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FAST CLASS: Incredible Engagement Photography

Lesson 7 of 18

Posing Three Point Check

 

FAST CLASS: Incredible Engagement Photography

Lesson 7 of 18

Posing Three Point Check

 

Lesson Info

Posing Three Point Check

There's a three point check with the body. It comes with the eyes, the eyes, chin and nose and collarbone chest. Okay, let me see. What this means is you create a different focus to the image with these three points. So, for example, I'm gonna demonstrate that couple in just a second. But let me show you real quick. So point number one is the chest. Right? Let's say that this monitor right there is the front of our camera. Me opening the chest, keeping the eyes towards you, keeping the nose everything towards this side. This is a three point open shot. This is a portrait. Okay? Every part of me is prepared to take this photograph right? As soon as we close off a point like, let's say we close off the eyes, but my chin is still facing that way. My chest is still facing that way. Does not the mood of the shot changed dramatically like a soon as the eyes go down. Now it's a candid kind of portrait, right? I'm not giving the eyes the attention to the camera. The focus now becomes What if y...

ou were to guess? Just so what would that be great for if If I take the eyes away and I want the focus to come towards the chest, what kind of a pose with this be great for maybe fashion right? Because in fashion you're just trying to show off the clothing. So in fashion they often remove two points. We'll take that, the eyes and the chin away, and then the chest is open to the camera. Okay, that has another sense. If you're doing with a couple, it has the sense of being aware of a camera present. So if they're doing the same thing where they're open, let's actually demonstrate with our couple now. So coming guys stands straight up and then go open to the audience. And then why don't you hug onto his arm, but stay open to them? Perfect. If you were to look towards each other, okay? And I want you to look down and towards this side, actually, and then you can look towards her. Travis. What this does is it's it's still someone of a portrait, but it's open to their chest. We get a really great sense of their fashion, their clothing, their attire while we sort of get this candid kind of view of their expressions and so forth. Soon as they look on to the camera, both look straight on the camera, perfect as soon as she looks towards him. Now who's the focus him, Right? As soon as he looks towards hurry, you look into the camera. Perfect. So it's super easy to change the visual weight of the photograph by a changing these three points. Now, if we close them up so going to close post, guys, okay. And then I want you to look down on towards this side and then look down and towards her. All three points on both their bodies are closed there, away from the camera. Now, this has a sense of a complete camera. A complete, voyeuristic moment, right where they're not. There's no camera present, and now you're shooting this type of a shot. Now, what can look odd is when you combine certain things, like, for example, putting him into a very closed kind of pose like this, and then having them look into the camera like straight on for a wide angle portrait, because now we're shooting wide and they're closed up tight together And what we would imagine is that especially we have foreground elements that we see this done a lot of times where they'll put foreground elements like there's cool leaves and stuff in the shop. And then you take this Why Jonno looks so amazing and they're posed like this, looking into the camera. That's weird, because the sense that it creates for the viewer is that there was this voyeuristic moment and they they cut the peeper. I think you stop taking photographs of us, you know what I mean? So, like, we close them off completely in those kind of moments so that we can create that voyeuristic moment, basically. So what we can do now is with the eyes, like, remember these kind of things I also like to consider I've lines with eye lines. I love the islands to draw into each other. And that's why, oftentimes, by the way, you want to create awkwardness, have a couple looking each other in eyes from this distance. Okay, that does not. We don't naturally do that. What naturally happens is that if Travis is making, let's say Travis is making eye contact with you. What do you typically gonna do look away a little bit, right? Maybe not away. But maybe you're looking down towards him. Maybe you're doing something else, but we don't look at each other from two inches apart, right? So that's gonna feel strange. There are times to do it when we want to get a profile shot. Oftentimes we're shooting wide. We just want to get a profile because we're doing a silhouette. We're doing a wide shot that's just profile their features. We'll do that kind of shop, but when work close up trying to create these moments, we don't have them. Look directly each other's eyes, other than to say, Look in each other's eyes. Get closer, get closer. That's perfect right there. OK, now you can laugh at how awkward this is Perfect. And then that's when we shoot the shot right when she laughed and turned away that second. Okay, perfect ice because they're amazing. So my illustration of the three point check completely open the camera. One single touch point we get a very whimsical looking shot closed off are open with a chest close of the eyes. You notice the eye lines leading down in towards each other. It keeps the viewers attention in the frame. If one person's looking out, it makes us wonder. Hey, what's he looking towards? Right? And the shot completely closed up. Now we're in that voyeuristic moment.

Class Description

FAST CLASS:

Try a Fast Class – now available to all Creator Pass subscribers! Fast Classes are shortened “highlight” versions of our most popular classes that let you consume 10+ hours in about 60 minutes. We’ve edited straight to the most popular moments, actionable techniques, and profound insights into bite-sized chunks– so you can easily find and focus on what matters most to you. (And of course, you can always go back to the full class for a deep dive into your favorite parts.)

Full-length class: Incredible Engagement Photography with Pye Jirsa

SUBSCRIBE TO CREATOR PASS and cue up this class and other FAST CLASS classes anytime.

Couples want to capture their commitment to each other in high-quality, creatively shot photographs. They also expect their bliss to appear natural and evocative. Photographers who are trying to build their engagement photography portfolio need to be able to juggle both technical and creative expectations. Pye Jirsa’s Incredible Engagement Photography will teach students how to strike this balance with basic equipment.

In this course, you’ll discover how to:

  • Use simple on- and off-camera flash lighting
  • Communicate effectively to devise creative, meaningful poses
  • Develop post-processing and overall workflow

Drawing on lessons taught in Pye’s other courses (Photography 101, Lighting 101, and Lighting 201), you will learn how to adapt to a variety of different lighting situations – indoor and outdoor, natural and urban. You’ll also gain a sense of the importance of storytelling and of developing a disarming interaction style for putting couples at ease during a shoot.

Conducting an engagement photography shoot requires a delicate mix of technical and interpersonal skills – but not an abundance of expensive, demanding equipment.

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