Posing Example Images


Location, Posing, Execution


Lesson Info

Posing Example Images

we're going to visualize I don't even care if it takes you five seconds I repeat five seconds not twenty minutes to visualize the photo think of something fast in your in your brain visualize the face expressions and where they were going to be and execute that vision in your in your head then we're going to change the post to a different type of post visualized especially visualized the crop people forget the feet maybe kind of random the legs maybe kind of random the arms but if you're cropping just on the head visualized the crop as well that's the more difficult part I think I think people can visualize the post but their brains don't letem visualize the crop because your brain cannot see through a seventy two two hundred millimeter lens so you have to kind of imagine it okay if you can't do both imagine the post and imagine the crop you're gonna have a very a lot easier time imposing people from no one okay uh you had a question yes so I noticed that in the chart that you gave us ...

and it's available for everyone else um we would doing the math with a few of us here and none of it adds up to like simpson seven some wondering obviously it's something else I was interested in her if you could explain that for us please I had to ask that because she has me that brick it was important to will review you the seven seven seven posting techniques are not part of the location posting execution charge the posting chart is what you it's what you're going to implement the seven seven seven on okay so for example if you have a photo like the couple is hugging hugging like this square here hugging you're going to implement those seven seven seven little rules they're not rules or guidelines with their suggestions what everyone call them on if you apply them to that hugging post is probably going to be a really cool looking huh like you're not gonna hug like this because that smearing your arms you're gonna hog like this you're going to lift the chin to make them the bread this is all part of that seven seven seven those three little chart that I showed before are crucial for today's class okay so you apply those twenty one items into each of these posts that's why the combinations are so large that's why it's thousands off combinations and permutations okay so hope that's really clear for people okay we're starting the segment on probably one of the things that most people struggle with which is the post in sexual segment for some reason potion is very difficult for people because it's so many very close you have to think about on dh it is very difficult it's kind ofthe like when you play well this is an analogy for me because I'm a musician but it's like when you play guitar concerto concerts when you like the photo that I showed where I was playing in front of a whole orchestra not only do you have to remember your parts when your hands are sweating but you have to think ahead because your fingers have to move so fast that you have to think ahead before you actually go to that location in the guitar right on top of that you're a part of your brain has to be listening to the orchestra to see where they're at and you have to kind of put them all together when you're opposing people you have mechanics you have lighting artistry and then you have to inject emotion three variables for us in every single post the mechanics of the post is all the hands and mirroring and on all these things the artistry of the post is how you light it and how you crop it that's the artistry part of it on the third is how you inject the emotion that you want whether you want a serious emotion a passive emotion romantic angry sexy you choose but you have to have an idea before you start passing out instructions to your couples people do it some things like this they go uh I'm thinking maybe try to give her a hug yeah smile it's it's just not specific you're gonna have a very hard time getting people to be like you are like on fire if you act like that you know but if you say yeah I'm totally put your foot over here put your put your elbow over there put your waste of here put your nose over here I'm gonna light it up with a reflective and put a flashier and when you're gonna look your eyes here good luck you're gonna laugh bloom and you think the fort on the ocean is like sick you know I mean you're like me like nikki you are also you know I mean on it creates really cool stuff uh let me see police so at the ones they're after the ceremony at the party uh do you actually do ever pose people or you just take candid shots when after at the party the receptions are no I uh I don't really post reception stuff that's very photo journalistic for me okay uh I'm gonna show you so imposing off bridal party stuff so you can see how you do multiple people not just couples at the same time before that told me to show you one thing that we couldn't do yesterday there wasn't anything to play play a shadow on do that shadow game but take a look at let's say this is my wedding and shot three days ago this is I flew here right after these wedding this is a three day indian wedding I shall for thirty two hours straight on this west one of the walls the walls clean clean seamless wall but there was um a little roof wouldn't roof tech we've had some starts on the light came through on we put a little bit of a reflector on the left side to shine to kind of enhanced the light a little bit on you create this and nothing else shows except a shadow pattern that I saw in the wall makes sense now I had him sit down and all of that it's part ofthe my visualization it wasn't guessing I didn't have to stand it took a picture than on sit down lay down like he cannot even move in that outfit he's like choose and I'll do it you know and these guys are like super not patient people they're not the type that rv like our patient with with you you know I mean did they pay me a lot and they expect a certain level so trust me um I told them sit down open up your arms lean forward just look at this you can see his eyes are locked in I took the picture it literally was like one or two don't move on that's that's the that's the power of this issue visually visualization okay uh um look at the light in all these photos doesn't matter what it is like you see the elbows you see this is all seven seven seven in action for a single person okay issue the biggest issue the brightest in focus uh there's a lot of cool stuff like take a look at uh like this one when I did the curtain over her head you see what I mean so you shoot it through the curtain and stuff like that or I mean look at the family photos seven seven seven baby seven seven seven in action this is injecting emotion right so I did all three the mechanics were their their bodies were post correctly then the artistry was how I was going to crop the photo and then I injected the energy and everyone isn't did this happen by accident no each person was told where to look that's the control freak part of me because it yields results okay these guys were supposed to look at each other he was supposed to look at her she was supposed to look at him it was that simple okay you look at it you look at her you look at him you look at your daughter I placed the arm there okay that's it ninety degree angle in her arm totally okay because there's so much going on you don't even see the ninety degree angle harm okay um or let's take a look at this one you know we were talking about contrasts right david look that's what we did contrast see how you can apply this really clean this doesn't apply just to weddings you know you can applies to any fashion shoot anybody you're photographing okay uh take a look at these forms for example it just has this just jumps are you doesn't it on by the way toe make a quick story behind this that coordinator told me no more photos because we're behind schedule or whatever so she's like you guys you're done with photos these kinds of wedding coordinators they don't really mess around like when they say no more photos like you just have to chill but then I went to the groom and I went bomber because I saw a little patch off little grassy totals right there and that would have been a killer and he was like mmm mmm let's run away from the coordinator way ran away from the corner for literally like thirty seconds like literally walked the coordinator was starting to walk around and we walked faster and the brightest like where we're going and even the groom is like be quiet just just walk on we want I saw the grass and visualize that I post him I took the picture had a reflective pop up obama we walked back thirty seconds okay the laughter was because we were just making them laugh about the whole running away from the coordinator but look yesterday I used to look at the yellow car remember I told you to look at the bush and the bottom of the bush was the funniest part of the bush look you see that still works it's still fresh material that they I used what I had available to me which brings us to the next line oh my gosh this is really important don't use cliches tto gett and an injection off off off emotion don't say things that will make your clients think that you use that on everybody it's kind of insulting they especially at weddings they want to feel like they're special they don't want to hear what you say to the last fifty bright you photographed it makes him look like an assembly line okay if you're listening online please try to use the day around you to come up with new material to make them laugh use the stuff that's around you for the day to create a comedic relief communiqu relief is that okay this is a good example of that the coordinator was like uh we ran away from her we took our pictures we laughed I was laughing on the second photo here I wrote that and this's a vertical this is a different type of horse altogether this is on example of him behind her this is him behind her to this part of the location part of the posting chart um do you like it isn't that really and it's just on so fast that's the beauty of this the beauty of this is like when you get these pictures you shouldn't even be surprised because you're supposed to be a master it's like that football player that got in trouble when he scored a touchdown and then he started like throwing the ball and he started like cheering and dancing for like twenty minutes on the coach said come over here for a second and he kicked him out of the game and he's like why did you kick me out I just scored a touchdown and you like because you're celebrating like this is the first touch thing we've ever done you don't do that you take a picture you're like that's what I expect of myself move on you know it's what you should do no anyway um yeah you know how you say we're taking photos and we created a horizontal line and then in those photos you cradle when I was just interested to know what the difference is about what I'm sorry the horizontal line you know how you said that when that was sitting on the grass and we created that line in the background he said don't do that but then you have that in these photos I was just interested to know what why would the liner was showing up in yours was breaking really strongly the pattern that we had going for ourselves we had this clean grass going on and then there was this like going across and that's the guy that was just like well it should be like a red flights and all you yeah you takes away from them all you have to do is just tilt down and gets rid of that line okay okay thank you yeah go ahead you said don't practice on clients you should know what you're going to do before you you're going to shoot your clients yeah practice on on your non working day what do you think about um having a plan for the shot you're going to get nailing them and then having sometime after that to experiment during the shoots of a plant uses what having a plan of the post yeah so you know what shot you're going to get everything is planned everything's worked out but then in addition you try to go for something extra I don't know if I would do that I don't think you want to go there with specific and I'm gonna go back to my language analogy you don't want to go there with words pretty memorized words were just like the pre memorized poses you want teo used to grammar that I'm teaching you guys so when you are in front of the bread and groom you're like I feel like this I'm gonna put seven seven seven into it it's gonna come out great because it's more spontaneous and he doesn't look like you're you do this I can assembly line like everybody you do this with everybody trust me people can read into it it's very obvious when someone is posing you and when I'm modeling for people and photographers opposing me I can feel that this is that the three lines they not they use on everybody I can feel it you know so and I feel like I don't want to react to that I'm like first of all they're posting me so spread a little difficult for them I was saying you have to come up with something original because I'm not going to react to toe assembly line sentences you know you do when you do have you know him behind her um kiss anticipation so you do have an idea of the type of pose this post is that I have in my chart pretty much income passed every can oppose you can possibly do with with a couple the only one that's not there is anything laying down because my bryce don't well I don't lay my bryce down really too risky the prescott's thirty forget it on I think it's just I can do the lay down during the shoots when she's getting ready for not there in the actual I was referring about right when he mentioned right you know what I meant was you know what you're going to get a have a have a fixed plan certainly not a six year old a location and I'm like why would work here I'll do a sit on post and then once my brain says that then I visualized a I crop it in my head and then I'm like I crop it with I visualized the artistic aspect to be like what lighting um I'm going to use how's that gonna look then I do the make the mechanics of that first like put a part in the right place and the elbows and stuff then I inject the emotion okay okay remember that they are the artistic side of posting is the lighting the lighting and the cropping that you're going to do with it and that's the most difficult part for people to visualize they're like how do I visualize that especially when you're on the spot like you are going to be today as one one ask you to just relax everyone in the audience when they're thinking about visually visualizing the post you try visualizing you'll see how you blank out too visualize a both if you're watching at home let them visualize it and come up with something you're going to feel great when you do actually worked hard enough to visualize and you actually execute that division is going to be like a wild moment for you okay you're gonna love it okay so examples of this for example uh this we had a huge room going on and I told the pride that we need to get ready in that tiny little classic thing and he's like why I said because that's just what we're going to go like you want to look good or you want that that location to be featured which one do you want and he's like no I want to I want to shine and I was like well we don't go to the closet because the light was coming and he was bouncing and look at the lady gave me see what I mean the reason why I said that is don't let your clients tell you what to do respect her wishes and explain to them why you are saying what you're saying so you don't you don't seem rude okay I always explain this this is gonna be dark you won't look very good I could make you look like beautiful if we just go to this part of the show respect right and then you could get stuff like this when I got that emotion when I told her toe I told her to hunger mom first of all I put him very close to each other then I said to give her mom the biggest office ever given her and basically that lighting takes care of all the romans for me the lighting's already set here someone uh wedding party photos just take a look at first of all do you notice the pattern in the background fighting for positions just clean look at everybody's supposed what I'm trying to say is can I borrow for a view ofthe four of you just coming up when you posed any kind of group shot don't post him like this don't go here stand next to him and then make his body position now maybe kiss on makers you see how that looks very robotic like everybody's like in this excited little robotic little pattern is like everybody's telling that photographer still knows what to do and we're doing it so now face each other come wrap your arms around her put your chin here cheeks there you go come on wrap your arm in there and come together he won't bite put your heads together magnetized seven seven seven remember creepy creepy hands come out so once you do this the posters to become more like oh we were just together and now we're just laughing and you happen to get a perfect picture of us you see what I mean and everyone looks so happy because you broke the pattern that's what I'm talking about okay thank you do you see how the pattern breaks here okay uh let's see so here's this is people asked me a lot of online in the posting chart there is one of the location one of the posting elements it's called interpretive so it's called interpretive and they say what's interpretive interpreted when you ukrop the head out of your bride and groom or just a groomer just a bride one of them is out and you tell the story through their bodies okay so that's what that is or you won't show a piece of the bride like her hand and you show the whole groom or you show a piece of the groom on on the whole bride anything like that is interpreted this is gonna be a difficult post for you guys today you're gonna have to be like what I do here's an example oh and interpretive force that I took during the during the wedding or like look at this one um this one was taken uh I think I have it on the hard drive let me see I'll show you in a second this photo is facing each other so when we post the models uh kensi and that we're gonna have we've been out facing each other take a look at the no sis take a look at the arm energy see how the arms are opposing now you're probably thinking there's an armpit right that's ok it's not the emphasis of the photograph that make sense she has to in order to lift her veil you're gonna have to have an armpit on it you're an alien but I'm not featuring the armpit like it's usually feature when you have them go like this and it's kind of like a close up photograph okay so that's kind of a difference um take a look at the body you see how her legs wrapped their on hiss that wasn't by accident she didn't just do that I said can you gonna rupture in this I mean left a veil and then I said something embarrassing and then and then she's laughing but her eyes were locked and his eyes are locked okay it was very difficult to be silly with this couple because that bride never never ever even talk to me she's never smiled and I the whole time she booked me I said can I need to call you and she's like oh okay andi she was just like can you call my coordinator and I was like okay and I was like can you talk do you not have a tongue you know and then when I heard the photograph I was just like this is gonna be a fond day you mean the groom was cool though on dh I just went crazy which was like two though bryant's like you keep your eyes locked you know you want me but you can have me ofour but the photo was rocking which goes back to my two second rule basically for two seconds for a price price less photograph okay here's another one I had to I had to tell him to really get in there and it was just like really just get together and when she was doing that you see the hands are higher than the other they're nazi spinal cord is totally straight I think by now you're starting to see how much of the supplies in every single post no matter where posted this okay uh let's look this the last one I'll show because I wanna get to the take a look at these fun shots do you see a pattern you see how everyone is out in the only the world it's like pattern breaking marathon here right look at this guy he's even going like hey and everybody's in their own little world okay you can see that I'm saying very embarrassing things because otherwise they wouldn't have worked here's another one that's fun and then you have the ladies and everyone she's the one that's turned these two are turned so they're not just all in the same soldier post okay you noticed the heads are my sometimes towards each other groomsmen shot the first one you showed do you remember what you said to them to make them all seem I don't know I mean these and I know this one knew the first one I remember telling them where to look at but I don't remember what I said but by the fact that you tell them okay I have to look at naked the whole time and this guy's gonna tell me what to do and I just have to look at nikki it's already awkward okay by the way awkwardness removes vulnerability it gets to your vulnerability so when you do that you open up and you create a romantic smile if you can not take down that vulnerability better barrier that most grooms men especially grooms have you won't be able to get that really loving expression out of him

Class Description

How do you handle shooting a wedding in a less than perfect location? What's the best way to get the perfect pose for a special image? Join international award-winning photographer and Canon Explorer of Light Roberto Valenzuela as he shows you how to take the guesswork out of maximizing your location and determining the best way to pose your subjects.

In this class, Roberto will show you​:

  • How to identify the elements at a location you can use to enhance and the ones that you should minimize and avoid
  • The best way to look at posing by arranging each body part until you have the pose you want
  • The way to practice and use his methods to create your own style

By the end of this class, you'll be able to approach your next wedding with ​confidence.


a Creativelive Student

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.


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!!