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Perfect Wedding Portraits

Lesson 5 of 9

Shoot: Wedding Couple

 

Perfect Wedding Portraits

Lesson 5 of 9

Shoot: Wedding Couple

 

Lesson Info

Shoot: Wedding Couple

Now, let's do this. So I'm gonna bring on the second apple box. Have you come out for one second here? You're gonna call you my love. And you're my dear, um, just to keep things very clear, you know, uh, and let's get it this way. Yeah, Let's put him, like, next to each other. So they have, like, a nice a nice platform. Perfect. All right. Pop up on their guys. So we're playing to our scene, and we're gonna kind of shoot this the same way that we did, but I want to incorporate a little of the veil into this. Okay, So what I want you to do is we're not gonna teach you guys the foundation posing stuff because we only have a minute or two to get some more shots. We'll have to do is close against each other. By the way, if you guys have learned the foundation posing, it still works for the most part, even when they don't really know. You know that the terms very simple. So this close go chest to chest, they're perfect. Perfect. Now I'm gonna have you love. Put your arm of your love, your d...

ear so, dear. Put your arm on, Kelsey, Put your harm like right there. That's great. And what I like to do is just make sure that you guys aren't like copying each other, you know? I mean, like, if she's putting her hand somewhere, you want to put her hands in a different place. If you're putting your hand somewhere, you do different things. Basically, I love that. Okay. And then, um, let's go. Let's do this. Let's go. Your left hand in the pocket, Kurt. And let's go right hand around her waist and pulled her in. Beautiful love that. Let's bring your hand, my dear, to right up to the chest. Hand down. Beautiful. We have this lovely thing. Okay, so this could be a special effect item, right? Yes. Mm. Let's do a shot without a real quick. Yeah, I just feel was pecs. Is it firm? Nice. Well done, Kurt. Do you like push ups before you started this? Yeah, it's awesome. Okay, guys, do you have room on the boxes? Because if so, I want you to scoot this way, Libit. Okay? And don't step off in There you go. Perfect. That's adorable. Okay, let's get this guy a little longer. So I'm going to start with, you know, we don't have a ton of stuff that we can ah, possibly shoot here. So we're just going to get a little bit of variety starting off with something a little bit wider. And I didn't even adjust in my settings. That's pretty fantastic. So let me go ahead and do that now. Perfect. Okay. And, John, can you scoot the sofa just a little bit more that way? Uh, okay. I deal with the hand. I want you to lower it a little bit and let's go to his tie. Actually, why don't you pull his tie like into you? There you go. That's cute. I love that. Okay, beautiful. Okay, Right there. Fantastic. Okay, I'm white balance like I just my white balance for all these shots, guys. So we're at 5500 Kelvin, because this is what the room is. Basically, So we're keeping again trying to get as close to possible for post beautiful. So I'm gonna do, like, maybe three different angles here. Let's do John, Can you pull on available quick? I love this shot, but I want to get that veil kind of dropping behind her a little bit. And one of the things. Another tip I'm gonna give you all is when it comes to weddings, engagements, family and all this kind of stuff. Lighting is awesome and cool compositions is awesome. And all those things are fantastic. But if you don't have a great expression, it's a dead image, right? They're not gonna use it if they don't have a great look and a good expression. So watch those kind of things. So look into him. That's perfect. Did you just go tippy toed? I love that. Cute. Okay, right there. That's perfect. Down holy right there. And lower a little bit. Jonah wanted to reach the edge of the frame. That's fantastic. Perfect. I'm gonna shoot just a little bit wider and actually need I love that smile, guys. I'm gonna see I put the bar like between their heads, and I don't really mind it right there. Actually looks pretty good. That's where the cute. All right. Go for little pack guys. Every little kiss. Perfect. Pulling it like you mean it and dipper down a little bit. There you go. That's what I'm talking about. I love that smile. That's so adorable. Perfect guys. Does that curtain it doesn't open up anymore, right? That's right. Well, this crop in on the final. Okay, now let's play a bit more. So what we're gonna dio is this? Go around. Oh, it's all good, John. That's Hold on. Hold on. Just hold that right there, John. Got it. It's gonna gonna pop. We'll see it. There it is. It's a nice day. Solid. Okay, so I want you to bring that over to the front. This is one. My favorite shots, Guys, it It's such a great shot. By the way, I don't like anything in my camera hate straps and stuff, So I just put it down on the ground. People think it's weird, but, um, this is one of my favorite special effects. Why? Because it uses the lens. I'm sorry. Uses the veil, which is a piece of their day. And it also helped me to block things out. Right? So all I do is it's so easy close up against each other. Okay? And then I can heal. Help me like, let's make some techniques that are named like after me, Right? Let's call this the pie veil. Does it have a good ring to it? It's terrible. Were I'm just kidding. Don't Don't ever don't do that. Okay, so this is the pipe feel I did a pie veil shot the other day. I'm just kidding. No one has cool names like Brennan's. Er, that's a good name. Okay, So what we're gonna do is you're gonna hold this right here. Done. Perfect. So what this is is now it's, ah, natural line that leads up and into them, right? So look toward each other, guys. And John, bring that into me more. So come closer right there. And if we have junk in the background, if we have things that we don't necessarily want a feature, this is a great way. Going for a little kiss, guys. Perfect. Leaner. Back. A little bit. Get into it. Get into it. I love that. Almost kiss. Do the almost kiss. Yeah, kind like you're touching teeth, like, weirdly touch them teeth. Yeah, it's adorable. Okay, you see that? So again, if there's more junk in the frame anywhere, then you have this line that comes in and you can just close things off. So you just close things off and it's it's really cool. You can actually get in. I love doing on 35. We'll get probably some junk in here, but let's just do it anyway. I want to show it there. I feel like I'm staying on time. Feel good? A couple minutes. Yeah, Let's do this. Okay. With the 35 I want you all to be really careful with this lens because it's a lens that creates a lot of distortion when you get in tight. So when you're doing this type of a shot, make sure that you're framing them in a way that is flattering. Okay, so, yeah, I do want the veil. Let's move that reflector out to the side road, big. And, um Yeah, that's great. Now what you're gonna do, John's, you're going down this side. I want you to hold the veil up from your side and I'm gonna have you hold the middle piece. So I'm gonna hold this part. You're gonna hold that part. There you go. And you can let go the size only you hold like, yeah, so let go. This thing let me get this into place right here. There we go. Ok, you hold this piece, John, I'll hold the other. Which one? This one. This right here where? My fingers are. Perfect. Okay. Mm. Get this. Okay, hold up a little higher. Done. I'm just gonna go one side of that. All right? Leaner back did go for the dramatic. There it is. Love that. Show her how you kiss like a man. And yes, this is exactly how I am on actual shoots. Um, go ahead and close like that. I love that. Just pull apart a little bit with that smile, Pull apart. Part of part of part apart, a little bit more. Right there. Right there. Hold that joke around, Laugh a little bit. And, brother, you have I want you to close the hips and lean almost towards my side a little bit because you're kind of leaning away from me. So open up so I can see your chest. And when you lean kind of lean this way. There you go. A little less. There you go on. What we'll do is we'll this turn, just turn. So you put your body a little behind her There you go. Right there. Perfect. Lean back a little, little bit right there. Hold that smile. I love that. That's fantastic. And now, touch teeth. Get them teeth in there. There you go. Pull apart while you're laughing. Love that. Fantastic. Kate's. Okay, super easy. Okay, I'm gonna do one last shot. We're gonna wrap it up. I'm just gonna get my tight shot. So guys pull each other in close. Let's go for my 85. Just get my last piece. So for this, John, why don't you grab the ice, like, real quick, cause it's gonna be the quickest light that we can grab, actually. Know what? Just go. A silver do a silver reflector. That's the quickest light source. That's cute, isn't it? Uh, let's do us a large silver. We're indoors right now, so we're gonna do the large silver. Beautiful. I love that right there. All right, let's just pretend like I told you guys to do that. E I love that. No, Seriously, like, pretend I told you to do it like, yeah, last little bit. All right. Well, good. You go look down while you're laughing. There you go. Perfect. Beautiful. And It's a wrap on the studio piece. Okay, So what do we do? We got three different types of shots right now in this little scene. We did that kind of wider shot. We did like an action shot with the veil. We did a close up shot where we can get that. So now we have these elements to piece together. You want to sell frames, you want to sell campuses albums. We need to tell the entire story. So look for details and then work your lenses to get different angles.

Class Description

The morning of a wedding day presents a fantastic opportunity to capture great portraits of the bride and groom. In this class, Pye Jirsa will walk you through creating a beautiful, cohesive set of portraits from start to finish. You'll learn techniques for developing and retouching the image in Lightroom. Pye will share some of his favorite Adobe® Lightroom® presets and retouching brushes, and work on a few images in Adobe® Photoshop® to show how he keeps his editing time to a minimum.  


Software Used: Adobe Photoshop CC 2015, Adobe Lightroom CC 2015

Reviews

Ahmad Mostafa
 

Very nice class and very nice instructor, a lot of information is presented in a cool and easy way, you will love to follow along with the instructor. Thank You.