Skip to main content

FAST CLASS: Incredible Engagement Photography

Lesson 8 of 18

Posing Tips with Demo

 

FAST CLASS: Incredible Engagement Photography

Lesson 8 of 18

Posing Tips with Demo

 

Lesson Info

Posing Tips with Demo

All right. So natural pointers do this for me. Going to stack posts with Danielle stacked in front of and I want you to hug Daniel across the belly. Let's go across the Billy Daniel, Put your hands and open up to other audience where we can see Perfect. Okay, so visual. Wait, what happens? Where do we look right now? There's kind of a lot of attention going here. There's a lot of stuff going on there. So which is great if we're shooting an attorney shot. Fantastic. We want that attention there. But if we're not doing maternity and it's not the prom, then we probably wouldn't really do that. But the thing is that I always say that these rules are meant to be broken because I will sometimes do this. But there's certain situations. If I'm if I'm shooting, um, a couple and maybe she's a little bit like maybe she's a little bit overweight. I would not do this pose because that brings the attention of the stomach. But if she looks flawless like Danielle, then it doesn't really matter, and I ...

can put them in this pose and have a very intimate connection to them and create that. But I need to understand that if I put four hands going to a place, it's going to draw attention there. So we know when to draw attention when not to draw attention. The other finger, the other point, is pull apart from each other for one second, you can step apart from each other guys. Oftentimes do this, do the thumbs in with the fingers doing this, okay? And point them in. Yeah, I don't know why guys do this. It's like a map I'm asking. But then, when you look at the shot later on your leg, do there's like eight fingers pointing towards your crotch. It has that visual way towards right, because the fingers air natural pointers. So know that your fingers, your hands, your arms wherever these things lead to in a frame if you're posing them, if you're creating energy with them, there needs to be a purpose for it, and it needs to be where you actually want the eyes to go. If you want the eyes to go like that's why fashion stuff going because they want to Eyes like to go. They want your eyes to go right to their face. And so they'll, like, use the hand like point into the face. Is this right? Okay, thanks. Got it. I love it that the boom was on the moment. That shouldn't have been on. That's right. Okay, So usually with the hands when they're holding hands, you like to do simple fingers. So when you guys hold hand, just hold hands like this. Um, that's the natural thing to do at the interwoven thing. So most couples do this. This this kind of stuff I need to like, say this once again, cause, like, I want to give you guys rules and frameworks and systems without making them rule your lives. Okay, so the thing is that that does not break. Oppose. Neither does if he's holding around the stomach and it's a perfect expression, it does not. You should still deliver. It's a great photograph, right? He's just things to be aware of. The fingers here look a little bit complicated. It's not a big deal. If I'm shooting at wide, it's It's a very small part of the frame. But if I'm shooting it tight and they have this going on, it looks like shrimp cocktail. Not right. Like the stream hanging off the glass and Oh, that's live shrimp and China. They do live shrimp a lot on the cockpit. It's it's interesting that the thing, it's a thing. So I like to do simple hands. Just go over there you go. Perfect. Just like that. Great. There's there. Certain things, Teoh. I'm gonna show you guys some body language stuff real quick. Watch this. Um, if you were to hold his So do this. Hold on to her wrist right there. What does that do right now? Like, can you guys tell me what connotation that has? Okay, why? How did every single one of you know that without studying body language or anything? How did every single one of you know that? Like, I don't like what happens? Does it not remind us of like being a parent and grabbing and going for, huh? OK, so if they're in a sitting position and they're grasping arms and you see a risk grabbed, you probably move the hand towards the forearm or up towards this side or down or towards the hand. Don't go for the wrist. These are those pieces of Ponti language that. And you wouldn't do this for, like, a walking like Oh, grab a risk. Let's go for a walk. That's not the shot that we're gonna dio but often times like if there if you guys were hugging together or close together, that can naturally happen when he brings his hand to the wrist like that. Okay. And then you okay? Just slide a hand down on the arm a little bit, maybe go even for the back of her arm and so forth. So be aware of those things in the hands. The hands have a lot of power. Um, okay. We talked about hip space. I gave you guys that awesome example which I don't think anybody's nobody said it better than that. So I hope everybody just nobody's shown it better the map. Okay. One other thing I want to talk about was posed duplication. Basically, we can create a sense of naturalness by not having the couple do exactly the same thing as each other Roberto did this to He called it a mirroring, copying, marrying one of those things. But basically what we're trying to do is if you go there hugging against each other and do the exact same thing. So both he has hold each other in the hips. Okay, this generally is gonna feel a little bit post. It's okay if we wanted to feel posed, but if you don't want to feel posed, then we create a sense of naturalness by doing something different with their arms. Okay, so they just need to not be duplicating each other in a post. Makes sense. I lines to frame. We want island generally lean down and towards each other or one going into the camera. If she goes, what's out this way? And she looks towards that sign and he's looking down towards her. This would be okay if there was a sunset over here and we framed it so that you could see the sunset. Right? But if we're cropping the frame off right here and she's looking outside the edge of the frame, that's gonna be a little bit God. All right. So, again, if he is looking towards her and you guys go kind of like that shot, all you have to do is just tilt her chin forward towards the camera, have her look towards his chest like right down my right pocket. Do is nipple look right in the nipple. Yes. There you go. Perfect. Fantastic. I do this stuff a lot when we're posing again. Know your clients. Know what you conveyed away with and stuff with your clients? But I'll say things like this a lot because you get reactions and those reactions air so fantastic for candids and everything. All right, communication. Accuse. That's next. Alright, guys, I think you guys are good for now. Thank you. Give them a hand.

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.

Reviews