The topic of the lesson is location, posing, and execution in photography.
What is the importance of creating space between subjects in a photo?
When subjects are too close together, it can create a sense of discomfort and awkwardness. It is important to create space between subjects to maintain natural and comfortable poses.
How can you ensure that the subject's eyes are opposing each other in a photo?
The photographer can direct the subjects to turn their heads slightly away from each other while maintaining eye contact, creating a more natural and pleasing pose.
What is the concept of the "invisible plane" in photography?
The invisible plane is an imaginary line or plane that extends from the camera lens and should hit the subject's eyes first. This helps to draw attention to the subject's eyes and make them the focal point of the photo.
How can the distance between the camera and subject's eyes be adjusted to create better composition?
By positioning the subject's body and shifting their shoulder or chin, the photographer can adjust the distance between the camera and subject's eyes. The goal is to have the subject's eyes be around 4 inches or less from the camera lens for better composition.
What is the importance of subject emphasis in photography?
Subject emphasis is crucial for directing the viewer's attention to the main subject of the photo. This can be achieved through lighting, size, or selective focus points.
How can photographers give specific directions to their subjects during a photoshoot?
Instead of giving general directions, photographers should be specific and give clear instructions to their subjects. For example, instead of saying "look happy," they can say "look at that car and love it" to create a more specific and natural pose.
How can photographers create different expressions and emotions in their subjects?
By instructing subjects to look at different points or think of different scenarios, photographers can elicit different expressions and emotions. For example, asking them to look down and smile at a specific object or person can create a more genuine and varied range of emotions.
this next one's are stopped that I hardly ever break these are like my like my my starts off a building for say okay posed the ice crucial I've seen so many times we pose a beautiful picture on the eyes are in the wrong place let me give an example this is gonna be a little awkward for you get it get your nose is about an inch from each other on look at him in the eye does look really creepy does that look like why are you in my personal space on why are we looking at each other now turn your head down kiss you and look at his look at his shoulder on dh well look at her lips okay don't I look better you totally took that tension away when you're in somebody's personal bubble people don't look at each other because when you enter personal bubble you become vulnerable looking at each other it's like going against the grain going to look at each other again that looks really weird yet I see this happen all the time when I see them really close like they're looking at each other like wow w...
hy are you doing that like it's so weird why not like keep keep that position why not like look at his shoulder over here look at her lips smile at that shoulder making it's really funny and see look smile on her lips because she's like really funny and it don't take a picture and look super clean big when you enter personal bubble the eyes have to be opposing each other one higher than the other kind of like the hands okay so thank you guys thank you thank you oh invisible plane angle check this is like the coolest whenever so where is my camera you don't have one okay so here's my camera on I'm gonna take a picture can you turn sideways to me can you uh I mean your body like this against me the other way so back yeah that way you're going you okay here's my camera I'm going to shoot this invisible plane and this plane's going to shoot out of my lands the goal off this invisible plane when he shoots out of my camera is to hit the person's eyes first okay don't hit two persons knees and shoulders and love handles and all these other things like you the goal and by the way you can't always do this but you can try the heart your hardest that when this little here's your camera here's your lands so you take a picture click and you go boom on your shooting and this is invisible plane comes out and it shoots the only hits the groom on dh it's about nine inches away from his ice nine inches is a lot of inches you want to fix that right away you want to make it like four inches or less so turn your body towards me and then turned that shoulder this were just a tad right there not so much right there now look at this camera shoot I should point oh right on the chin I'm about two and a half inches from the ice now let's mess this up bring your chin up like your gangster totally gangsta you okay take your camera shoot come on come on come on come on come on come on you hit the groom now you are four or five inches from his ice you made him look like a gangster by separating you know he's like a mad dog in you or something so how do you fix it bring the ice back towards me and lean your body slater's a camera boom see how much better a low now look look at this I'm going to be I'd like let's pretend I don't know what I'm doing or whatever I'm gonna take the angle from here okay I'm gonna shoot and I'm gonna just shoot this invisible plane and it comes out and he comes out and this is about four inches it's pretty acceptable okay any more than that it has to become distracting so what I would do to get the ultimate attention on the person you turn to shoot true the angle is gonna hit the eye first or try to you can't always do it when you can try so here's the angle uh let's see it says right here so boom comes out comes out comes out I need hits him right in the eye make sense which explains why when you pull someone can you uh might sit on this chair on this one table seek other sitting back and they're kind of chilling leaning go ahead and do that just leeching lean back ok like that okay you're photographing you're becoming an expert photographer you're going to know how to pose everything you want what angle do you choose for this he's leaning against the camera so if I was to shoot from here and I was going to shoot it this way I'm going to launch this little invisible plane on dh look is going to hit his knee how many inches from his eyes is like thirty interest now that's a horrible angle so what you want to do come this way should it and now you get rid of the nih and you hit him in the eye his knees now out of focus so it's no longer the center of attention makes sense now lean forward now that he leaned forward now you can lower your angle you don't have to shoot it from appear anymore you can keep it this way and I can now stand here being forward a little bit more just like that children shoot on dh success don't that's not too much success that's going to bring the me as the foreground of the photo that's not the ice that's not that interesting timing sense okay thank you this is the one we're all going to work on today pretty heavily the face of your subjects will be the brightest part of the photo you can't always achieve that but you can always try to at least match the brightness low if you have a cool background and it's really bright and you put your subjects in there and you don't like them up separately they become equally lit as your background you're giving no separation whatsoever so intense the faith of your subjects should be the brightest point where we photograph today we're going to take photos were going to light up their faces first we're going to think about that first okay knows the x factor for the nose pretend that kiss you here has like a little pointing like ten feet long nose okay so their nose imagine this little point that comes out if you look at the groom again and face each other again totally next to each other that little point is actually matching his point that little invisible line is matching his invisible in and they're going against each other they're kind of hitting each other you want to change the noses so the little line on his line create on connect connect somewhere it creates like an x so mallory try this come up here just change the direction of their heads to make sure that the little invisible line out of the nose is become a chris you can touch them all you want you can also instruct them in there probably okay there you go it looks a lot better doesn't it so whenever you have the nose is pointing is gonna be better now here's another one that comes out comes up a lot you try to get the nose is toby criss cross each other at some point if you wanted to if you do this post in my look a little on the cheesy side let me explain bring your nose on point you're no stores that light now let's make the nose lines parallel to each other and you'll see how cheesy it looks and I love cheese don't get me wrong all kinds which especially the spanish oily wants but this is like blue cheese it's like too much you know I mean turned your nose towards that light again more it's like uh it's like looking at your unborn children together or something what does that look a little bit cannot like too contrived and kind of like you're trying to post too much so if he's looking that way maybe she can look down at his collarbone maybe she can tilt his her forehead against his upper cheekbone maybe he can tell his chin down a little bit maybe he can manifest his head towards her just a tad and you start to create energies that match thank you thank you uh subject emphasis is probably the most important bullet out of all the bullets okay let's talk about the real quick if keyshia is your if qi sha is your subject you have three ways to create subject emphasise the first way is through light make her the brightest part of your photo the second way is through size make her the biggest part of your photo on the third way is through selective focus points so you used to like to focus or you you focus on her and everything else goes out of focus so three ways when we do the photo shoot today I'm going to ask you which of the three way so you're using to create subject emphasis okay thank you be specific when you pose don't count don't say things like can you look out the window and look happy like can you like like be specific like say look at that car and love that car just love that car just get you know specifically where you're telling them to do don't keep on general direction they want to know exactly where they are going to be after you're done with all this you're going to be injecting feeling expression on multiple points of interaction the multiple points of interaction is where you place the hands where you place the heads that's multiple points of touch of interaction they're feeling an expression is how you talk to them to create him to laugh or smile ok thank you um take a look at uh quick now bring your eyes kids here to the left just your eyes doesn't look like she's a bit annoyed now bring your eyes down at their rug where my shoe is and smile at the rug as I am good night my little model that rug does that look like you seen this little tender moment of vulnerability in chinese now look up and to the right on dh smile with your life like that does that look like she's a bit surprised on like she was taken off guard now if I don't know what camera we're looking at but look at her eyeballs look at her iris on move your eyes just follow my finger with your iris move your cia you see like ninety percent white eyeball on only five percent iris that's like the ghost image is very scary you need to remember the percentage off the eyes versus the virus if you want a good photo you're gonna have to have some iris in there having it's just eyeball just right there where I should be very scary okay so there's a whole art to where the eyes are gonna be now take a cheque out the islands now open up your rights all the way to win your chin down yeah just uh chin down and look at a higher vantage point so I just opened up the entire island right now watch this bring your chin up and looked down at the desk you see her now it's about a quarter closed now look chin up more and look at so now you see has three quarters closed now look at my hands or close your eyes that's all the way close to all of this is going to give you hundreds or thousands of combinations or feelings if you want the girl to look romantic like she's feeling the moment you're gonna have to show more more eyelid if you want her to look surprised because he kissed her on the cheek in and he's like a fun energetic post you're gonna have to open up the island and turned the eyeball to the top right or top left this is the problem we have a post and we don't think about the ice we cannot let the icefall wherever they may be okay we'll go moreover this tomorrow okay um at the end of the day you want to know if your post is believable or not now that we know this let's go through these photos were quick we're not gonna be able to do all of them but we're gonna go through some okay I want to remind the audience that these are photos of they're not happy with on they need help with so by no means uh I think that this is the worth of their product okay now that we saw this list arto to put this together me open this are the subjects the brightest part of this photo no are they inside the obvious frame right now there is a bit off balance here this section here is the most contrasting section of the of the of the location because of these dark plans with this like this white walls right if the couple was closer to this it would be much much more left heavy but because the couple is more this way it created a little bit of balance okay if you're gonna have the couple look at the camera you're not going to create that flawless romantic type is more like here we are that's the feeling is here we are if you want to get your work to look more like it just happened this beautiful moment just happened you're gonna have to get their eyes away from the camera like looking towards each other or some part of each other okay um another thing is how many distracting elements do you see in the background here do you see how even though the war has a cool texture to it it's actually working against you you want a piece you want to choose the part like how about choosing this part this part is the seamless color there's no distractions how about getting closer on photographing them injustice clean background right here then you will remove all doubt that your bride and groom are the most important part of the photo so you have a major problem here with subject emphasis and you do that in three ways do you remember the three ways they have to be the brightest the biggest power the one in focus okay let me okay uh julia let's talk about the hands what do you see in the hands that could be fixed the hands yeah b a little bit softer on the bright she has no cause you don't see here but he's not gonna close they're having a canary degree angle going on in this end what's going on here uh we don't see much of the arm showing you don't see where the original is coming from you seeing all this starts to come out okay you see this creepy crawler hand just coming out of nowhere you have no arm okay also she's actually slouching her back to get to him she's not standing straight which is creating this entire like product problem in her left problem okay it looks like the kind of looking at each other and they're inside of personal bubble personal space means they don't if somebody's in your personal space your natural reaction is to be shy about it and you look down and smile okay it's looking and sure looks like what is he looking at his looking straight it's gonna wear it kind of makes you look okay this is actually uh this is actually something that's pretty well done except it's not the brightest part this photo has subject emphasise again problem in the sense that all of this is just a lot brighter than they are however this is well done in the sense that this frame actually kind of blurs into the foreground on it draws your eye into the bridegroom when you use frames that are very obvious it actually takes away from your brennan groom this one kind of goes out of focus you see that it kind of goes out of focus now the arms are a ninety degree angle except her right shoulder it dominates you lower that shoulder down and bring it back so do not get this big coach coming out of her shoulder okay okay um west the brightest part of these photo this guy also the you notice all of this there are patches of sean and and shadow those perches become your eye wants to kind off go to this to see what that isthe it's trying to figure out is that like some sort of obstacle like do I have to watch out for that obstacle like if I walked by that your brain gets cautious when you see something like that so whenever you have spots off son and shadowing the grass don't you show the grass okay it's kind of like wearing a striped shirt when you're wet when you were doing a family portrait like the stripes just distract you from what you want because your eye goes right to the shirt so make sense this is like the striped shirt in the background um I'm gonna talk a little bit about this later maybe more tomorrow but you have this you have three sections section one which looks really beautiful section two the brown section is kind of like total in the way and section three is the grass section with stripes what's the best sexually the best section out of the three the top so if you were to make them taller just pretend you can make him you are lower your angle right if you were to lower your angle this obviously I cannot do it correctly because the post is this becomes the more and more attractive obviously they have to be more off them but this becomes more attractive because this gets lost in the background and it doesn't introduce another color tone makes sense okay remember that invisible plane that we talked about ok what's hitting what's hitting the couple first when you shoot this invisible plane towards the couple the first thing you hit isthe the arm and the leg you she had that draws your eye into that part of the body is that what you want not at all how could you have fixed this mallory like you said where the plane is heading right so if you could have kept the post on just raised your angle so when you shoot an invisible plane hits the eye first see maybe what I mean and it becomes a lot more emphasis on the ice the background is pretty good why is the background good it's same color family it's all greens and yellows on dark greens so it turns out okay okay but there's a lot of problems here and the main problem is that this is just hitting them right in the leg and the arm on there's a ninety degree angle in her in her hand you see how strong and it looks weird but look at this one what colors pop out at you red green and blue you evens it's all because of because this photographer chose the angle properly you could still see her eyes right but if this angle western properly done it would just be a big much of red green and blue okay one thing that helps me understand how this works I open the photos in photo shop or I blurred the photos I goto ah filter I go to les yeux I goto blur and then I goto goshen blur now you can see how distracting the colors really becoming the frame so now you see that green just dominates right I'm the person who just kind of there maybe given example off let's look at it this is a pretty good one now let's blow this now you can get rid of the good looking guy on what's left you see this big square of white going around now if you have that how can you fix it this to me is extremely distracting in the photograph the way you can fix it is by putting even more light on his face make his face the brighter part ofthe off the scene right now this is winning remember I told you how locations are like this like challenging you all the time he's like oh and you have to kind of beat it okay on the other hand he's elbows or bent his body shifted properly right yeah it's a clean pattern at the top correct okay they're inside they're personal bubble aren't they and they're looking at each other first problem it looks too forced second problem is because he's so much taller than her for her to look at him she has to basically like break your neck to do so she's got like really that's not natural and finesse and elegant so work with your weaknesses and make turn them into strengths if she is shorter half her embrace his chest and have a have a moment where she's kind of looking down some make sense so you haven't going this way that I'm trying to look at his size if you're this close to each other you don't have to have a look at each other it looks really weird you see the arm is totally straight and it's not bent at all it just looks like monkey arm so you have monkey I'm going on the left on dh you have creepy fingers coming out of nowhere and you have no origin of those fingers I tell you this over and over so when you do the photo shoot you're going to be like creepy fingers invisible plane that the wait is not shifted they're too close to each other I'm not gonna have a look at each other because we're going to look creepy if I'm gonna have him turn he said towards her is going to be using the pivot point off the spinal cord not hunching over okay all of these things okay remember I talked about mirroring each other creating meters roemer talked about meters this is basically like a carbon copy off everybody's doing the same exact thing it looks very much like you have no ups and downs you have no contrasts one way to fix this is to have somebody with his arms over somebody else one person turned to one person one percent on the other way create contrasts in the people and it will make much more interesting post and everybody just stand there holding flowers okay not to mention everybody's collarbones are facing straight at the camera on the brights on the groom's most of them are not even shift in their body weight some people are but a lot of the girls or not they're just going to standing that so look how much bratton broader they look you brought in their body have their leg turned towards the other leg so it's however left leg with right leg wrapper on the other leg and it creates this feminine this feminine angle of the leg and you can see through that dress that is much more finessed okay all right here we go does this suppose makes sense what is he doing you know he's kind of looking in her direction but why should I see there is he behind has he not walk towards our fast enough like is he falling behind what's he doing most importantly is I lay the brightest part of the photo are they what's in focus or is everything in focus see subject emphasis they have to be the brightest they have to be the biggest or they have to be the ones in focus right now is like a big parade of everything's in focus we love everybody see what I mean okay if you were to shoot david the invisible plane out of your lands what hits first their elbows the elbows you see that how would you face this issue from a high angle amen good job I like it uh you have a lot going there's a lot going on here that's not working this whole arm is taken away from where it should be see what I mean she just wait to talk to you in there you're gonna separate her having separate creating and also look at this what are you doing river we talked about the mirroring yeah big screen they're mirroring each other okay oh here's another one what's wrong with this one it's the ratio here's their racial problem you have all the groom come on ten percent of the bride so you basically separate the bride and create more of her body show more of her body because right now you see this little little sliver of her but you see the entire groom make sense so when I start posing you post having you pose the bride and groom or the fashion model so whatever because we're not going to just the wedding stuff if you say I'm going to put them in this position and I'll have you guys fix it you need to identify what the problem is okay and fix it not to mention she's slouching forward with her with her with her spine no with third pivoting just actually going like this towards him okay expression wise how could we have improved this is a beautiful photo and they are looking at the camera saying yes we are here now now that you achieved that what's another variation of this you could have done with their eyes oh are turning their heads or whatever what would you do nicki go ahead she could look at his shoulders or he could look at her lips exactly why not her eyes because they're in their personal space bubble and that's uncomfortable and weird it's only a problem if they were both looking at each other in the ice you can look att the ice if you want to I just say I say things like look at her lips or look at them look at that left eyebrow to make it kind of funny makes sense if you tell somebody look at the third hair of the left eyebrow they're going to laugh you're laughing right now but if you say look at her I don't just look at the I tried to be models you can so until this becomes second nature and we could be really quick at this what's your what was your approach one by one if clients are in a rush in a hurry and there's you know impatient with you posing them well unfortunately you have to stick to your to your comfort zone which is case how kiss on the ground I'm trying to we're gonna be expanding things for example in this situation this is a very important photo because you have patterns and repetitions through the cactus or the cock tie which is the proper term right but in this situation you're also showing the rocks you're also showing all of this going on not to mention that invisible plane they sit in their knees first not their heads second they're not the brightest point of this photo third whenever you have a pattern it's a gift from the location that location is telling you you have a gift here that give this a pattern off cattle that means your post your whatever you do has toe on ly cover that pattern don't introduce sections that are not part of the pattern because then you ruin the pattern so the photo should have looked something like this the four should've been cropped something obviously that's not the way I will crop it but if I was shooting this is what you want to introduce you only want to introduce the pattern and you want to make that more out of focus so choose I'm or shallow depth of field but this is a cleaner image like they stand out against the green ah lot better then with all of this going on especially because now your attention kind of goes to this area not to their eyes okay is this helping you guys a lot at all okay um uh if you're gonna have someone sit on someone's lap or do a c tempos removed context let me repeat that oh my gosh me right this now removed context okay remove context not because it's all there means you have to show it all okay because now you have creepy hands going everywhere you have creepy hand coming out of the budget of creeping hand coming out of the shoulder what you probably want to do you can have her know look at the camera you can have a we have a moment with each other on crop it all out so the attentions right on their expression right on their face this is a major problem I think people have they include too much context don't include the floor you don't have to prove you don't have to include issues you can just be selective you're supposed to be an artist be selective on what they want you to what you want your viewers to see okay this is the count count the fingers game when you have the hands if you have a writing room or fashion shoot or whatever can you come right over here okay go ahead and uh wrap your arms around him from the back so go all the way back behind him all the way back yeah uh how many fingers do you see you right now you like you can kind of handle it right but now now how many fingers do you see it's like you need like a computer right so how do you fix it remove something removed remove hand up hand down origin of the hand creates contrast whatever you fix a lot of discounting the fingers game okay thank you thank you okay guys in this post you can see some framing going on do you see the framing but the frame is in focus and so is the couple and so is the background now where is the gift off this post let's look at the gifts of this post I've been off this location go ahead mallory give me a give me a shot of the framing you got framing right uh friend came another one background come back any single single family of colors that's excellent western element of interest in this location there's the framing is one but there's another one it's very obviously just the door right the door's right there so should baby in front of the on ly on the main element of interest no you wanna use the door on the left and put them on the right balance it makes sense are we showing too much context it's like the floor showing the shoes are showing like everything is showing okay what are the gifts in this location they would go ahead repetitively packed background repetitive can you show can you come up and show where's the repetitive stuff that you see right here that's it so when you're opposing you put the bride by herself you do whatever it takes to just show that little gift okay if you start showing the sky and all the stuff you throw away that all the so you had now what's what else is going on with her arms that's not very good uh they're too straight and I know they are is too stiff for me clothes but they are they're mirroring they're both doing the same thing it looks it looks like you're forcing them to post looks tacky you have to make it clean it up if once hands are this way you have to switch it over okay now what's properly done in the face expression julia across the channel their noses are crisscrossing so he looks a little more believable but the expression I don't believe it the eyes I feel like our posts right but it doesn't match the expression he looks like he's just following directions so how do you fix this you have to inject a burst of energy into them that's when you say like tell me what that skin smells like smell her skin and smell this smell her skin and tell me what it smells like I think he'll be like what they themselves laughing hearing how they should be all shy because he's mailing her skin so then you create this the position of the heads are perfect but then you have no injection of energy here like you almost finished the poem or their poetry I did you just kind of chopped it right there and there's no end to it what's wrong with your arms the angle's issue the bravest person in the frame no so what are the three subject emphasis elements were gonna do selective focus lighting they have to be the brightest or they have to be the biggest here it was obviously the biggest but it doesn't really help you like you need to have the rest so I mean not to mention there's a ninety degree on the arm she's like she looks like a structure okay um what are the gifts in this location koller do you see a single color then so this this photo probably could have been done by the just by the war now that brown pole could've been a leading line right but then there was other elements that were introduced you have all of this you got this window's distracting you see that square it's like a big old rectangle is just kind of sitting in the middle of nowhere once you introduce elements like that it takes attention away from them so you could have corrupt that out this is okay it's a little bit there this is kind of in the middle so you could have just kind of kept it something like this on an ad directional lie to his face to create dimension and depth okay what's wrong with her arms every angle is the post believable like what is he doing right now there are if you look at the background of this scene there are plenty of places is that the most obvious frame the one in the middle no the frame there's a frame here right so you're framing them but that the tree is the element of interest so you should've balanced the tree but the couple is in the same place as the one big element of interest remember the rules about elements of interest what's the brightest or the most distracting right which increase the most contrast which is the biggest this was big I'm distracted right so the compression of currently gone on this side okay so do we have any questions or do we want to uh let's definitely take some questions before we go to lunch you no no go ahead I just so great that you guys were showing your images I know it's hard but honestly to get your images critique is the best way to learn so I just I'm really enjoying this so thank you for sharing all of those okay robert so we have some people that were the concept of the invisible plane was an ah ha moment for them and then some other people were a little bit confused okay so alana damron asked how does this the invisible plane of angle applied of multiple subjects and then t k why icepick says is the plane does that equal the center of the flint of the frame no camera can you clarify for people chips at home that invisible plane idea is on invisible thing you have to just imagine that comes out of the camera if I was going to take a picture of paper here I would choose an angle that would hit him in the eye first if I can't let that you're leaning back like you're slouching back if you're doing this and I'm in the same position now this invisible plane is going to hit him in the stomach and is about eight inches away from his ice so if I go like this and shoot hits him right here on that is about seven inches from his ice okay so you have two ways to fix this first I would fix the post your spinal cord is no straight so I would strain it lean forward now your eyes are closer to the camera so that when I shoot my photo this invisible bling comes out on it hits you right in the eyeball okay if you have two people next can you sit next to him real quick if you have two people same thing you would have two heads so you're not going to shoot from here because you're just going to get the knee first and that's going to be the center point it's going to be that what the viewer sees first so same thing this way and shoot and this comes out on it pretty much evens out that this is between the focal plane on the face is okay if I want to feature the bride I would come around this way and then I would shoot on she will be the feature because she's the first thing that camera hits and you would be out of focus on when you do that I would remove context you don't have to show the whole body it looks too much remember everybody that's listening look at your surroundings look for geometry balance symmetry contrasts look for locations look for elements of interest that could be their new for potential shadows whether they're there or the ones you can create remember all those little things we talked about the posting guide stuff I remember the most important of it all is the subject emphasise your subject will be the brightest biggest on uh and it has to be the ones that are in focus if you have a cool castle whatever you can photograph you can make them smaller but they should be brighter if you want to show like the scene make them the brightest and make them the ones that are in focus
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!!