Rolling with the Punches Outdoors
Rolling with the Punches Outdoors
13. Rolling with the Punches Outdoors
Class Instroduction32:43 2
Separating Yourself Through the "Getting Ready"22:09 3
Rules of Lighting27:29 4
Gear and Basic Lighting31:31 5
Shoot: Bride Getting Ready43:27 6
Points for Posing45:13 7
How to Fix a Pose38:12
Shoot: Wedding Party37:49 9
21 Point Posing System Recap40:09 10
Bringing Your "A" Game41:19 11
Photoshoot #1: Reacting to the Environment38:03 12
Photoshoot #1: Review21:58 13
Rolling with the Punches Outdoors23:45 14
Photoshoot #3: Indoor Challenges & Posing38:14 15
Photoshoot #2 & 3: Review52:13 16
Importance of Challenging Yourself30:51 17
The Psychology of Sales1:00:03 18
Meeting with Clients1:05:24 19
Shooting the Wedding Party31:22 20
Flash Techniques43:03 21
Shooting the Details54:09
Rolling with the Punches Outdoors
We're gonna hit this hard and fast we're gonna do uh we're gonna do a beautiful job we're in this courtyard there's not a lot to do but uh we can actually point one camera at that sky right there there's actually quite a bit off clouds but the sun still has a position, right? That son still has a position which means that that direction of light it's still coming from that direction in this direction so actually as susan and kenan we're talking over here I noticed that the sun was being defused by the clouds which creates a large light source right? And it gives them beautiful quality of light so they will not have riku nice if we put him here. Okay, which is a beautiful thing. Uh, why don't we start way this shot first and they were going to do another shuts that more complicated we're going to start building it and we're going to start solving problems in terms of the location so let's, go ahead and get started. You can keep your jacket on for now. Um let's take a look at this real q...
uick go ahead and stand in this direction. Okay? Right there. Let me see um as you can see if you can point a camera at her local beautiful the quality of light is in her face, right that is beautiful directional light and what did I say about directional? Like you turned the body away from the light and then you put turn the face back towards the light. Is this all really easy problem solving stuff? So if we put her here where broad lighting her because the light is coming directly for another face so we're simply going teo, turn her body away from the light turned her face by towards the light go ahead and turn your face to the left eye. Now you have a much more glamorous photograph not to mention not to mention if you could look at the dress real quick this part of the dress is lit by the sun straight on but as you move on he goes into shadow, goes into shape in a photograph that's going to give you a very three dimensional wrap around. Okay, if you want to face the sun all the way now you have a flat, flat son in the dress all together. Okay, so we have all these problems we solved and now let's talk about the bathroom issues. Let's, look at the background. We have a green, a green bush which dominates the scene, right? But then we have another bush that has red flowers on it. Red introduces a primary color. Primary colors dominate more than anything else because it's like it's like this body flowers so what I'm gonna do to complement that red flower bush it's actually complimented with a brick wall which is also has a red tone to it so I'm not gonna worry about this bush I'm gonna worry about that red flower tree on that brick wall over there that will give you the best compliments for the photo. That means she has to actually move forward about three steps right there on see how you're doing right now looking what? You looking over here, right? Ok, we're gonna continue the window because that's turning your you're turning your body right there you're gonna grab your dress just like that you can just keep your hands nice and soft and you're gonna bring your head down to the side yeah there was a little thing there it was a black widow don't worry about it. All right, so let's take a look how these beautiful quality of life I actually don't have toe back like this shot because the sun is kind of taking care of this for me. Okay, let me see so I'm gonna move I have to move in that direction so excuse me wanna move right here, let me take take a test of this way also have another problem even though I chose my background is beautiful we have a great car in that right behind her, which is a major problem, so we're gonna actually have to switch the angle a little bit to crop the car out. Okay, then I actually want to do the next we want to do is be able to actually create movement because the valley's moving let's go ahead and add movement to the whole body now so I don't know if you guys noticed how much we're rolling with the punches when the smoke came out, we used it when the wind came, we're gonna use it so instead of having her post and stand all cute, we're gonna actually have it turn all the way all the way on. When I tell you, turn around nice and turn around like that just grab your hands, grab the veil. You can use your right hand to get the veil out of the way what that will happen. It will create his beautiful vale under right hand. She will be looking to the left. It will be beautiful. Okay, so let's, try it. Go ahead and go turn to the left to your whole body like that. Ok, keep that right hand on the veil keep that elbow slightly bent keep that right hand nice and soft don't squeeze the veil, just grab it nice and soft, their hands look um nice and soft there bring that right bring this leg because his closest to the camera we're gonna bend that over and then you're going to spend like this you're gonna go all the way around you're gonna spend your whole your whole torso so your legs day your upper body will turn all the way around can you do it okay I don't have to worry about the light this is doing on the job for me no need no need for flash no need for very light no need for reflector everything is being done for you right now look how beautiful that lighting looks. I'm going to increase my I s o from four hundred to six forty because she's actually gonna be moving so I need to increase my shutter speed or my aperture or whatever and because I don't have to worry about the flash sinking to the shutter speed I could go to two thousand shutter speed and it will be perfectly fine. Ok allright turn all the way around give me a second I'm actually lowering the shutter speed because I'm at fifteen hundred I don't think that that shot real quick that shot okay ready one teo go turn around nicely good this time bring the flash, bring the flash, bring the veil and take it out of just a little bit more to add more little more glamour you know what? Because the sun is coming from that direction when you look instead of looking down this don't look up towards the clouds if you feel like you have to close your eyes close your eyes ready one teo go ahead beautiful oh my gosh that is gorgeous that is gorgeous nice job let's do one more of those ready one two go turn around close your eyes close your eyes beautiful okay guys if my awesome panel of students could come over here for a quick sec let's take a look at what happened you guys see I don't know if a camera can show this do you guys see that brick wall in the background you see has got that black line going right through it that's very very distracting element uh intern in the background so when that was shooting I saw that I had to switch my angle so I can I only get the bush and I don't get any of that line crossing away this is when um when her eyes closed it looks like this so you got rid of this quite a bit and look at the veil coming out this is her eyes open looking towards the clouds right and this is her looking down her looking down picture number nine nine five nine her eyes became riku nice so the problem there was there were cool nice again I have a beautiful son andi I instead of making her look up towards say I make her look down of course it's not gonna work so instead I changed it to ah flow post looking up I exposed for the highlights and you get something that looks like something that looks like this, right? Yeah. In photo number nine nine six one for example in front of number nine six one um the sun is coming from this direction so all I had to do that the wind was coming so the wind was blowing this veil out so I decided to go from a static post two opposing motion. Okay then after that I decided that when she was looking down it was giving her a bit of a record. I look so I wanted her to change the post and look up into the sky. I knew that that would be bright so I only had a split second to take that picture before her eyes one like this right? That second photograph I actually had her close her eyes as she turned, but I had her extent of a little bit more to give it more off. Ah flying look to the veil ok, I decided not to use a reflector, a diffuser or anything of that sort because as you can see that the light is totally not necessary so don't complicate your life if you don't have to in other words no because you have ten flashes in your bag and you have to use them all okay so let's try to just minimize the complicated problems and it's just stick with what we have uh so let's go ahead and move on we're gonna move on to this little location right over here stop right there uh let's see move back a little bit moved back with my book but I keep going back okay keep going back okay okay I see something cool here all right um I don't know my students can at least a couple of them can come over here to take a look at this you're standing in this angle here you can see the branches of the trees go all the way to the top and it looks quite beautiful however there is cars parked in the in the street and that's the problem we have to deal with right so again for the guys on the internet yes I am going to be photographing from a lower angle because that will take the cars away from my composition that cars will be gone okay if I want to shoot from this well if I was to shoot if I want to shoot from this angle that car's will show up directly that would look not that great so all right let's see if we do the switch let's go ahead and half j join you on this one on uh julia can I have my my sixteen to thirty five for my thirty five millimeter lens? I have to see all right, let me see if this works go ahead and uh turn around all the way around on I'm going to take a test run quick, switch back to this give me a second I'm trying to get rid of the cars in the background right there isn't one switch back to this is because this contracts the scene and they will allow me to zoom the cars away from a composition away from the photograph the sun is going to be hitting the back of her dress so we definitely need to have her face turned towards the sun so when she's walking she's gonna turn your face towards the sun to take advantage of the light hitting her face that's the extra step we talked about how about adding that extra element to make sure that your photo goes from good to great all right all right it's a big flight so let me turn around I'm gonna look for the place of trees where there's no cars I'm makes it look like we're in a forest instead of instead of in the middle of seattle here I'm gonna put this back in color okay guys timed as you are it's time that you are just as you were but lean your head toward the left all the way to the left so I can see that side of your face and grab them with your right hand grab that veil I'm to get it out of the way rather a veil get it out of the way that's it like that like that well keep your eyes on him so but let's do it in motion on dh less for that I'm not quite done so that's your post okay for you jay let's have you looked straight down at the sidewalk okay going and hold her hand separate yourself by a little bit just a tad I'm j think take a step forward and keep that motion of the step like you're walking like you're thinking an actual step ready think a step right there okay let's go back okay good elena when he takes that step you take a step but you actually turn your face to the left and you look at his eyes okay so you're gonna do it in motion as well so your whole poses in two steps all right ready I have to go way down to get rid of the cars and the sinuses for lease and all the other problems in the post okay I ll and ill ready take the steps one till go ok let's go ahead and look back again take take your steps back look at that shot real quick okay, ready look straight down j straight down okay take your staffs ready go okay stop get closer to each other come back again come back okay stay right there right there right there is good go ahead and hold her hand again okay this time elena I want you to look at him and smile like you've never smiled before jay keep looking at the ground on don't even worry about your expression because it's nothing doesn't show up okay alan a tilt your head towards him a little more let me see your profile smiling like that like that ready take a step doing that go go go look more to the left a little more to the left or to the left one to the left okay come back right there straight one more time and this will be the last one let me take a test shot alone a second trying to get more of the tree branches okay ready smile really nice and big towards and go go go okay, we got it that's it that's it man that was good. Ok ok, I um if we can have this angle showing because thie angle has a lot of problems associated we have the street, we have the passenger loading son we have the parking meter and we have that for lease sign that's a lot of problems to deal with okay, so I went way down and I had her look to the left to get the sun to hit her in the face. We have quite a beautiful scenery. Looks like they're in some sort of forest on the idea was to get rid of the cars but changing your angle to go from from six feet tall, two way, way low. You want to see this quick? Okay, okay. Um there is someone we had turned her head is to take advantage of the light of the direction of the light. Some people out there have asked me when it's defused there is no direction of light and the truth is this there's nothing further from the truth. The sun doesn't care. The sun is going to continue to move across the earth. Right? So there's always a direction off light. Your job is to just know for where the sun is. If it's coming from that direction then pose your people accordingly and that's it makes make sure that the light is the most important thing you look for so let's move on to another fun pose here, let's. See? Okay, okay. Do you guys stand ride over there it's coming this way and stand right over there look in that direction do you see that cool house with a cool green moss growing on the wall, okay? That's what we're going to use us or background is far away enough and the colors are neutral enough that it will be beautiful and complimentary. My job is to make sure I don't put that parking sign in the picture so like or that whatever that white sinus so I can actually use their bodies to block it so that's the solution to that problem all right, look at the way the veil is now back lighting her veil not sorry that son is now bad lighting her veil so all right guys, go ahead and take a step keep going that way for me stop! Stop! Okay, go ahead and look away from the comrade jae andi let's see? Go ahead and get close to him. Put your hands around him keep the elbow down because the right hand has no origin we're going to bring that hand and put it down good get lean on his right shoulder good. Let me see your face don't bring that hair back. Okay jay, your face is looks like it's not engaged so we're going to engage it, bring your nose stores or upper cheekbone and put your hands around her okay jabe, take a step back so I see more more of your face more, more, more there you go now lean it towards the tower towards her upper cheekbone good turn aim or attorney tor sir more more good lana you look at the camera quick like sand confident and strong okay I need a reflected this time you can see I didn't reflect her because the sun's coming from that direction right sora bouncing the light back okay jane that looks good engage a little more get that nose in there a little bit way okay good good stay stay smiling state smiling stay smiling stay smiling went two three go all right guys nice squeeze ready look straight at the camera went to three and again no no you jake sorry just yolanda look at the camera lana beautiful one more time I'm gonna look at the camera it's beautiful look at the gran alana and they look at me ready look at that look at me now go ahead beautiful there's very nice. Okay that's good enough where is the camera there all right guys this time around we put the sun so let's put for number let's put photo number nine nine six nine up on the screen nine nine six nine ok this time around we had a reflector we had julia hold the reflector towards them because the sun was coming from that direction we have a stop sign we have a light pole way have a parking sign on that house is far away enough we had to change we have to choose an angle that eliminated all of those problems so if you look at the picture you don't really see you don't see any any light posts or anything um we have a tree here we can use the tree to frame them I mean we can keep going we can keep I'm gonna focus on the tree branches guys go ahead and have a little moment close your eyes right there just lean towards each other bring your face more to their left shoulder a lot like that exactly like that exactly like that uh put your hands really close to her j let's engage the hands good and keep a subtle smile going on ready subtle smile soft smile give me a second here gave me a second when I move back a little bit here now we have a major problem we have a u haul for nineteen ninety five all right we're gonna throw these picture completely out of focus we're gonna focus just on the tree branch and it's gonna look quite beautiful go ahead and embrace a little tighter guys there you go right there hold on there's a car coming give me a sec all right right there land already one get the reflector going really nice one teo three embrace tighter tighter tighter tighter tighter tighter good all right let's do one more here let me try something different problem solving right let's see let's see here. Okay. Go ahead and embrace again nice and tight nice and tight, nice and tight. Give her a kiss on the forehead one more time, hold on a second. Well done a second well done on one more time and almost done here. Give me a sec last one one, too, so why not that one? You keep it up, keep it up, keep kissing that forehead, my friend, give kissing that forehead, okay?
Ratings and Reviews
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!