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Location, Posing, Execution

Lesson 8 of 31

Student Shoot: Outdoor Location

 

Location, Posing, Execution

Lesson 8 of 31

Student Shoot: Outdoor Location

 

Lesson Info

Student Shoot: Outdoor Location

let's move it doesn't really matter let's just work in this technique let's try to move uh now you know why let's not even though it is just to wait here for now okay first I want you to take a messed up photo by not following this and then take it properly by you can incorporate both of them okay all right so try it out together I know what you did just now yeah right um he moved to the other side of her moving behind her slightly just put your um right your left foot behind behind her come closer and tell to shoulder this way you have a ninety degrees in the wrist yeah okay mr photo I like it alright mess it up more like get the light may stop the right now you're still kind of hitting it okay okay for the people viewing online you can probably tell by now that burn spot right on his face that sun's coming in and squeezing into that head of his face you see that that's not gonna work for you okay if you wanted to do a bunch of shots here and you have no time follow the shadow and you...

can play with deaths and all kinds of different things that are part of the part of the post each of which is more tomorrow but we could try come over here uh the lighting on him is good stand back isha way back stay away but I keep going stop take a step this way stop I'm gonna keep on this line of shadow right right put your hands in your pockets on dh laugh of the yellow car okay andi as he left with a yellow car its a good government let's steal a car you're gonna laugh at that green bush and see the real quick and basically as long as I'm following the shadow I can create all kinds of looks so now there's a tree in the background but I can fix it okay laugh of the yellow car and left the bush good laugh at the yellow but that bush but further down like the fact that the lower part of the bush is much funnier okay ready no great when you left that yellow car move your body forward and really got it okay ready go good job good job okay left the yellow car one more time and left at the bush good bush good bush you like the bush okay okay guys come over here if you want what was that reaction when I was being so specific that he was hold on and silly right right one thing I want you guys to know another little hint that's really important when you are taking a photo like that don't make the joke unless you have that camera ready to go something sense so you want to go like this like point the camera point the camera then you tell him hey mike can you look at the yellow car real quick please and then just like really go at it just really gotta go out that's okay no might really got the car like seriously okay if you look at the last photo I just took if you look at the last photo I took the his expression is facing this with your creating contrasts right her face is perfectly back late because the sun is right behind her right she's smiling naturally because it's funny like if you tell him to look at the current really go at it with a car it's just you in the car feel the car feel the car you're gonna bust out okay but a lot of times when people do that there are cameras were not on their hands so what I mean this is a lot of it is how you talk to them andi the way the energy that you bring out I mean if you're telling the joke prematurely you're basically shooting yourself in the foot okay now we have three color elements we have symmetry balance we have all these different things we want to look for so here you go friend take a look take a look at this beautiful camera here now farrah let's try and you have the flashes you can work with to how I want you to create a way in tow you cannot walk around fast months passed right but you can put them over there and zoom in you can put them here here here where do you think any of this make some sort of sense don't forget we have a huge diffuser which we could use over them okay um yeah you know what I was interested tonight um how would we have to use a flash in this situation that's what I want the flash you can use the flash to backlight them right okay so if you have if you put them by that shady area by that tree let me see kids you can you come this way stand by this tree here okay you see house using shade now yeah now the flash could be put behind and if you have a big enough ideas so like twelve hundred or eight hundred or something like that that light will wrap around her does that make sense yeah so you can try it without a flashing then you can try with a flush if you have to be standing o can they know they can say it but if you do see it don't show the whole body remember that you just keep it be creative thing your crops or looks romantic if they're sitting it doesn't have to you don't have to make it look like they're sitting you can just show so people don't know you want to try that let's try that go ahead but um so can you see the one thing you just can't see it yeah thanks close hey um can I get you teo I know it's kind of obvious but the only thing I can think of is to put her in front of him is that weird do you have a better idea what you mean like so it open so I have to sit in between his legs is that weird it's not it's a little too is it you know it's obvious it's fine it's a little as long as you have the spinal core straight the fingers are in the right place you avoid any degree angles and all of this stuff you magnetize the heads you tilt their heads instead of slouching far um all right well okay help me sure um all right so so you arms need to be able to be soft and um yeah I really like hitting legs up what do you reckon I actually think if you do it this way you're gonna have to shoot and you're gonna have to get too much of the grass in the background right on that you don't want grass the grass is green and green is not your friend that's right ok but you can use the that background so you have to shoot him or this issue fiasco stand straighter so sit up straight straighter sorry she should be in the back what do you think that thumb nothing's done nothing's done you're doing fine okay like now let's take a look at his face yeah his face is not doing anything right at this point on you want to create points of contact every points of contact on all that stuff we talked about so points of contact are not going to be on the legs are they now also making from where you're shooting that need would be the point of the main focal of focal attention right so you're going to again tilt your head towards her again on bring now little more now we have a nice armpit picture right and I say this because a lot of times when you have the bride caressed the groom they always go like this and you don't want the armpit to be the center of attention all this is a really great armpit okay so brother armpit bring it down I just have her think that touch of the tip of her fingers barely touched the face so so much better you see now you're going to magnetize the heads together this is all part of the seven seven seven things we talked about so it doesn't matter how you do it you just keep adjusting according to that okay so faces need to be migrant you don't look like they're leaning is of course she looks like around here it's okay you just do it and then you can look past her nose no honey you looked around here somewhere but I can't see from far away just keeps going there uh she she needs to really sit further back into him so can you see it more into it so she's not slouching so much but you really get into the yu thanks for but you see that's quite nice okay um looks funky so waken put it down so we have to get him down let me try something it's funky because the elbows too far out see what I mean yeah try uh uh sorry what about his legs could see another like can you put your restaurant he's terrible and they just he's not gonna get any oh you're not going to get you're gonna just photographed this ok alright sorry just go you hear ok before we before we shoot or anything all right remember that the faces are turned towards each other right you see that yeah this is mrs supper quick this pretend we're not doing this like perfectly okay separate your face is a little bit see it starts to look my stop that turned your face that way I'm sorry you went and then turn your face this way like straight at me see what I mean now turn go ahead and smell the upper cheekbone her upper cheekbone chin down and then you know like I said before go ahead and inhale and tell me what it smells like yeah picture picture picture picture something sense when you say something like that either they're going to bust out from what you're saying or they're going to make their own embarrassing joke okay but of course my camera wasn't my hands so go ahead and take the picture now I don't think the city on post in this situation we can make it look good as long as you don't show that they're really sitting that much just gonna keep it within this frame accents wait right here the u s was already two hundred so you actually keep that then just shoot just the shutters so you need to okay just a shutter speed so should it be right there okay trying dry it's really ok what you say crop make sure you zoom in all the way to make sure that it doesn't show that they're sitting hide it from hiding from the viewer right when you print this photograph in a little canvas it's just gonna show that energy other off them not ok how do we improve this okay so you got any you have a lot of problems here you have the horizon line you have the horizon line going right over their head s so lower your angle even more and haven't killed forward a little more also you need a reflector right yeah okay so hold this again and they start to include stuff to it so let's add a reflector now guys uh sometimes people ask me this when you use the reflector you don't have to blast him with freaking light like kill him you know like that's not friendly for anybody and kiss you does not like me right now so just basically you're gonna give it just a kiss like that's enough you see that that's enough now I think I have a gold side and I'm gonna use that one to warm it up so that's enough right right there could you hold this for a second you said grass not your friend and now you have to increase the shutter speed because now you have too much uh turn your chin towards her a little more time separate your nose a little bit mad from her my look at her lips don't look at your lips just look this way okay guys so the last photo let me talk about it first the last photo I just took I cropped the horizon line that she had a horizon line going across so I just basically somethinto avoid that horizon line altogether we had a reflector to make sure that they were the brightest part of the post even though we have broad daylight son and looks terrible by adding the reflector and they being in shape makes them the brightest part of the post I cropped every distraction out okay now you can take a look at the photo is the welcome block this or something okay right is better okay now he's looking at her lips so the energy is quite nice right and she's going attorney so you can see part of her eyes notice her eye racial whether I iris and the eyeball is quite good now I could have messed this up and had her turn her eyeball that wayne to show the white of the eye does not make sense now if you want to thank this picture black and white they will look a lot better so because the green grass is no longer a color elements right so breathe in matt really went to three just human look at her lips and breathing went tio go and last one went tio go mac go came at smile had a little more her lips just left her lips there you go good all right kiss your smile and shyness ready go alright guys the last picture was black and white I did that to get rid of the green red and blue by the way there's no red or blue there's just green but that's enough for me to turn it black and white I cropped out the horizon line we added the reflector was there right on the photo in a pretty bad place I mean stay right there stay right there I mean look you're going from this you're going from thiss which is what a lot of people don't just show everything the whole the whole context and everything right to this where you have you have you know no color problems the reflector there the brightest part they have negative space in the photo booth see what I mean now this can be you can sell this to people to your clients now this is not exactly what I would call the greatest situation in the world is not that exciting but that photo looks incredible it just looks beautiful unsellable which is the most important thing right let's have somebody else try it by the way thank you for doing that we did a sit on post and we totally fix that using the seven seven seven rules okay you understand how to get rid of the horizon and all that yeah okay okay let's try to go toe see let's try to go over there and see what we can pull from that side okay thank you let me bring something up this is pretty important I just noticed you see this little shadow sunlight going on in the floor how do I look right now professional photography speaking look awesome no um if you put a person in the shade if you put a person in the shade and they are close enough to the sun line that's online reflect its gonna work like a reflector and is going to reflect life back at them islamic sense now in this case this is a black road so that black is goingto basically not do that but if this west like that cement sidewalk over there or anything like that that's a mean sidewalk will reflect light back up into your clients on because they're in shade they will be in clean light some incense so this is the kind of a cool move let me see if I can commit for a second okay she's obviously about two feet from that two feet from that shadow line right about this much distance the closer you get to that sun line that brighter she will be as long as you don't have any you don't get any sun in her face so go ahead and walk forward a bit uh right there stop let me see okay take a look at her face real quick just see that glowing in the skin now stand back as far as you can like near the bush look at her skin gets darker starts to very subtle because this black this is a black road in fact let me fix that black road can I get that reflector going on I'm just gonna pretend that that reflector is the road thank you so obviously this is ah pretend it's a sidewalk or anything else that's not black not reflecting but it works really well now walk closer to me that fills up the lights in her eyes lean forward a bit walk back again actually that's still working because he's still getting this side but many times and you have a big family groups or big groups or anything like that I just look for if there is a spot of shadow with son in the other side on by all of that sunlight bounces into your people on he looks great it's factually part of my book and I have pictures I can show you later I can show you what this technique looks like on gwen you don't apply it it just looks like dead like you see what I mean so okay thank you let's go this way guys first of all I'm going to school and pick someone out of the life audience we have all these plans and we have these grass and we have the cement we have all the stuff we cannot walk the cameras any further but you can which the models anyway what let's discuss it together okay where's my piece of paper at or whatever your special way have geometry here where the windows on the arches are they good enough to be used probably not at this case right do we have do we have death in this foreign this scene where is the death flower bush bush behind we'll just a fight that we have way don't have a wolf way have death so it creates that roman's right if you were photographing keyshia on matt by that wall you would have no depth so make sense so we have death here uh do we have do we have shadows and stuff here not really it's not gonna work this is not a case where that would work right do we have the possibility of silhouette here how would you do that shit against the son and you have to go to a low van vantage point vintage whatever and put him in over that you can have them standing that little little thing there's a men thing and then you can have the sky in the background and create a really cool silhouette so we can do a silhouette here right can you do a reflection here no not really you can use one of the cars meters and that kind of stuff but it's getting too much okay way have color elements here where are they good do we have patterns and repetitions here would you say it's fair to say patterns repetitions and color elements and depth are the strongest gift this place has for you right all right let's try to create a lot of different photos with this elements all right so listen I with you hey you have ice light don't you have flashes reflector and if users and we have a big diffuser and we can use it if you want to use it this other tools you have I'm not gonna tell you anything I'm not gonna help you until you take the picture you have to compose it and perfect it in front of everyone okay okay going out far can I go you can be here the motors can go there well you cannot get too much further anywhere you're gonna walk up there but can the models got yeah them always go there okay so they strike mr matt all right my friend she is like the ninja master off whatever she's gonna make you do right now yeah can you can you just walk along that side walk that's right there and I'll just I'll tell you when to stop go in towards the building yeah I'll tell you when to stop do you have something you have some reach if you want to move further you khun move for their up right and stop right there matt okay um can you so harsh light right yeah the latest harsh gu so before the diffuser diffuser yeah the big one that so that's the sun burns diffuser um sure I don't know where she would stand noto cover them can you guys sit down but um yeah sit down see if I can see you what's one issue you guys see with this well well only the left push right right right you see that okay put your foreheads together so we're we're okay so she's putting them there and it's fine because it's just going for the green color tones right but you have a luminous difference in the background that's a problem from where we talked about balancing the luminous in your photo inside the library you do not want to have too many only should turn to create a contrast shot okay reflector yeah maybe a reflector okay right here probably gold way we could get a little more later is that pretty much not really on this kid kills me um at bring your head forward towards me a little bit so you're yeah there you go perfect um case you turn your head a little bit towards me but keeping your yeah there you go okay uh matt turn your head back so foreheads together there you go valerie can you make them react a little bit try to inject some expression in there okay okay hold on just a second okay breathe in getting reaction is harder than just be confident about it you're doubting yourself I make sense don't worry about what they're thinking about you telling them what to do just do it okay um the way with confidence it's hard isn't it say something embarrassing um think about how much you love bananas wow good no don't laugh you get him to laugh at silly matters okay um think about how much you hate sitting on the ground and in this suit and you want to go home tell him how they feel because people laugh if you tell them how they feel you feel so excited teo be sitting in the foliage of this you know you love that ground and I could see it in your face that you're just stopped you love that ground baby yeah you can't even stop smiling about sure you are don't worry okay that's good ok why did you have him sit down I had him sit down because when they were standing I just didn't want to get the building in the background well you don't have to write him is he stand up kiss you all the way from a c can you stand up with a way you can still get it within the bush right yeah this create another one standing but let me get somebody else a chance give me a second uh go ahead my friend give it a shot one time in the states potter yeah just keeping the same spot I want youto work on all the elements to clean up the image okay now for the audience members online you already know that we're choosing this because the same is the same repetition of leafs going on pepper here's going to crop the photo just to show those leaves and in the bride and groom will be somewhere the girl and the guy will be somewhere in there without showing any other part of the building or anything right you're going to zoom in just to show that pattern okay so let's go ahead and stand him up on uh can can have you got step about a step tio my left and let's see okay now uh I want usto uh can have you turn your body uh towards her there you go right on them in the meantime uh okay matt so you're uh you're gonna you're gonna need towards her left shoulder all right there you go nice and uh can't pronounce your name I'm sorry kee see m sorr I'm bad with names she loves that was here with pronounce her name uh you're gonna also lean towards tourist towards him can have you keys you can't have turned you a little bit your your face a little bit more towards my left guys ago and uh I just want to say I'm getting a picking up in a pattern here when you're posing them you go for the serious thing because you're not trying to inject any expression because it's embarrassing to make sense you have to be able to create moments that people wanna laugh at on enjoy and their heart opens up on everybody serious every single time it's not going to sell your photos in a bad economy okay so I know like matter you were feeling embarrassed when you have to say something stupid to make them laugh but you know what it's too big for two seconds on the photo lasts forever so in my opinion I'm willing to look like an idiot if I have to okay when they were sitting and I started telling them oh yeah you love that sitting on that you love that ground you in the ground you on the ground it sounds like you me and the ground what is that supposed to mean but it's like because they're in the middle of this and you're you just soap nonchalant about it they will react okay when I say look at that yellow car yeah you in that car that car that car you are going to get this laughter and he brings human emotion out on everybody listening online this happens at every work don't be shy to be confident and to send toby silly for two seconds you know be silly the picture last forever remember that your silliness will be for gun when you blow your clients out of the water with a great photograph some accents so don't be silly don't be don't be uh too conscious about yourself your photographer is supposed to be funny you know yeah well I was just gonna say I think it's more of a testament teo practicing because I want to get confident with your skills then you can relax even if you're not confident with your skills you can actually faked the confidence when you're opposing them to create an expression you sounded like your voice is like very trembling like you don't want to say that because you don't want to feel but you cannot do it like looking at the picture side come on I'm going to get together guys again okay I'm gonna need the reflector casa they're they're a bit on the dark take a look at the eyebrow real quick he's eyebrow real close yeah do you see anything there okay is he smiling and stuff just don't worry about it like keep going now of course the arms are everywhere and this whole mess up right so I'm gonna have ah let's see I'm gonna try to have give me one more minute uh nikki coming out grab that pose and fix it all I think the whole post okay fixing the pot's wait okay so we don't want any ninety degrees this's gonna go in your pocket okay this can go here just up a little bit higher yet in this uh one time she's doing this okay why don't we turn why can't I go in front why can't you use your hands and go like this that make sense like you can use your hands in so many ways you don't have to have the whole but you don't have to have the have this whole going on yeah you could you could do so much okay so just use the hands in other ways nikki yeah you're not allowed to put their hands there at all switch the hands altogether oh move the hands yeah okay let's turn you this way you're gonna look that way and you're gonna come up this way no nicky yeah I'm back facing each other okay but change where their hands are ok what I'm upping their face both both justice just hearse you don't want a meter okay so this goes in your pocket again okay this goes here just gently don't cover his face too much remember relaxed hands okay so we need to do so you saying I should just put that on her had just got just just tilted from the head from the top down she didn't slouch that's good that's a good point okay the noses are pointing I don't understand what you want me to do you know you're good so why don't you two clean up the post okay now their noses are pointing at each other okay turning so they cross out some point see which player that is now you can see more of her face right right turn her face more towards the camera okay so turn your face this way I have a look at the camera with her I like that you see that look let me ask you something uh that looks very good nicky nicky that looks great except his body's not his weight is not shifted anywhere so relax him he looks like a statue okay so shift your weight onto the far you're far like yep and remember straight spine incorporate he sense but that incorporate his hands because if you have a beautiful girl putting her out hands on you you don't like this I mean I know I wouldn't I would be like come over here I'm saying you want to do something so don't just yeah it is when you're posting but when you inject the expression you can create that spontaneous moments ok ok is that better yeah very nice now where do you want the ice okay so you're gonna keep looking at her shoulder and you're gonna look towards the camera and turn your chin towards the camera just a little bit more yep yep let's get yeah now why is he so angry at her he's not just left he's getting you respond and it's funny kiss you no matter what happens I want you to look at that red bush right there you see it in front of you okay now this this point that the few syrup again wait let me see that camera agreement doesn't get that poor thing is backwards or something wait put your left hand on her on her forearm yeah give me a second yeah you got it is that that diffuser going crazy almost guys almost okay look at that red bush good matt can we defuse them or on the bush move move further in that way that furthermore war oh I see yeah already turning because that doesn't look too straight her fingers think like gentle ballet hands the way but do it without being angry at me okay good job you still look a little you still look a little angry then think about the yellow car well then we have a diffuser problem technical difficulties on the set no it's not good but I already got the picture anyway it's fine let it go it's fine ok guys take a look at this the last photo I took here you can see uh I don't know we can block this you can see how clean the photo looks we even though we had technical difficulties with the diffuser when I said don't be angry at me it creates this super super fun you see how their faces still two tours the camera you see the background is not distracting now that background should have been diffused with the diffuser okay and it's not if he was if I wasn't having problems we would have a reflector on them a little bit or back light them and that room lighting will illuminate our entire hair from the back and he will look really really beautiful okay now right now that bush is brighter than them which is obviously a mistake we do not want to have that if you're shooting and your background looks like this fix it put a diffuser put a back flash behind them a rim light them ok tomorrow we're going to do a lot more intense posing stuff so there was more about choosing these locations and things like that we did a lot indoors we did quite a bit outdoors we used that tree to frame remember on tomorrow we'll keep going with other things will be in a different location okay let's go back inside I guess so just so I have one final question for you I'm just kind of bring it full circle earlier today I think you said that you don't necessarily want to inspire people you want to encourage them so jenna danel says how do you stay encouraged oh that's nice well I gotta pay my bills you know so when I want to be I really great wedding photographer I don't want to be just good I want to be great on when I go through my images and I see improvement every weekend and I see the work that I put in face off on the weekend it's like honestly it's just a good feeling that you did something during the week day you implemented it on the job and it really paid off looking at your bad photos from every wedding and trying to fix them whether you have people or not if you have flat you can grab an orange put it in the library or something and try to make that orange the brightest point off everything you take you don't have to have people so when you go out and you have a bride and groom and you're shooting and your photos and your couple is just glowing in every photo it's a real act direct relation to what you did learned during the week on that feels good and everybody will grow problem is we leave our cameras without the lenses and will keep it in our camera backs and we keep it locked up in a room until we have to go to the next job I don't do that I need my cameras out on if I want to try something it's ready to go I don't have to take it out of the camera bag with the memory card by that time you do that you won't be encouraged anymore just leave it out

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.

Reviews

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.

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.

user-334342
 

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!!