one hundred percent okay now I don't know if you guys can see that but there is a ninety degree angle in her niece again that's another problem if you wanted to look beautiful killed and I did agree bring it shorter so the angle is more acute instead of soap too so go ahead and bring the light closer to your body there you go now cross your legs over you got rid of that everything we altogether right now let's do another degree on the arms go ahead and lean back on it and do a ninety degree angle. How does that look to you guys? No, no good. Bring back a little making more of two beautiful now the wrist has a ninety degree angle do you see that? I'm talking I'm not talking about ninety degrees only in the els I'm talking about ninety degrees all the way through if you are posting somebody on your under pressure and you see that this is you get rid of twelve toe to ninety degrees and then you create one in the hand you have to think about it this is constant throughout the body so I just her body on keep her hand nice and soft that got rid of the ninety degree angle. Okay, you see how by going through these rules you don't go wrong that's it this is what solves posing problems simple the next one is soft in the fingers let's go ahead and actually I'm gonna be the groom for this one going and come up for me for a second go ahead and grab your hands will put him like a cloth how does that look like beautiful beautiful right? Did you clone my whole thing? How does it look right? But how many thousand icy posting couple supposing where the guy's caressing her her face and he's like this right you gotta grab the fingers and just dropped their eggs soft in them okay solved in the hands if you make a fist if you make a fist and then you let go of the pressure that is the best angle you khun do okay not this not this make a face to look at your face straight in front of your face and then let it go that's the country want that is the same angle you put on a person's face that is the same way you put you put him in there in their waste that is the same way you hold her arm like this and then drop the hand all right give the hands something to d'oh let me give an example I'm standing here I'm photographing a left linda parana elena says she knows how to get to the brain alana alana standing there she looks beautiful bring your arms down don't do anything with them how does that look to all of you on the internet? Probably really bad you have a beautiful girl and you just ruined her right if you give the hand something to dio eh looks more photo journalistic even though you're totally posing them when a photo when you look at a photograph and you feel the photographer's energy in the photograph you feel it it takes away from what you're actually being photographed which are actually photographing if you can take away the photographer from the viewers energy you khun you concentrate straight to the bride or to your fashion model or two your portrait or to your senior whatever you're doing that's hard to explain so let me just kind of give you an idea right now if I had my camera in front of her I have a big lens in front of her she's thinking I'm being photographed on you khun telling her energies has been photographed her arms were just flat and they're not doing anything this point is about giving the finger something to dio giving the hands so bring one hand up just put it somewhere here the other one can hold your dress a little bit soft in the fingers yeah grab this and just move the hair out of the way slowly on keep your finger super soft and keep caressing them out good now look at the lens on I'm gonna take the cap off look through the lens do you see through lynn's what do you see chin up if this was her down describe what you see you know describe what you see stop freeze! Freeze! Freeze it right there freeze all I did buy that is took her eyes and her mind from the photo into can you see that? Look there the internet don't know if you can see that it is you can see right through that right by giving the brain something to dio up the person you're photographing the face goes away from being photographed you are feeling off candidates and concentration and something that's just her not her posing for you it's just her it's organic her okay so give the hand something to do if if she's sitting here on this couch go ahead and take a seat on that couch and you're posting this let's say my friendly only supposing this put your hands do nothing without trouble leon please fix the hence fixed the arms give him something to do this a pillow there's an arm rest drop both hands nothing there's nothing but your hand a little bit on your other one right? And probably um your other hand on top of that one being going that's it every hand has only to go it's not just hanging like a monkey no monkey business okay, okay that's it okay keep it simple you don't know is not rocket science it's not complicated keep the spinal cord straight avoid ninety degree angles nothing rings are not bad let me just make sure that you can sit down thank you let me just make sure to say this ninety the greens were not bad and sometimes I do that myself in my own photographs I'm not saying never do them I'm saying maybe maybe try minimizing them they don't look very glamorous they look strong okay if you're going for strong they ninety degree angles is all you if you're going for finesse that beautiful nothing like ninety degree angles are not your friend okay that's it give the hands of them to do anything at all works you can put the hands on the leg put the hands on his lap put their hands on her dress left or dress up giving her hand some thing to do and you're golden can you come over here a second again and actually can I have? Okay let the next one is give the origin of the fingers give the origin get show the origin off fingers that are just showing up in other words the origin of the hands must be visible in the photograph let me explain that point if she wants to come over here don't feel my love handle okay it's really a problem right now okay sorry, sorry ok sorry ok if you're photographing from your angle but from your angle see that you see the hand you see the fingers do you see where the hand comes from sorry do you see whales fingers come from that dude you see fingers right now if I go like that it's even what how does that look to all of you on the internet right there right now she goes like this same problem right this is not working you have to at least see an inch or two off the wrist okay so if she's doing this grab your angle if you're photographing from your angle switch your angle so you can see a little bit of the wrist that's all I'm saying ok this thing here could be fixed by bringing more of the arm down okay if you ever photograph someone and their fingers are showing up somewhere on you don't see there where those fingers come from you have a problem it's a c c is that thank you they feel nice so sweet of you the next one I'm gonna put him for another camera right here so they can see you clearly that this is obviously just the color bones the collar bones if you want to put him in a strong manner you go ahead and put him symmetrical to the camera okay, if you want to look for nests and elegant you gotta turn those bones away from the camera and that's all I'm saying that's all that this now remember what we talked about the light sources from that direction so you would probably turn the collarbones away from the light and then the face back towards the light sounds good. Okay collarbones on an angle now I think this comes up later but there's three ways off managing the color bones the chin on the ice three ways let's go totally straight look at that camera collarbones air towards the camera right chin is towards the camera eyes are towards the camera that is strong all the way through now this plate a body into this make half the body strong and the rest finessed okay so actually let's make the body more finished so we turned the color balls away from the camera look at that now that chin goes back towards the camera on the ice go towards the camera now you have the body is more soft and but their face is strong and powerful looking at you now isto all finished they start over turn your face turn your body a wave the collarbones away from the camera turn your your chin towards that directions opposite of your color bones I'm not turn your eyes towards the camera now you soft into all three does that make any sense? Okay, let's, try that one with them all straight symmetrical, strong, powerful, confident move the color bones in one direction it gives you a better waistline softens the body chin and ice towards the camera now this party strong this party soft and now bring your chain that direction and your eye stores the camera now the whole thing is soft and okay that's that shift the body weight toe one foot why do you do that to make movement in the hips so stand on both feet together equally so we can show what that looks like now quickly drop your hips all your weight goes into one leg spinal cords go straight give the hand something to do well whatever now you decide now you're financing the whole body now you have options collarbones are towards the camera that means that the body strong do you want the whole thing to be strong or you want to solve it in the face less often the face collarbone stores a camera body towards the face towards the light I stores the light the chin on the ice both towards the same direction strengthens the face okay now keep your chin in that direction bring your ice towards the camera now we soft and pretty much the whole face but we kept the collarbone strong and confident you see where I'm going with this it just keeps repeating itself just keeps repeating itself I could post all of you beautifully the same way without problems just by following this twenty one points okay. Create a gap against critical create a gap against walls with a lower back on with elbows. What the heck does that mean let's do that right now. Let's go ahead and send you stand on that thing. I'll help you stand on top of this. Yeah, put your back against that wall all the way. Flat back. You look carefully right now. She's got hooks on her dress, right? So she cannot lean back all the way. But how many of us do we put our senior portrait or fashion models or whatever? And we put him against the wall and there's no god between the lower back on the wall if you don't have it, you widened her body. You made it wider. If you have it, you allow light to get through that gap doesn't make sense so I'm gonna grab one of my eye slights real quick? Or is it? I'm gonna grab one of my lights and I'm gonna put it right in there. Go ahead and there you go. Now you can put your butt back on the wall but arch your back. Okay, good. Now arms comes this way and now you have a pretty beautiful gap ride on that lower back section does that make sense that allows light to get through on that makes her back super sexy now put your body weight drop your body weight put one like faces the closest like to the camera right so there's been this leg across bring that foot all the way back towards the wall bring this down chin up and towards the light you see what that looks like looks gorgeous okay so remember you can't keep a gap on the lower back okay thank you beautiful okay the next one is one hand higher than the other let's say she's hugging me and I'm a groom she's hugging me and she looks like this and there it is right both hands sorry let me enjoy this for a second ah okay cool I'm watching looking so you put both hands here what are they what are they doing? They're just totally mirroring each other right bullring now you go like this how does that look a lot better right now go ahead and give me a squeeze everything you like it ok there you go you see it looks a lot nicer but if she wasn't let me see if I go ahead and do that how does that look weird right so remember this keep one hand higher than the other ok you can do this and you can go like this you can do whatever you want you could do it on her she could be here she could be here she could be relax pick up the dress whatever like that just fine she could be she could just be a simple as this as long as one hind is higher than the other it removes that awkward contrived feeling that you get so remember this avoid mirroring the body parts or the hands or whatever okay the next one going and look at this camera again this is symmetrical posting okay if you want it to be super strong keep everything symmetrical towards the camera so I'm going to actually lean your body forward towards the camera to even strengthen their post okay I'm gonna bring your chin up a little bit and you're gonna keep everything symmetrical you can go like this relaxing good you see how that looks pretty strong and powerful same thing with a guy if I'm a guy thank you relax if I'm a guy which I am by the way you put both hands like this and I'm looking at the camera and then I I just bring my chin down and I look up it looks strong symmetrical posting where the left side on the right side match perfectly is for strong posting when you're trying to make the guy look more sexy whatever you turn the color bones you turned the face and all that okay so if you wanted to look relaxed and soft and cool create angles away I just told you you're trying to create strong powerful and confidence symmetrical post works well so that's the other point posed the ice okay we did a little bit of this right the ice have three factors we have to consider when you're doing stuff three factors how much of that where is the irish looking at that's five through one factor to how much of the eyeball off the white eyeball shows in proportion to the iris that's two on third how much of the eyelid shows up in your photograph on more importantly than anything else when you create a combination with those three things what is the expression that you are chief doesn't mix does that make sense for example we want to go for sexy what combination of those three things gives you sexy you don't know we haven't practised there right let me give you sexy means get rid of the island's no eyelids if you want sensual make the eyelid fifty percent off the eye so you you you bring on the chin you close the island because you're looking down at the end it comes down and that looks sensual have you seen victoria secret uh advertisements and so forth the girls are always looking up and they're always like checking you out kinda gets a sensual look where the island is fifty percent close but if the girl wants to look sexy and aggressive you bring the chin down chin down more now look straight at the camera she that no eyelid look I need gone now bring up chin up right there breathe through your lips now drink fifty percent I did fifty percent ivo some accents now we're going to control where the id is going where the eyes going to go so take a look at the remote gino now look like I can control the island ready? I live gone she looks like she space he wondering where she is that right um down she's in thought come over here chin down eyes up right they're beautiful elegant and it's starting to get to the sexy area make sense so, guys, if you're watching online on your posting your bride you better go and do some exercises I do the combination of those three things and then write down what expression do you achieve by combining the different the different eyeballs or indifferent I factors okay, that wasn't confusing, was it? Okay. Can you go ahead and take a seat again, please? I talked about this on my last creative life class or when I'm gonna go over this quickly so we can actually get into the posting area. Okay, that invisible plane angle check is one of the most important things you can do to make a photograph successful that means that if you were to point your camera oh, this one standard okay, if you were to point your camera at a subject different moments if you were to point your camera the angle you choose is going to effect the success ofthe the photograph I'll explain. Let me see okay, check this out you're sitting here right now and you say I'm gonna photograph elena elena she's beautiful parana helena she's beautiful and you choose this angle why is this about actually lean back normal? Just bring your niece towards me again okay there you go. Why is this a bad angle? Because if I was to push my shutter button here this invisible thing you have to kind of imagine coming out of your camera comes out comes out out out on it hits her knees first right when that happens her knees are here her eyes are here now look at the distance that you're getting your you're pulling about twenty five inches or something like that twenty inches between the knee on her eyes the rule of thumb is you went this invisible thing that comes out of your lands that you imagine coming out of your lands you want this to be hit in the eyeball first ok are you going to get the eyeball first all the time absolutely not what you try your hardest to minimize the distance between whatever this thing hits on the eyeballs so let me let me do that again bring your niece in that direction bring your bring your body towards the camera okay? Relax your arm a little bit keep the spinal cord straight soft soft in your fingers okay I'm gonna go to the same angle now ok I shoot comes out it hits here first now right now watch this bring it up now we're two inches away from her eye that successful that works when you look at this picture that person is not defensive her body's not away from the camera bodies towards the camera this is really important if I didn't want to move her niece what's your knees back in my direction if I wanted to keep her niece in that direction and I still wanted to shoot from this angle simply raise the camera angle and shoot down into her die away when you when this comes out look picture comes out comes out comes out comes out comes out hits her in the face right away okay if she's hugging her husband and she's putting her arm right there okay and I'm taking her picture on I'm a photographer and I choose this angle this is a terrible angle as she stands right there if I want to take a picture from this angle I'm going to launch this thing it's going to hit her elbow first on that elbow on her eyes are about fifteen inches apart that's way too much you want to keep it around three to four inches maximum okay so how do you fix this? Actually you bring that shoulder elbow and you just bring it down now when you shoot this one pump pump pump sorry list got same angle now it hits the elbow here her eyes are not three inches from the first point this hits okay very important stuff how's that for a grafter from here on your body was toby back go ahead and go back and I don't change the angle I take a picture from here she looks defensive she looks like she's not interested sheets you went to the person toby inviting you by leaning forward towards the camera toe look at you but when she's like this is like saying you're taking a picture don't look at me and he doesn't look good at all it's not inviting so when next time you go out and you do a photo shoot imagine this little thing coming out and ask yourself where is this hitting first on how far away her eyes from this okay the next one and we're coming to the end of these twenty one points is the face should be the brightest part off the whole thing if her face is the same brightness level as the background that's okay but you probably don't want their face to be darker in the background or the face to be darker than the rest of her body so if she's wearing a white dress you want teo make her face bright enough to at least make it the same level of brightness as her address okay by the way, some people are probably in the internet thinking what about the photos you just took where her face was a little bit darker let me go back with that that wass I say my silhouette situation that's where I have this white completely white on her face and her body at a little bit darker and it creates a contrast that's okay, I'm talking about in general you want to face we brought it in the body okay uh roberta this we just had a couple questions that we want to jump in if you don't mind all right duke from park city ask does the point about avoiding mirroring of the hands applied to holding the bouquet would you always avoid hoarding holding them okay with both hands no interesting yeah, it does apply to holding the bouquet imagine holding up okay. By the way, this is style thing. This is a suggestion. You know this is off suggestion if you're holding the bouquet like this it looks very post imagine your life but why not hold it like this? Why not shift the bride's body weight to one leg and half the flowers just kind of be relaxed and have the groom be next to her right? Which one do you prefer? This is like nineteen, seventy two styles like what's ah big tracks puffy big hair, right? This is more modern type I feel really weird doing that because I'm not a girl okay so yeah it implies it applies to holding a bouquet what else was in alright more questions from the internet and do you guys have any questions in here? All right, so a question from ah fashion tv in singapore radio if we were to get the bride to face a wall instead of her back against the wall how differently should repose her what should we look out for? What the contact point if she's facing the wall instead like it's just straight up facing the wall why would you want to face the wall? Let me see can you come over here for a second and I think the answer to that would be you still wanna have light getting through her body right? That would be really weird let's flatten her let's do this let's go over there and just flatten your whole body against that wall I'm so sorry that's gonna be really strange for you that's very strange but maybe somebody like you I don't know now go ahead and grab your stomach and pretend that your lower back and you're gonna have to pull it out of the wall keep your shoulders against the wall on the back towards you now bring your niece against the wall now let's say you're for agreement from this angle this could be cool right in your face towards me well in your head no, I don't like that let's bring that had neither head back keep the shoulder stores there right there ranger knows this way and then you could photograph her from here and he could look really cool if you have a cool headpiece or something like that okay, but I'm still creating gaps on her stomach area instead of her lower back is the same it's the same area here okay, so thank you all right. Thanks for bread I always wantedto get in a couple of those has no problem. Thank you. Okay. Uh the next one is the nose x factor on I talked about this last time so I wanna get through this quickly if you have can you come in for a second? Okay gave you have a person's imagine a steak coming out of her nose. Okay, so here I am I have one she's got one in this direction they both have parallel lines see what I mean if she wants to look at me and go ahead now you have an ex coming out right if she wants to everyone to look at each other there's heard line there's my line they're parallel cheesy looks cheesy okay now if she wants to lean her body mean her nose let me see I'm going to look at you you will in your nose this way on down now look this creates a necks islamic sense eventually these this hits if I'm holding her from here on dh somebody says look into your future you put her nose look into your future your future's over there so her nose is in that direction my notes is the same direction and we looked really nineteen seventy four we'll get this ready look at the ground rules right now when I tell you, look at that camera this concern you look really funny ready when? Two three wow. So what I did is I put her nose line on my nose line parallel in the same direction looks done now put your nose towards me again and down and then we have across the make sense so cross the noses. Could you show us that in something that would be like a traditional like for grandma kind of pose like where they both want to be looking into the camera looking into the camera doesn't mean doesn't mean you have to you have to stand like this, right? She can simply do you mind if I just shaken simply ben hur ben hur neck her head towards her higher shoulder so they say you drop your body away so this is a higher shoulder tilt your head towards a higher shoulder there were less and then she's holding her her okay for they like like a mirror the sea how that messes it up right away now go ahead and go like this and dropped it like that and hold it like this drop your way bring that leg a little closer to this side so you can see the control your side keep your spinal cord straight men the arm a little bit bring the rest down a little bit so you so your shoulder real nice and relaxed till you had to win direction very slightly and smile looks nice right I mean I'm standing here and I could be like this or like this and you have a picture for that for her too she can turn her head her nose a little bit towards me and he removes the exit is this perfect parallel that looks really cheesy okay subject emphasis um when you're talking about subject emphasis you have three ways to create subject emphasise my friendly on three ways way number one make sure that the subject is the brightest in your friend on last year in a silhouette or sam my silhouette situation like we did earlier today number two the relative size of your subject on the frame should be the biggest so she should take up the majority of the frame okay that doesn't apply if you're shooting a landscape with up with the subject if you're shooting a landscape with a subject that landscape on the subject are not going to be the same size this is not a must. This is one of the most of you shooting a straight up portrait, okay, just taking a picture of someone on I showed in that entire weird section and she's like this and I'm trying to show her it creates a problem. We don't know if you're taking a picture of the room if you're taking a picture of her, okay, so the third one is she needs to be in focus that's pretty simple when you surprise somebody times I see photos where the main subjects out of focus so doesn't work. It also means that if I'm if I'm here and I'm kind of like an accessory and I'm like this on she's looking at you guys because she's looking at the camera and just look at this camera right here she's um her I should be in focused, not mine. The subject emphasis is on her because she's the windows in focus, I'm kind of hiding in the background, kind of like an accessory, right? So that's the other one and last but not least be specific when you're posting instead of telling her like I've been pretty specific with you. Um, why are you holding a random like just getting be specific let's try specific this c I'm gonna pick on david david I'm not going to say squat I'm just wandered to be specific when you're opposing her be specific about where she's looking about her arms don't help him at all drop your whole body nothing and start from a clear canvass the way while she's sitting in that chair would you okay don't help him at all cross your right leg over your left leg there you so when you sit further back on the chair okay and I want you you're a little bit forward then I want I'm gonna want your upper body to lean into the left side of the chair yeah um yeah looking good thank you can you saw this picture on your website ah beautiful kidding kidding okay let's have you let's have you I want to pull your left shoulder back a little bit there you go and bring them have you turn your head towards who that's actually nice right there yeah I like that okay you're right hand he's come across um that looks terrible this's good because we all do this it iss and you fix it okay uh what if I with her right hand could I have released another harry and that would look nice like with the hair on her right side you're given their hands on them to do now we'll make sand sea how we fixed it yeah okay I'm actually more like like you're brushing it out but you know what emotion? So ask her to grab it and toilet or something. You know what emotion ok im doing in snow much there too it's, no motion. Grab it with your finger twirl yeah, slow down. Slow down, dude again twirl and slow motion like super slow super slow super slow something you think is that you do it super so stop! That makes sense come down a little further down stop beautiful now is her face the same intensity of light as her body the answer is yes, her face is exactly the same. So how do we fix it? Grab light source off any kind and just give her face just a little more pop. See? Look up! Done now you have catch lights in her eyes her face is broader than her than the rest of her body on dh she looks beautiful keep twirling that. Andi, look, keep looking at the ice light so you look seven inches from my ice like look about right there now let's posterized bring her eyes them keep twirling. Take a look at the take a look at this cross right there. Keep twirling and you take her picture this way this is a photograph of professional grade this is laziness, see what I'm saying this is not exciting even though her body is away from the light and she's turning her face towards the light that's better but we can make it even better when making her face just a tad brighter push yourself a little bit if you don't have this grab yourself one of these skies where is my reflector? Uh yeah this's another son bounce reflektor really great grab a reflector and let me show you something real quick if you were holding a reflector like this um and you're putting your putting light on her if you were to bend the reflector towards your model is going to increase the intensity of light if you were to bend the reflector away from your model is goingto soft in the intensity of light so when you're photographing if you don't have a lot of sun, I'd like a cloudy day like this then grab your reflector and bending I need well, content is like a spotlight if you have a lot of sun, grab the reflector and just curve it backwards and he will soft in the whole life of the waste is like a big blast of light like they're in headlights type of thing okay, this is, um my beautiful wife that you're seeing on the screen can you see my money today? What are her hands doing? They're doing something and one is higher than the other right the face of the singers are soft. What about now? You see, her body is towards the camera, seeing her face, it stores the camera. We want that see she's, not defensive she's she's towards the country's offensive. Okay, which kind of pose is this symmetrical? Remember, symmetrical. Does he look strong, confident and powerful? Sure, because it's, a metrical that's what I mean, this little twenty one points are no joke. This twenty one points, really so all kinds of problems.

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!