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Location, Posing, Execution

Lesson 18 of 31

Student Shoot: Photojournalistic Style

 

Location, Posing, Execution

Lesson 18 of 31

Student Shoot: Photojournalistic Style

 

Lesson Info

Student Shoot: Photojournalistic Style

you see that gap right there yeah so the little guy uh let's see she cannot see it right now that's a challenge we have but maybe use this gap so she's in the other side to use framing into photograph both of them okay that location is ugly in the back so you need to fix it somehow used flash okay okay okay so cannot be got stand right over here way standing about right here okay and then one time I do I'm gonna um backlighting with the speed light where paper come over this way yeah this way you don't have the building you have more foliage okay you see it yeah so that's why you're going that direction okay yeah don't put her inside the tree because she won't like you ok so just put her where she's safe from any kind of no he's quite the spider's leg okay so let's go ahead and we'll be over here gives him taking care of you huh fighters for you in some countries they go ahead and stand right now go ahead matt come over here uh I can't come closer right there those petty light my have ...

to try a different post okay from what you are leaving without thing okay you want to choose one ok uh he's gonna do it okay so we're you just have to do that one I like that part oh my you're gonna do I look okay french kiss just get kiss anticipation okay case anticipation okay okay so you gotta get close together okay and make sure I got my bill okay uh remember the hands and stop by the face yeah uh I don't know what we're going to get the reflector to reflect light this way so they must be light reflector uh see if uh can we get there you go working uh going much better and uh there you go okay I might need ah the diffuser because I see patches off some light here that maybe or repent all you pose him because okay forehead down you can fix that yeah okay let's see all right so so yeah let's put the diffuser yeah yeah I can see it's still yes a lot of little patches control and social diffuse ok supports quickly and let's take the shot okay let's um go ahead and um put your put this hand here okay and just live a little lower right there right there and then this one the higher all right there okay and uh you're gonna be uh uh you're gonna be licking our uh well you're your she's taller so you'll be looking at us are you gonna be uh actually just being looking her her chin like that and ah tilt your head a little bit down uh matt tilt it down a bit okay turn you turn your head like that okay you're gonna be looking at his lips okay uh go can not that's not anticipation in case they're too far away okay well like literally get their trains off so their lives are an inch from each other about okay nice man's gonna have fun okay so uh tilt you heard I mean trying her that way okay you get your face closer okay uh right there uh uh tilt your head a liver down here and your chin you go uh met put your head a bit back more towards the back here we go okay uh hands let me see what I can see she's not gonna kiss when she is just like sitting there so try this okay in anticipation this is way too contrived okay rather face bring his chin up separate her a little bit you're gonna turn her face just ever so slightly this way and you're gonna turn the other way that turn your face this way no delta there you go chins up chins up both of you more higher okay right there and then separate the nose is a little bit you know I really don't right there okay separate the notices a ten that's what you need that see that no separation yeah don't let don't let her overland it over that okay she will diffuse if that's not working I'm going to put a flash behind okay I'm just gonna wrap around and you're gonna use that frame okay go ahead and think okay I'm gonna need uh all right this is ready to go shoot through the frame you're at two point though you might want to go to point eight on that too right those they're pretty far from that branch and I think I might need a telephone because it's getting the whole it's right there by the bag okay bye right there sister very jealous way I'm just gonna kill you for saying that you really care about that if you see a higher lower thank you arthur get a little more all right control of the face there you go you know but not for you for him you turn your nose just that you got it okay stay right there for a second on the first one I tried to do is see the way ok that's sick so let's take a look at this photo because that's gorgeous okay let's take a look at this turn it off when everyone comes around we'll push play okay now go ahead why it's incredible wow how many how many really beautiful photos have we done from this location in the middle of the day that looks like it's like dusk on it's like a sunset is going right yeah um okay you're just like totally ripped it up man thanks like it's rick with w I mean our theory our necks in it he's awaiting their high five things were killing killings now you think you're off the handle but you're not my friend okay off the back of your off the handle to that was off the handle but you're not off the hook okay now we're going to turn us into color on we're going to make you do you're gonna not do a silhouette now you're actually going to do a normal photo okay okay on exposed for them professional than the shutter used this as the sun and change the white balance to kelvin temperature actually just gonna turn it teo turn into cabin temperature because I want you to make it look like it's sunset to create yet another look because if you're limited you're gonna be creating ten looking one shot okay this time we're going to create a different look by changing just the white balance so we're going to go sixty five sixty five baby shoot away exposed for them so you have to say ok that's it that's the matter father the backgrounds overlong no I'm gonna blow it out okay you're killing it pepe you're killing it racist control had a little lift his chin up smile champagne makers makers my only hurt okay can I have ah deflector uh diffuser and their baby back harry hey guys you getting paid for this good you have not laughing racist racist chin more on laugh again really papermaker laughed just her my sister's house free mad britt I break that smell they get yeah wayne from a totally different dusk romantic look using black and white and silhouette on the sill away worthwhile because this is in the background kind of given their the halo okay so when people ask me how much do you use your flash now you know there's a lot oftimes very beautiful very very beautiful paper you are becoming the ninja master ofthe terrible lighting locations because you're turning a bad situation into works of art people are willing to pay big money for andi I'm sorry but that's what it's all about creating the beautiful memories for them I'm getting paid and paying the bills to see what I mean people will pay for that one of the best wedding photos taken in this location thank you you know I mean I mean look at your other did you get the other photo you took I mean this one right there I'm sorry man that's just wrong right I'm fired because you know you you guys right here you and david are like just get it like I did a lot of all right um you wanna try ng to julian and you haven't tried you haven't tried let's try another one uh okay you know what I want you to do it in like two minutes I want you I want you to try another one I knew to try in less than ten minutes let's go let's have you don't I don't remember go no no no we'll do both okay go let's tow this to dispose where's my chart is there like a specific thing I was playing with this tree like with the background but he already did the going through oh uh did you notice what you see those stairs yeah I was looking at that well let's take a look at this real quick come over here look at the other side but there's a cool patterning here look guys come over here please we have limited time so hurry up giulietta pointed us in this direction right this is yet another location we haven't taken advantage off this is really cool because it has a slope make sense if the bride is walking up running up on your shooting it from there it looked like she was running up again you put the sun behind her and it's like wow you see what I mean you could either have them like if you want to do like somewhat cheesy photo off them going at it together like right let's just do the bride reid running up the veil illuminates in the back full power let's try a real quick showing let's do it twice remarked that camera right there thank you where's pepper pepper man on fire room fire so you gonna block the twenty with her body right not number you can see there so you're gonna actually uh remember that when she's walking move the chin left and right so it creates the natural movement make sure her feet are crossing each other too to change the hip movement as well if you don't do those two things she's just working like a robot okay like this and he looks really like not right can you go a little bit back be careful you won't have to lower your angle I loathe because the lighting is complicated let's change that to black and white again so keep the eyes on just changed the shooter's people try out this this should be more like a blown up photo okay all right come on okay stop too and I bring it back go back joanna uh I want you to give the direction of how to move okay okay turn around and go going keep going just smile okay guys when she walks you keep the direction she looks down she looks left and right she walked slowly slowly but don't have a room for arms keep him open and that's it just you cue the direction okay imagine the photo and make sure when you're walking you more slowly and you keep your arms here in a little bit on that yeah little bit of angle try to keep one arm a little bit higher than the other and you can look down when he will close it up come on one picture at a time go ahead look it up okay stop thank you look that's pretty cool go ahead and show it to them you see that feeling is quite different now we have a lying going across her face andi I mean at this point it's like who cares it's so out of focus it's it's it's one of those things like you're not going to not take this picture because there's a little line you know wave taken lots of really cool ones this is where perfectionism can take a bit of a back seat and just take the shot because the shot overwhelms the little line okay let me see julian I want your gun the other one's how cool that looks that gives her a really cool sighs when everything okay alright nicky let's do the last shot for today so um which one do you want to try wait try that yeah people's okay with the whole hand and everything ok good let's try it on let's try it really fast because we got to go so what about over here and use the diffuser um no I was gonna back like we get to finish last night well we can't go that way in this direction okay cross over or could we use the doorway since it's dark coming into light or like wine and dark was it not dark enough this way you could do it here you can do it with this little bushes the background that little fancies quite cute right and you're gonna do it there the problem is you have to get the sun to go from there with a reflector all the way out here it will work if this is the sun you go like this look what do you want the sun to be brother here really let's not go behind them this time really here right so let's get the reflector could you give me that reflector now I'm going to assume the head out to twenty four millimeters or the light spreads okay now this is going to be your son and this is gonna be where you're gonna reflect the sun from so you hold it there and your point is that it I mean the flash will hit and then he will hit them indirectly it looks like the sun okay okay let's try go ahead be careful thanks so come down on the uh on the ground she could not see it ok okay so um you gonna move back you kind of leaning against the fence with your bum like that yet but we're going to leave a little bit of space so curve your back just a little bit we're gonna leave a little bit space between and then you're gonna come up this way keep you move this towards me just about five inches okay perfect and then you're gonna come up behind yep okay so this hand that still t bone that's good um we'll put this hand it's good you're going to go here this is going to come here um but have your square your shoulders to me a little bit time yeah otherwise there's not even any more right ok so these air creepy fingers so we're going teo put it over in the back of his head oh yeah that's a good idea over the you don't want to be stuck in the year there you go okay you know why that's okay you can still see the arm all right that's the origin this is by yourself is like creepy okay so you're in a lift your chin up just a little bit and turn it towards me kisses for honey when your tracer chin it needs to be for something right right try that kiss is four hundred quid in here that looks really cute yeah and it's still in people's because he's still square to you right okay so try that okay all right this is salty okay well tell me when you're ready okay sorry wait okay so let me know what the power okay this camera just hold it for external speed like control flash function settings group which I'm not loving the way it looks with her kissing his forehead then change it let me see you try that go ahead okay so bring your chin back towards you turn your face towards me just a little bit um kita and then bring your forehead in um what you're gonna rest the side of your head yeah yeah like that okay you're gonna be looking at her shoulder matt and kita you're gonna be looking down at the reflector good to get the cash like excellent okay good job okay give me happy good job things get those groups great you guys go ahead and come up quick let's take a look at this next option and they will close it for today the first of all the first I think we want to discuss is direct flash when it's into shade would have been a mistake does not make sense a lot of people in the shops they have this chain and they they do direct and it's like okay you need to keep it natural looking so how did I do that I put the flash at the reflector I spread the light to twenty four millimeters see this is why I am putting the teddy bear on the light standing breakfasting with it it's wonderful because you can just continue to do these things how do you think I know so much about this stuff I do it all the time it's not like it's crazy or I'm some sort of talented person that just really before okay so I point it flash at the reflector and they reflect this spread the light and they give it a little bit of kiss of light to them that they blend the light if you were outside I would not do this I will go direct okay this try to look at the photo booth look sick or what sick I'm sorry that's just not you guys are like kicking everybody's going on like that awesome my gosh nikki isn't it fun this's why photography never gets boring for me people are like you ever get tired of it how could you you could make sunset nighttime silhouette bright green lighting you can do all kinds of beautiful things always the power ofthe reflector camera diffuser very light slight flush

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!!