Incredible Engagement Photography

 

Incredible Engagement Photography

 

Lesson Info

Posing Guidance for Her

So guidance for her. There are certain things that are gonna be similar, there are certain things that are gonna be different. And by the way with systems and frameworks, these are rules so you guys can understand the principles, these are rules so you guys can understand the hows and the whys, they are rules for you guys to also break and I want you guys to remember that but that rules are meant to be broken, it's just you need to understand when to break them and when it looks okay to break them and we'll get there. So generally with the feet, what's funny is you're kind of already doing it a little, by the way, there was one thing I forgot to mention, the way that you're standing right now, do that again, okay. Why don't you do that, put your weight on one side. This is Italian, it's called contrapposto, this is the only thing I remember from my high school art class, is this pose, I don't know why, you show me like a statue of David, and he's like contrapposto and I'm like, that's ...

the best word ever and I remember, that's the one thing I remember. Okay so contrapposto is your weight on one leg, Italian word for your weight on one leg. It's generally, this is a great pose for guys and girls. Guys can get away standing flat footed okay, it's not a big deal if a guy is standing flat footed. But it looks more relaxed to have the weight shifted to one side or the other side. So that's great. Now, for the ladies, well what we're gonna do, so let's start from the feet and generally we're gonna do with a more narrow stance and the reason why is I want your legs to actually come together at the base. And what we're gonna do with the knees is we're gonna kind of drop a toe, so you can drop a toe back, you can cross it over, you can go in the front, you can bend the knee across. Every one of these is totally perfect but what we're trying to do is we're trying to create the hour glass effect. With girls, our goal is different than with guys right. Guys, we want to make them look bulky, we want to bring out, the ultimate shape that a guy is achieving to get, do you guys know what it is. Triangle. Yeah, did someone say triangle, it's the trapezoidal triangle. Now, I'm not there yet. But that's what we're going for. So we want our shoulders to drop in to the waist and create this trapezoid triangle type shape up here. With girls, what is the shape that we're going for? Hourglass. Hourglass. So what we do is, as soon as I do this, watch, I can take my masculinity, now that's not very masculine, me doing this. But I can do this and then as soon as I go, right. So what happens is, if you look, we can see a slimming point right at her knees so what we want to do is bring a knee like can I bring this knee forward and across the front. There you go. So we create an open hip, a slimming point and if they have a dress on, what you get is you get a little pull in the dress across the front and so you can actually see the shape of her leg and it creates a beautiful look and so forth. So with that, what we typically will do is if you're, if you're hugging onto Travis, so why don't you guys face each other and hug, you're gonna drop a toe, so leave one toe kind of back, exactly. So we kind of always do something with the feet, just so that she's not flat footed, she always has a hip kind of tip to the side. Alright, come out of that, I know you guys are perfect together and love doing that but you'll have plenty of time for it so don't worry. Okay so, with the knees closed, the hip is kicked and generally with, you're gonna have a side that you're more comfortable kicking towards right. Usually most girls have a side. This is my side, this is like, this feels weird, do you have your side? Yep. Okay, which is your side. Good. Looks good. By the way if she doesn't know, you can actually have them do that, so let me see you take it to both sides and what you generally see is that because of our muscles and the way that we do this, one side will kick further than the other so one side is actually more limber and loose and so you'll see a greater curve when you kick to the side that they naturally go to. So when I kick to this side I can actually push my hip out much further than when I go to this side. It's creepy that I kick to this side that much that I can get more curve, but let's just move on. Alright so that's why. So you can actually look at them straight on and be like, okay yeah let me do it and then you see okay, perfect, I want you to kick to the left side, I want you to do that from here on out by identifying it. Okay, well the guy with his arms, we kinda just talked about palms in the pocket, that's cool, it's great, we don't need to worry too much. You know if we can't see through here and by the way I already did the whole, I'm kinda touchy feely thing, I always start that off before. Whenever I walk over to a client, before I make contact with them, I say hey, I'm kinda touchy feely, I kinda like to put you guys in poses, is that okay? And then usually the guy is like yeah, go for it and I'm like that's weird that you're so cool with me doing that but yeah let me start with you and I'll kinda make it into a joke and stuff and we kinda start doing our thing, but yeah, always ask permission before. So do I have permission to kind of, okay, you can, do I have, you're good. Yes. You're good. Okay so what we're gonna talk about is number six is straight, her arm space. So with a guy they can hang their hands down the side but with a girl, if we put your hands right at the side, if you put your hands down at the side, it makes it look like your chest goes from here to here and what we need to do is create space. Now supermodels, you know what supermodels do, can you do it? So I don't feel so silly, there we go. So they do this right, granted this works, it's done a lot because it works fantastically well, it's just for an engagement pose, for engagement photography of couples, it's a little bit on the fashiony side and also I feel like a little bit on the over the top, maybe a little bit overdone side, so I try and make it a little more subtle. All we need is space to put our hands through. Okay so if you imagine, let your arms drop to your side and then just, what you're gonna do is let the hands hit the thigh and drop a little bit. As long as I can put space between the hand and the side, as long as we can see through those gaps, then we're good, that's all you need. Which means if she wants to just let her hand relax, all you do is you have her relax the hand and draw it up a little bit and then it will look really nice and simple. Okay, and then the other thing is, you have kind of a loose Bohemian kind of top on right now. So what we're gonna probably do is we're gonna do a clothing pin so if for later when we start shooting. Do you guys know that clothing pins are called C47s. Is that not the weirdest thing in the world? I say this because they're in production too. So a clothing pin, it's called a C47 on set. Give me some C47s and a DB8 and an RTDT and a, I don't, the story is, back in the day, some guy was making these clothing pins and they were trying to sell em to Hollywood sets and they're like if you call em clothing pins, they'll look like ten cents, let's call em C47s, they're much more advanced, but it's just a wooden clothing pin, and now it's called a C47. Tangents, I'm a big guy on tangents, just so you guys know. Alright, so with our hands. Generally again, when we're not posing the hands, it's the same rules, we need to give a purpose, a reason to the hands, if not leave them at rest. One thing that we didn't talk about yet which we will, I think get to if not we'll mention it. And then neck is extended out slightly, just the same as the guys and then the walking thing is gonna be a little bit different. So normally, like guys and gals, we walk like this, this makes kind of sense, it feels comfortable. I teach my girls how to walk heel over toe with the toe pointed back. Okay so what we're gonna have you do is you're gonna take a step, always let your hips kick on a step and then you're cross the heel over, the toe points back to where it came from and cross over, toe points back. Do you guys see what it's doing to our hips, hmm hmm. He was doing it better, let's try it again. (laughter) I'm just kidding. Please don't say online that I'm doing it better, that would wreck my confidence for the entire day. Okay so what that does is hopefully if you do that again and just focus on her hips, you can see the hips shift from side to side. So in a walk, whenever you are taking shots, when you fire that shot during a walking scene, you're freezing them for that moment, correct. So what we want to do is, we wanna freeze them when the legs are crossed over and the hip is kicked. And if you do this walk, then almost every capture, the knees are going over and the legs are crossed over and you're good. If you don't do the walk then what happens is you get a bunch of shots where the legs are open and apart on the girl's side and that looks masculine. By the way that's not a bad thing, it's not a bad thing to make your girls look masculine if that's the purpose of your shoot. There'll be fashion shoots all the time where they do a stance like this right. Like crazy legs like open like it's that power stance, I just like doing this, it's a lot of fun. Okay so that's just not the purpose of what we're trying to do with engagement photos.

Class Description


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.