The lesson is about the importance of location, posing, and execution in order to capture beauty through angles. The instructor, Roberto Valenzuela, demonstrates how altering the angle and lighting can greatly impact the appearance of a person's face and overall image.
What can be done to make someone look more or less attractive in a photograph?
Changing the angle and lighting can make someone look more or less attractive in a photograph.
How does the angle of the photograph affect the appearance of the subject?
The angle of the photograph can change the perspective and highlight or downplay certain features of the subject's face or body.
How can location and posing impact the final result?
The location and posing can determine the overall composition and style of the photograph. It can also affect how the lighting hits the subject and highlights their features.
How many shots does the instructor typically take in a session and how many are used?
The instructor typically takes around 700-900 shots in a wedding session. He usually uses about 300-500 of those shots for the final album.
How does the instructor determine the best angle according to face bone structure?
The instructor considers the sharpness or roundness of the subject's bone structure and adjusts the lighting accordingly. Sharp bone structures benefit from softer lighting, while round bone structures can benefit from sharper lighting techniques.
What is the importance of changing perspective in photography?
Changing the perspective can create a more interesting and unique photograph. It can offer a different viewpoint that the client is not used to seeing, adding a "shock value" to the image.
let's take a look at katie's face for a second the also you're very carefully pretty nice right katy beautiful right we're gonna make her look not beautiful by changing the angle we photograph right okay we're also going to make her look really beautiful by altering the angle just a tad according to her face and bone structure does not make sense so get going and take a seat I don't know where you want but itjust their seats right there if you want yeah my friend tyson's a good looking man right we're going to make him look very unattractive really fast you'll see how hey how are you guys doing okay let me show you what's gonna happen she looked pretty nice right it's a nice photograph for sugar just given birth about two three months before this picture was taken and she still had a lot off like that baby coming out from the baby or whatever and she was trying to postpone the photo shoot for five months afterwards because you wanted to look good and express her being the best you coul...
d look the bishop would be I told her I saw her you know we were doing skype as she flew me from arizona to shoot the wedding to arizona to shoot this photograph I said I can see your face right now I know exactly how to photograph your body and every thing you don't have to worry about your face looking chubby because of the baby she's like no let's postpone I was like no one up with boning I practice at home I'm ready to go and she's like ah whatever so we flew out there on she said when I got there that she had this magazine cutouts from victoria's secret magazine cutouts and the post is that she was using we're not going to be good for her face structure and I said to her okay well well you know you don't tell her a person you know you don't have the face for that she's a model you're not you don't say that so I just said okay we'll take um do you mind if I make a few adjustments she's like yeah but can we think it still like this I was like sure I love it when people tell me what to do I just love it I mean so we took their first photograph and that's my interpretation ofthe photo without hiding her her baby fire on all these different things but then I changed the angle just so ever so slightly just to mess her up big time and look what happens when you just don't look at the angle correctly of the face this is all the execution part off the off the course look at the difference a lot wider isn't it yeah she doesn't even look like the same person compared look at this again that looks like us like a model from victoria's secret catalog this looks like I don't know what I'm doing and it all has to do with lighting through direction if you look at this execution chart it says right there lighting through the directions and he says beautiful angles and perspective through lenses all those three things have to happen to create that and make a look like this here's another one of those this is the magazine show she wanted to take not a good idea when I saw that whole hair being pulled out and how the light would hit her I said this is not gonna be good for you but let's take the photo anyway because she wanted it then I asked her if we can just adjust the perspective through lanced lighting through direction on da beauty through angles and she says what you gonna do I want to do it with a wall I said no no no stay on the wall but look at the bone structure that she has and make adjustments according to that bone structure where the angle that you shoot her from some make sense on how the light hits her this is not leading through the direction this is flat lighting their face if you photograph my good friend katie here with flat lighting her face she's not gonna look very attractive well totally try it right now but then when we hide part of her face and we shoot her and we we start mangling the light on the angle that off the lens she's gonna look like wow okay so take a look at this now let's take a look at the adjustments done totally different person right I want you to try after this break to photograph katie on tyson and I want you to purposely purposely they construct the photo instead of building you're gonna crash it because by crashing it your brain will remember what not to do a lot better than what to do some make sense how about this one how does that look no different person doesn't look great the light's kind of coming in flat right into her face is not looking too good she has issues right even this is a beautiful person this is not a good angle on her so when people say oh roberto you take all these good voters because all your models and brighter so freaking beautiful I'm like no I make on the beautiful because this is what happens when you don't get the angle right and this is what happens when you do get the angle right same person two minutes later same chair she was sitting in didn't even move the chair I just moved the angle of the chair and I moved myself but that's the same person pretty crazy um do we have any questions from the audience right now I guess one of the questions that came up was from uh katie you shikha and they were asking about taking multiple photos and a location when you see like the best shot um question is um would roberto not take multiple shots in a location what you just stick to the best shot are you looking for like teared as faras good shots are looking for the best shot and then the next best shot no and you know far down do you go I mean the photos with it yesterday off kids here the model yesterday rooming with a purple tree in the background I showed three different models right three different angles of the same person and it looked all they're all look very different so instead of taking the best shot and in the next best unexpressed just take three really good ones just change the perspective and so forth perspective of where you stand it makes a big difference in how you shoot for example uh can I borrow you for most of us take our photographs from our I'm six feet tall so I think most of my photographs from a six foot perspective right so I'm photographing her this way if she sees herself in my photo with this perspective she'll be used to it even if she looks beautiful she'll be used to it it's the same type of look she has seen since she was two years old some incense I heard everybody has always photographed like this like this like this like this from for the perspective of here off an adult looking into it if you put her if you have her lean down and a photo from a down perspective from a different perspective you're going to change the whole look altogether everything you photograph a building is going to look like this this is the perspective we all do you standing for another building on you think a picture in front of it and that's the building thank you kay it's good right that's the building but look what happens here to get people to have a shock value to your photos change the perspective perspective in their execution chart take a look at this this is the church I was going to photograph a wedding there the next day and I saw a bunch of tourists taking the picture from the same perspective so I always ask myself what would if I was what if I was a bird flying by what what is look like or I ask myself what if I was a little chihuahua dog like if I was looking up from a one foot perspective what would that look like right and this is what happens this is the birth perspective flying through that looks more interesting but look at the plans you see the little plans right there you see those little guys those guys are repetitions right like they repeat themselves and if I change my angle just a little bit I can make him into leading lines look what happens to the other leading now so now your eye goes right to the church right now I have a much more interesting perspective that people are not used to seeing this is the shock value that comes from offering your client something that they're not used to this is the final photograph I took in the same location now I can probably I'm not sure I cannot say for sure but most likely most wedding photographs that have been taken in front this church we're thinking from the very first picture I took on most likely they were just kissing right was the same case hug kiss found thompson case hunkiest mountain I see the fountain or we can you can also say kiss hug kiss fountain gazebo that's the other popular one okay everybody right let's go to like a people no paper no no baby weii do have a couple more questions and first one is from kelly with just day how many shots do you usually take in a session in a session what percentage do you use so curious with all of the practice practice that you've done I don't mean that a job like at a wedding I don't photograph that much I'm pretty till like fifth when I pushed my shutter button I for sure do not use the machine gun style of photography because you just cannot produce good work like that I probably should've about seven hundred to nine hundred photos for wedding and that includes everything reception everything on I probably give the bride somewhere between three hundred and five hundred another of those three hundred two hundred ninety eight a pretty good sense so when you have the album it's not like every photo they flip there's like gorgeous gorgeous gorgeous that's gonna blow their mind and I tell him in the initial climb meeting to set expectations right because clients think the higher the number the more value they're getting so it's all about how you set them up okay I tell him you're not getting quantity for me you're just going to get really great photographs for me you're gonna get about three hundred and they're all gonna be pretty damn good and you know I even tell him on you're not gonna like a lot of them too because you're the person I'm sure katie has an angle she likes more than another angle I'm weak and photograph for and she could look beautiful but katie will be like I hate this angle on that I just can't stand it right so no matter what you give them is better to kind of keep it toned down they see your work already keep the expectation stone down I didn't blow them out of the water you see what I mean okay so so third you give them a third of the shots that you take you say you take nine hundred I think you know about it a third toe a half ok that's awesome all right next question is from lcp how do you know the best angle according to face bone structure what's the relation and is there a specific are there specific rules of course there's always um looking at katie right now if you everybody in the world takes a look at her really fast yeah okay you're being watched a lot of people look at katie's bone structure turn left quick you see her she's got a really sharp bone structure in other words using flat lighting off or more broad lighting on her is going to make her face a little more round now if you take light away from one side is going to start shaping her light shipping her face what you don't want to do with her is use sharp lighting techniques because she's already had security has a sharp face so don't over sharpen it doesn't make sense whenever people show up with reed reed defined jaw lines and really refined you can show that jaw line but you don't have to like make him look like sharp skeletons right if you have ah chinese person or someone who has like a broad around their face don brought light on that's when you closed the current and you sharp light on you do the opposite look at his jaw line right there look at the cheekbones and eye I can see them even just like stand out what I would give by the way you have a jawline like that problem isyou know I keep beating the wrong things and you know I'm thirty five hold a human say when asked me three it was like on fire too so you just wait brother wait wait when I was twenty three I was like a marathon runner goal line six back now is like little junkies and um he already has a pretty sharp jaw line so you can light it up you have more options right what you don't want to do is make the sharp bones look even sharper by cutting the light in the wrong places she's got the same type of thing going on with the jaw so we'll experiment
Roberto Valenzuela is a photographer, author, and educator based in Beverly Hills, CA. As a member of the prestigious Canon Explorers of Light group, Roberto is considered to be one of the most influential photographers in the world.
Im a freelancer and have studied photo school several years ago and also been working as an assistant for a few years. I think you always have things to learn and keep you from getting stagnant in photography, and i find creative live is a great source for that. Been taking some of Lindseys classes and watched several others from Sue Bryce as well as other classes for equipment and about shooting people in general.
I always read what others have said before to avoid any classes that are not informative etc or have a teacher that leave out too much, i was drawn to what people said about Roberto walking the students through the shoots and that he had this great system you could use and take with you when you go forward.
I actually never heard of Roberto before but were mainly interested cause of what he was teaching here.
I have now watched almost the whole course and first of all let me say i do recommend it a lot. Its a great system to use in my opinion, and i have learned some great stuff to think about that will enhance my own photography, and its a great reference to go back to when you need it.
Roberto as a teacher is relaxed, intelligent and has great humor that i can relate to. So you you are not "bored" which is also very important, he keeps it interesting.
Some things that i did not like about his way of teaching was that he was a little too impatient at times when the students tried shooting themselves , he reminded me of other photographers i have worked with in past. They were also very impatient sometimes when people around them were moving to slow for the shot to get done etc. I understand during the course the students had limited time to get every shoot done. But many times i was frustrated with that Roberto almost always stepped in too early to "help" them out but instead kind of took over telling them what angle would work best or what light that should be used.
It was almost as he wanted his system to show up as flawless and felt as he was scared letting the students try it out on their own because that would somehow show a flaw in his system. I would rather have had him let them try first and later he could come in and suggest the different angles and light. But now many times he would take over and also take his own picture and pointed to the strengths of that picture and why it worked.
Still, you learn because he explains at the same time, and walk you through everything. I just find that you would learn even more letting the students fail first or do it right on their own.
Also sometimes he would choose a location and say: You can use this wall and these props etc, then when the student would start he would suddenly limit them and instead tell them what to use and how they should crop so that the location itself would not make much difference.
Otherwise though, great course. I think i would buy another course from Roberto as well if it was something i needed from it.
a Creativelive Student
I have seen many of the creative live workshops, and attended many great workshops by photographers, including Jerry Ghionis. It was Jerry's wife - Meliisa Ghionis who suggested that Roberto's course on creative live should be a must see.
This course was by far the best on creative live for improving your photography of couples, it is just brilliant and has improved my photography in leaps and bounds.
There are many great photographers, but most do not know how to pass on their knowledge to others - Roberto is the exception
I would consider this course a must see for any wedding photographer, no matter what your experience.
Love Love Love this class!! The way Roberto integrates class participation into his teaching is such an amazing teaching technique! CreativeLIVE has some amazing teachers, I have learned so much from many of them, but Roberto's "hands-on" approach put's the on-line audience in the moment. Very captivating teacher! By far I would say this is one of the, if not the best photography class I have watched!! Thank you!!