now we're putting together that location chart we're not putting together the posting we're now going to be adding execution to kind of glue all the elements together but first for the audience watching online I want to remind you I don't want to just have the students take really good photos I'm going to actually purposely have them take photos with the wrong angle on the wrong lighting and we're going to start to build them up right and we're going to start to fix the photos little by little until they become what they should be when you first take the photo at a real job so it's between it's a breakdown process and then rebuilding process so we can all see when you see a photo that they took that purposely a bad photo you may be able to relate with it and then you can see how we fix the photograph to make it look like a beautiful poem so we're going to start out we purposely did a few things around the room here we replaced certain little puzzle pieces kind of like ingredients for u...
m iron chef per se or chopped okay the mystery basket so you're gonna have these little ingredients that are purposely placed around the room like pieces of furniture some reflectors that look like wall things some arguments we have some pictures we have plans we have a lot of little things that we're gonna have them used those elements according to the location chart we're going to put them together to transform the chart elements and create really great photographs so it's really challenging part of the of the course if you're watching online be sure to try to think of yourself what what would you do if you were in this situation so it's kind of fun for you to try all right let's get started so we have two gorgeous models and what I'm still in makeup I believe so we're going to start with my friend taison look at that tyson man good looking man right there come on tyson come on down all right guys this is tyson obviously good looking guy we're going to make some not such good not so good looking okay I'm the person to transform him into a bad looking person will first be mallory I knew it mother is the winner off you're gonna be the first one where you're going to take the bad photo for them to learn to be a great teaching we're not just going to take about what we're going to explain why it's gonna be a bad photograph okay then we'll have someone else or maybe you start to rebuild it and fix it okay and anything you can we all kind of we're going to start in this area here okay so we're going to start with this now take a look at the elements you have windows but they're too high for them to be in the background right like directly behind him right so they're going to be above him the light in the back is obviously quite bright on one of the subject emphasis rules is that your subject should be the brightest so you're gonna have to find a way to make him the brighter than all of this you can also change your shutter speed to like a really dark shutter speed so this really comes down and then used ice lights to bring him up so you have to use your use your your head on really tried to figure it out um I'm gonna give you this is your camera I'm gonna give you my cameras we can tether it okay I'm gonna give you were gonna go for a bad invisible plane so we're gonna go for hitting his niece first and that kind of stuff okay we're going t o okay all right let me give you my camera so I can get my uh sixteen to thirty five millimeter lens can I grab this thing this is all for you to use okay so umberto why are you asking for that good question somebody asked if I knew that they were going teo that's why I'm sixteen thirty five is if you use it well they could be in full effect like make you look pretty far away but if you use it wrong it can really make a person distort them and make them look really unattractive we're going to go for the un attract at this point one of the execution chart elements is perspective through lenses so I'm gonna try to show how bad perspective changes will you come over here on the edge of sixteen to thirty five with you where it's which the land because we're okay I want you to I want you to you know if if you have a wide angle lens if you get really close to the subject is gonna distort them horribly especially in the corners of the limbs yeah so try that okay I think it's even even bringing let's just thirty five brothers so come for a really bad invisible plane can start distorting this much just missing one way don't have the sixteen to thirty five but we have a thirty five so it won't be a wooden distort this much unfortunately uh oh we do have a twenty four to seventy don't wait let's try that lens seventy forty will do let's take talents let me give joe this one on then we'll use this lens thank you now for the audience watching online we're going to use the uh ultra wide angle lens we're goingto have mallory mess up the photo with the perspective but then the real challenge will come when I asked mallory right after she takes a horrible picture to keep the lens on this time make the photo look really amazing wait the same lens so good luck to mallory actually will you sit down on the floor and just have one knee up another out that's great sure however you want to be with atleast one leg I don't like the setting sun with the ice show isn't all that checkbook with cameras leaving are so well so uh six forty uh your capture your doctors for point that's that's as far as it goes then you continue to play one more time you can get closer to him and get rid of the media's chant to make his neck to get you get that double chin going really good even though he doesn't have one we're going to really get going soothe ever get even closer to his chin from underneath his chin on racist you know yeah will you turn your head like to the side and kind of up maybe you didn't look at me I get like three feet closer than that look at me that you know you don't give me a smile frozen thinks you're still pretty dark when I slow this down okay I did I just get like it's coming out okay now you saw the photograph your online watching this what is going on from watching the course you should have some idea of how to start to repair the process so mallory will start to repair the process okay let's have someone else coming repair so let's bring a peppy over paper coming down my friend let's go ahead and repair the photograph step by step first let's discuss what's wrong with it and they will start to fix that address those issues what's wrong with the photograph perspective everything ways perspective uh making his head looked way bigger his piece on his chin er the backgrounds is brighter and my uniformly right yuri as you could make this much worse by actually having him in the corner of the photograph right because it's a wide angle lens it's going to distort him even more so if you were to grab the photo and if you were to if you were to do something like sorry let me do that one more time way go that's the one we need to do take a look at that photo no not that one that one take a look at his face now coming sense now this is funny but you see that my composition is completely off the hook right it's not working whatsoever he does not that's not complimentary to him at all first thing we need to do is used his big window element and because it's working against us we're gonna have to find a way to make it work for us okay so make it like a cool element how would you do that okay think of a way you see in the window using the window using the whatever you want to use you don't even have to use this if you unless you want to okay but how could you create a radical photograph we're the same lands that created this horrible picture okay we're going to start getting creative the reason why I'm making you stick to this is to limit you you're limited to this this is what you have to work with we're going to find a solution to the problem okay so what you want to work in first perspective perspective um I want to shoot him this way good job because that's gonna make him good job exactly okay so that's start ok so so you should use the same same spark and changed parts or change tell you okay so I guess you're limited to this area that equipment okay off course you can use flashes and lights and anything any light enhancer ok so let's all stand over by the window and you're your tolerance is part of the job so can I use that wouldn't I'd like to know that the wooden step step stool box would that be possible well it's a two way thanks okay can we just ask them this way okay you're gonna be looking uh tilt your chin down a bit more and then turn your head over that way I've never left not let's write right there uh put your chin down a little bit more okay and you're gonna be uh you're gonna be looking have france tattoo on her arm ok jandi looking watch the booth uh turn your head towards me right there and keep looking at france too that's a lot better with the same tools that's a lot better we have ah a bit of an issue with with the floor is this case is that has different luminous levels right by the florist darker part of the floors brighter on that's what if that's the one thing that's causing a distraction what are the tools we have look in front of you what can what do we have here to clean that background out think about what you say yes of course so let's bring this guy about now baby can you do something with this yeah I wouldn't need to have a little more this way uh uh deliver less right tilt lever towards towards me ever more tomorrow quit I mean just turn we're gonna turn this we're gonna make this monochrome tried again okay looking at friends school to see what we're getting here okay you're a bit on fire let's move that year unless making was not so claustrophobic on that side right why don't you try a profile shot uh right now trap profile shot on you something to make the front of his face really nice and bright also we're trying nice lighter you want to do a white reflector whatever you want to do so let's through the ice like okay that makes sense yeah but you see how we're fixing a photo okay so joel holt can you hold it right in front of the space area now try full go full power just push the up twenty twenty times it's okay so crop out the year see now you have catch lots on these eyes now we're gonna do a few proof full profile so turn your face except just like that keep the party the same way so you we have crossing off the collar bones on the notes okay you can go ahead and give him that papa in the eye I mean popping the ice on take your photographs nice and straight leave some space for that year on the back of the head not to be claustrophobic against the edge of the photo okay so leave it on you seem like they're okay okay so I see I can you look towards uh the microphone on david keep making looks you know uh look at uh susan over there in the black okay look at the look at the tools look we just switch the whole thing around right this is using execution at its best this is what a lot of people do believe it or not happens on the left inside more than you think right on with the same tool not we don't say oh I don't have his lands therefore I can do the photo look we didn't change anything we're still in the same part of the room were using the tools now we're going to make this photo on the right were going to make it just you see how much better that one is from that one let's keep that level but do it to the next level over so how do we do that there's no separation between the black and his face it separates but we can add separation to it what's one way we can do that back flash back light back live with I slight or with our flash let's try it with the ice like let's try with a flash oh let's try with the ice life first so let's back light on so I don't know how that will work there you go I get really good maybe get closer if you can issue in your frame is uh he's good right now waken her with a perspective keep the respect of the same you don't want to start a collector okay I like this let me see what that looks like you still have time to look more and more like our artistic and all that now let's make it even more powerful so we need to ice lights going at it so let's get another ice light full power and then maybe we can uh get him off from the back and then make slow down the shutter speed by click one stop one stop yeah you push this okay tried against going into your shop uh yeah er still be a lot too get out of the frame what if we do this one what if we what if we what if you hide in the body like whatever you can you do this yeah let's try that on that movie eyes like mourners his face the front of his face without showing a little bit to your right no t other right there all right let's take a look at this interesting now let's add the backlight toe really keeping that extra room celesta another flash on we have one right there thanks friend you see what we're doing here we started out with a really bad photo I'm we're just gonna start building it okay uh let's try all right let's try this so that's done we're gonna put this on master they should link on now let's go ahead and just power this thing now we're gonna use the flash okay so yeah probably just tried to hide and just pointed up towards his face uh because you let me see the other flash you need to turn that one off always gonna fire right okay you're good to go okay little below on the flash just like an inch very good can you just explain for the people who pretty yeah change the aperture toe six point three six three could you just explain for for the people who might not be used teo using the two flashes and triggering one could you just explain how that works thank you so I'm using ah flash that this or that new cannon six hundred flashes so whatever camera you use nikon cannon if you don't have the six hundred flashes you can use any kind of radio poppers are really great they're probably the best ones if you don't have radio poppers you can use bucket wizards you can use all of this little radio triggering tools the whole point issues a tour tohave one flash talk to the other flash so you can communicate with your flash wirelessly all we're trying to do right now is create a really cool portrait with limited tools and limited space starting from a really bad starting point there is in why we do this is because when when I'm practicing on my own wedding so I'm practicing uh my house this is what I do this is the process I just keep trying to improve so when I have a tour like the sixteen to thirty five for right now the seventeen forty and I'm like this is what I have aiken I can make magic with just that because I have this brain sequence off fixing things as I go instead off the other option which is to freak out and give up all right so that's what we're gonna do now the photos of the two right on the face so we want to make it darker on the face we're gonna lower the power six off the flash so let me see this we're going to go toe external speed like control flash function settings we're gonna go to group what group is that flash on joe mrs say hey we're gonna go to group a and we're gonna turn it down okay go ahead and take another shot at an inch lower thank you flash okay I would say that's a pretty darn good freaking portrait right so good job thank you for that okay fine right fun with cool toys uh if we can keep that on the screen I don't know if we can compare it to the really bad photo I took with a wide angle lens that would be fantastic okay check it out there is no why wanted to gonna go through this if you look at the execution chart which is given to you when you buy the course I believe right if you look at execution chart this has all four in one picture that's why it works so well the first part of execution says lighting through direction uh the next one is simplicity through subtraction the next one is beauty through angles on the next one is perspective through lenses you laughed at me because you think I have it memorized I would hope so so if you look at the photograph is the lighting coming from a direction or it's a flat on his face obviously coming from the back that's a direction right in front of the face is direction too but that's not what I'm talking about what I mean more like coming at an angle right simplicity through subtraction why do you think I took the first photo with all that crap in the background because it's it's the opposite of simplicity there's attraction so what I did is we subtracted the window it's attracted the autumn and we subtracted the carpet where subtracting the stuff that's not helping us with our subject our subject is just tyson tyson is a good looking man we don't need to ruling that with adding twenty other looking things into the photograph the third is perspective through lenses right we used a seventeen to forty we kept the same lens but by the way I positioned it on the way I used to I made it look really bad on the way he used it makes you look really cool same lens on last the angle beauty through angles the first angle on the left it's not exactly the best angle you can imagine the last angle within a profile way ream like him really let him dream living who way basically executed all for execution executions in one now if we let's say for example have nicky join us on the next photograph you're going to stay with the same lance but now I want you to find a way to keep it wide angle and still make you look like a really awesome photograph okay okay you're he went for the close up which removed all the environment what happens if you cannot can you use the environment to create a cool portrait yeah I mean I love the window it has pattern geometry so I would probably use the window cool what's the most obvious shots here we're not going through that repetition what's the obvious shot is to put him in front of the window right right so why don't we put him you could do something like put him in front of the window this way and you photograph him from there that's what you would call the obvious shot was I not right so don't do that okay what if we put him this way and you're photographing from the angle from that angle so now you're using your making that triangle stuff is not just you him background that's like linear try triangular so I'm saying so let's try that so they could just come up with an idea and then I'll come up I'll help you out if you need to okay you are allowed to move whatever you want okay so I might use it may be the mirror to bring in interesting reflection better when I lean it against its okay um first what do you want this black thing do I want it yeah you know let's move that out tyson will you stand by this so the problem is with him now is that this whole background was him being over here if I'm shooting from here so let's clean it up you have a problem with it yes that's cleaning so that's how we okay so we don't want we don't want you don't want this innit no so let's move that over there and then you don't want this run the ranch right so so tyson you could come over here sorry ok ok so wait so they could just letting you know you just complained about the background being messed up and that's exactly what you're supposed to do right is be like that's not clean enough that's what this whole course has been about it's creating this clean images right right so couches still way you wantto how do you want to use it do I want to use it I mean I guess he could use it for balance why don't you use it toto have um kind of rest on it like sit on it or something okay I'm sorry I thought you want me to do trying you know whatever you want I'm just throwing suggestions out okay and then we'll have you can leave it there then okay so tyson let's use it here and you're gonna kind of lean a little bit towards me with your upper body yeah I like that I don't know what settings paper left it on so you might want t o look good like this it's all my friends were doing oh smack pretty darn cool you're using the same lens yeah now you did a good job here let's give the camera over to david and let's have you in hands which he just did okay so can I make some suggestions let's create a just sick photo with this okay just sick lesson by katie over to this place so okay actually I'm not gonna help you there you are there you are you can't just come in come in closer I chose the filter heads this way um can you put your hand on your knee a little further up your tie look down at his hand um I'd like you to look over at that camera there no that's just just you dyson katie keep your eyes down there I'm gonna go david make a quick suggestion you're doing good I'm getting the nose is slightly crossed right can we do the x factor of the nose and actually have her look against his nose so it's actually not only are you creating that you're also making her look towards the window which is giving her like I slice in her eyes it's not yeah okay okay um okay just look at the bottom of that chain there uh okay here it is here on dh now there that looks beautiful oh that looks good katie gas good chin forward come towards him lean towards him from your waist more good good just hey carrie and tyson you guys are like rocky why should I make you laugh you guys were so close just one at a time in this together so we have to wait for it okay change the perspective so it doesn't look like that so stand up higher because because you are using a wide angle lens right you don't want to shoot from beneath them right okay so actually uh david I'm gonna make a suggestion and go and stand on top of that sucker this yeah you try that and I was gonna make him look like they're super small and far away you understand why that's not working getting the floor a little too high now yeah right come down let's try that perspective I know guys can I make a suggestion right david before you take a picture if you look at the screen you see this you see that cord of carpet and send the world begins that's a whole rice online you write some lines we spoke about them correction lines need to be what straight parallel right parallel to the bottom of the camera right because if you don't not do that the peril that that the line goes like this and it creates a right angle triangle room and we spoke about that you do not want into those triangles which are very demanding visually when you have them in front of you that makes sense yeah so let's not introduce any triangles there's a bit of a triangle keep this line super super super straight to the bottom of the frame okay every time you see ah horizon lining the bottom in the middle or at the top keep it parallel to the bottom or the top of your frame on every time you see something that's very dominant vertical keep your verdict keep your pair of vertically to your frame some accents alright let's continue he's looking this way my question is what's reflecting light on his face right we have heard going at it with the light right but we have to enhance things so let's use that reflector get silver sun on we're gonna have to do it from far away right well thank you for getting there now is that helping is not helping any I don't see so how do we fix that's have a flash we put another flash and we put it against that right remember we did that yesterday way put the flash as the sun right so let's do this where is the is already on where's the one that we had already ok yeah so okay this is so that window's not given your strong enough strong like to bounce against this reflector and hitting him right so all of this effort just to fix his lighting so we're going to basically put this is now the window right on this will illuminate him I'm actually gonna put this out pretty strong power okay go ahead okay going closer tomorrow trying to look more fashiony makes sense I'm actually going to make an adjustment okay I'm gonna bring this reflector here I know I'm gonna try to do a more from an angle on the lighting okay so go ahead so back out yeah ok let's take a look way that's cool we have a little bit of an issue here but it's starting to look pretty nice right
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!!