How to shoot: Bride Portraits & Posing Exterior
We're outside now and we're gonna run through some quick poses. Now, I wanted to show you something where you can take a bride out and if you're running out of time, we're just gonna go through some very, very quick poses. And again, we're gonna use the 24 to 70 and then we're gonna switch over to our portrait lens and we're gonna use with the bouquet and without the bouquet, we're gonna play around, we're gonna make sure that Danielle, our bride is feeling comfortable. So first of all, we're outside, we're in the shade. I can't stress this enough if it's in the middle of the day, which usually it happens, ended up being we're shooting the bride in the middle of the day. We wanna find some shade if you, if you can't find some shade, the best. Next thing is to make sure the sun is behind her and you can see the sun is pretty high up right now. So we found some shade, there's some Dapple of light in the back. We are also a good distance from the background. And what that does is that'll ...
make the background more out of focus letting her kind of pop out from the background. So let's run through some real quick poses. Uh And we'll see how those come out. All right, Daniel. So let's start off like we did the window just facing me bouquet at kind of at your belly button. Uh You can raise it up just a little bit and then looking right at me. Fantastic. Big smiles, big cheesy smiles. Wonderful. Like I like that hip. Yeah, I like the angle. Now, if you could just look down at your bouquet for me real quick, I'm gonna get and glow closer. Awesome. And then with just your eyes, look up at me. Fantastic. Big jeezy smile. Fantastic. Very good. Cool. OK. Now let's um let's do one where your uh profile here. So bring your right shoulder towards me and let's drop your bouquet to the side. Yeah, that's pretty good and you can lean back a little bit. Perfect. That looks great. Fantastic. Look way out there for me. Awesome. They back at me. Good. Keeping it loose, keeping it fun. Look down at your bouquet for me. Beautiful. And then with just your eyes, look back at them. Awesome. This is great. All right. So I'm running through a couple of different poses and I'm actually, she doesn't know this, but I'm actually trying to find the look that I really like the most on her. Each human. Each person kind of has a more flattering look than not. So I'll run her through these different poses and when I find one that I think looks great, I'm gonna make sure to accentuate that and I'm gonna use that more while she was getting ready. I actually saw a pose that I really liked and I'm gonna have her do it right now so that I can see if it works while she's standing up as well. I don't know if you remember me pointing it out. So that, exactly. So I'm having her look to the left and tilt her head back just a little bit. I just think she looks great in it. It's very flattering for her neck line and the hairstyle that Kelsey did for her. See, I go ahead and look him up like that. Beautiful, awesome look. Just tilt your head down just a little bit cool and big cheesy smile actually. Don't smile, don't smile. Stop. I'm kidding. Cool. All right. So that looks really awesome. Another thing that where I'm trying to do and um our bride Danielle here is a little bit taller than me with heels on. So I wanna try and shoot at a little bit more of a downward angle. So I'm actually trying to get a little bit higher. It's just a little bit more flattering. Um If that doesn't work, having like uh an apple box or like a case or maybe a little step ladder while you're shooting portraits is good to have along. So now that we've gotten some with the bouquet, let's take away the bouquet and let's see what quick poses we can do without. So now we have without bouquet, we're gonna run through some quick poses. So uh let's start off where you're at perfectly right now. She's really good at, at knowing this, but I usually start with the person facing me squared off like that with their hands behind or their hands in front or to the side or something like that. It's a good place to start. Ok. Perfect. Looking. Great. Big smiles. Keep your hands where you are, you drop your left shoulders a little bit more that, yeah, that left. Very good. Look down at your feet for me real quick. Beautiful and turn your head to the left. Just a little, just a little. Not too much. There you go and then back at me with your eyes. Good. Awesome. All right. Let's do one where your hands are in a different position. So can you like just really lean and like, relax. How would you feel comfortable like that? Yeah, like that's good. Yeah, that's good. I like that. Let's bring up your left shoulder to your face really quick. Yeah. There you go. Cute. Awesome. Gonna get kinda close. Cool, beautiful. All right. One real good thing to do is to start to learn the personality of the person that you're photographing. You can see that Danielle's got a little personality and she starts moving around, keep an eye on that because there are poses that she will do automatically on accident that look really good. We're gonna switch over to the millimeter now and I'm gonna show you the difference between shooting on a midrange zoom and a prime lens. So we've switched to the 85 millimeter portrait prime lens. This is a 1.4 lens. I'm not actually gonna shoot at 1.4. I'm gonna shoot at an F two. Just because I feel like sometimes it gets a little too out of focus at 1.4. So it'll be an F two. There's plenty of light out here. We're gonna run through some of the same things and so I can show you the difference between uh a prime and a zoom lens. So uh you have that nice when you're facing with your hands behind your back. Very good. Just looking right at me. Beautiful. Awesome. Look down at your feet for me with just your eyes, look up at me. I'm gonna get kind of close. Oh That's wonderful. Big smile. Big cheesy smile. Awesome. All right, cool. And look way off that way. There it is. There's that pose, tilt your head down just a little bit beautiful. Awesome. Now, right off the bat, if you look at these photos, there's a huge difference between this and these, the background is just a little bit more out of focus. The quality is a little different. Her herself is a little bit more compressed um and looks a lot more natural. Now, let's bring back the bouquet in and um let's shoot the same sort of portraits with the bouquet. I like how you have. Just have the bouquet straight. Yeah, but bring it a little bit. Yeah, I'm gonna get kind of like your face. Beautiful. Look down for me. Big smile. Cute with just your eyes. Look at me. Cute. There you go. And then off that way. Wonderful. Fantastic. So photogenic Danielle. Oh Wow, cool. What's really great about these photos and where we're at is that there's so much out of focus in the background but there's sun spots in the background so you can see how it kind of highlights her and gives us some shape to the actual photo. She's kind of popping out. The wonderful thing about a big bouquet like this is that you can use the foreground to make it look even more interesting. I don't necessarily show people the photos while I'm filming uh while I'm photographing, but sometimes I do like to, to show them. So I'm gonna show Danielle this one. It's totally up to you. Some brides, some grooms don't wanna see anything and you gotta remind them if you're gonna do this. This is a raw photo you are going to edit, but I'm actually incredibly proud of this one. So I'm gonna show Daniel. You like this one? You're proud. Yeah, look at that. Oh Look at who paid the wind, right? The wind's perfect. This is a great portrait. So, so you know, and I know I wasn't gonna talk too much about gear, but let's look at the difference between shooting at a 1.4 and like an F 56. So you can really see the difference in what an F stop will do for a portrait. So looking right at me that big smiles. OK. Hold that, hold that, hold that, hold that, hold that OK. Keep holding. All right. So if you look at the difference between these three photos, this one's at an F 1.4 this one's at an F 56 and this one's at an F-16, you can see the difference in quality and professionalism. Again, what we like to go for is a lot out of focus and very little in focus while still being able to see the face because that is what a professional aesthetic is. We've gotten used to as, as viewers and as photographers, the more that's out of focus, the more professional it's going to look. So we achieve that with the 1. and an 85 prime. Cool.