Location, Posing, Execution

Lesson 17 of 31

Student Shoot: T Pose; Foreground/Background

 

Location, Posing, Execution

Lesson 17 of 31

Student Shoot: T Pose; Foreground/Background

 

Lesson Info

Student Shoot: T Pose; Foreground/Background

dtl is not going to be enough power to be able to really illuminate the back really bright we're going to make this flash manual on full manual like full power okay so hold this right now it's in group a sow with this guy I'm gonna go to my camera and when I go to menu I want to go to external speed like control I'm gonna goto flash function settings I want to go to the group group I'm gonna go to group a okay and I'm gonna go to manual flash and then I'm gonna go full power one to one okay I already know that if I tried t l hear the flash will try to give me good exposure I don't want good exposure I wanted to blow it all out makes sense if you're thinking like a camera you will know that the flash won't work tio here okay so now if I push the button it's gonna last really hard okay now all we need to do is have her walk away so we need to put the flash there or you can give it to her she can hold it okay take a step take ten steps to the left just left just like a like a crab just wa...

lk to the left like that keep walking left okay right there's good stay like that keep looking that way way lift up your dress a little bit dangerous so now she bent her apples you see that now look that way just like that keep looking that way more to the left more to the left stop stop straighten your spinal cord curve your body shift your body weight so drop the height a little bit good bend the elbow on the right hand and bring your chain slightly to the right fly anymore on bring your eyes down to the right goodness try that real quick bring your chin to the left a little sorry before I take it a little more to the left a little more to the left keep going down chin down chin down close your eyes chin down more little to the left manure on your chin take a step forward carrie take a step back think it's that forward okay you're done okay I hope you noticed how many little doodle instructions I had to give out I wasn't happy so I wasn't thinking the picture okay uh when I told her to strain her spinal cord was a good move but then other other things came up so I said strain your spinal cord she did that and then her face when right over one of the frames because she gained haif okay so I had to drop high so by having her take a step forward can anybody here tell me why instead of having her just steady why did I have her walk forward good on you drop haif first second is to create the artistry whatever emotion that I was trying to go how does walking create that feeling changes your attention amen that's it if she was just like this she's focused on modeling and posting you think step forward there's cables all over the place so she's focused on not dying so she goes from this lookinpretty toe I'm gonna just take a step forward I used a whiting and the flash is what makes the pictures thing let's take this picture without the flash and the picture is ruined okay now take a look at the photograph after all the instructions wait wait wait okay take a look at that how does that look to you so busy there's this cables like you have to keep holding it okay so the flash you saw what a flash did on now it makes her the center of attention this frame and all of this stuff I was kind of in the foreground so we are also layering ok that whole thing came from seeing those little squares not from using this as a bench as a sailing down device doesn't make any sense it looks good uh so it's still busy but wait my camera skin of acting crazy okay let's try another another moment off photojournalism bobby to people complicated e okay uh let's put you in charge of this woman you're gonna a do a post maybe maybe away from each other which is part of the chart it's called distance apart but you have to make a look for a journalistic okay and the lighting has to be really good I just did it right now you can do it too I can shoot you can shoot here or by that tree or by that tree or by the stairs look at that chair right there you see that shared by the bush you see those things now we can all say but we can use the chair in other ways than sitting so come up with your pose and everything in thirty seconds or less and this get this guys look how cool who's going to not pay you for this flash flash gus it really does this picture without the flashes like think of your flashes a portable son you can put the sun wherever you want okay wait did the son with mallory's photo up there and he made it look like the sun was just behind them if you changed your color white violence to calvin and you warm it up to like six thousand two hundred now it looks like warm sunset sun photographer so much fun you can just like I feel like sunset now it's one e e what I mean all right so okay um I'm gonna pose you over in the tree um be careful with the light or two careful with the light clean you have clean here yeah I want to I won't have her under the tree and use a reflector to put light on her face okay I'm gonna have him just outside the foliage let's do it looking at her yeah focus she's going for it looks like it just happened to be there yeah expressions you're gonna fix it yes all right let's do it alright she'll love the tree because there's no box that can get you three well let's get her out of the tree there's there's spiders and stuff she wanted through it okay let's move out of the tree if this was a real bride sure what I wanted if there's a spider that's what you want to do it either so let's change it up that's ok ok so let's use this thing okay there's all these space and you have the sun you can reflect the light in that direction yeah thinking of using this white thing here go ahead um can I get you come over here please even singapore um I'd like to get you standing here like this looking this way I'm gonna reflect the light into your face uh matt um can I get you sitting here please so you're gonna be sitting here you sit a little bit further forward in the chair even you gonna lean forward yeah like that excellent can I get the reflector that's perfect yeah keep that cable up attached to that keep it really good wait hey matt rumor that twenty one items that we talked about one of the items wass does the position of the bride and groom make sense I ask why's he sitting why just if it's yes then keep going okay but just remember that one point seven lucky seven techniques or whatever you wanna call it yeah um can I get you to look down at your hand a mat look at her shoulder does that make sense maybe he's having a drink and he's looking that direction okay in that direction yeah because you're crossing the noses right yeah opposing noses right that's kind of interesting see how the opposing this kind of like yeah more for the journalistic right um trying to get more depth let's step the field to get him out of focus well you're a two point eight yeah you're not gonna get us not gonna get whiter than that well you can go to the founder millimeters and that's that's what it is or you can switch it through any five millimeter one thing I'd like to do that no guys remember on well I'll finish up change our trade there's there's two point oh that would be pretty ok yeah right careful with cable you're okay um matt can I get you teo uni um other knee left me and keisha bend your elbow a little bit more not so much um yeah all right same way the way you had it before and then with anything yeah drop drop the finger strip yeah dropping more dropping more right I now look back at him man look up look up with her I just want you to notice position off stuff you see where her eyes were pointing but look where the reflector is wishing her eyes be what's that light source right kind of right so after you think this david have her look at the reflector right so did you get that cash slight woman we talked about that the reflector should be over here right right looking reflective close your eyes close your eyes and look at the reflector pleasure ice like look at it first know where you're at now where is that you know where it is okay is closed all right yeah I like that I like the way you guys I'm lawyer chin a little bit mad and look look at the whole look through this hole that she's making with her arm just look through there can you see to reflect as well close your eyes too okay eyes open eyes open again good try though where he was looking down on his knee I like that I was pretty cool uh what I'm trying this if she's looking at the reflector and he's looking at her and she's sitting there has to be a story behind it so maybe it looks like it's a little too put together so try to mess it up on as long as the lights hitting her correctly you can always adjust the reflector so let's create movement out of this makes rubber high I had her walk and that created the movement that was the right post create movement to not be so static about it does that make sense to try to create I have her walk straight towards you keep her eyes on that reflector okay have him he doesn't have to be looking at her last two obvious right she could be look he could be looking straight that way because that light's coming from here too so look if you look that way he's got kites lights already right if she looks at the reflective she gets guys lights okay if she's walking towards you you don't even have to get the whole body in the frame right forget you know what just forget her altogether and just put her anyway you can't even is blurry and focus on on his eyes on da maybe make the picture black and wait to see what to concentrate on the light however walked towards you keep it I don't care if her facials up or not let's try to make a shop and then just focus on his eye so we need a I wish we had another little reflector we don't have it that's okay are you going to walk towards me eyes on the reflektor keep going keep going have our most urchin left and right to create more curves you see what I mean if she's just walking straight there's not little left on a little right all right come come yeah okay left and right slowly left and right left in right slowly come towards me now left good that's perfect come closer keep coming cross your feet when you walk crush your feet all the way way coming kid come in you don't have to show the whole body don't worry about it yeah okay I see what you got okay let's leave that for all their that photo where you can see part of the her entire body you can see a little bit of her waistline if you can see him there isn't wise had another reflectors to put to put light on him we're going to continue this we're going to make this really good by putting a flash on his face okay make sense right so guys come and take a look at this photograph when they will open it okay so we had him walk you can see it really neat right obviously this stuff is the problem right but what's going on here the major issue he's too dark so let's fix it we don't have another reflector what do we use flash so we grabbed the flash thank you okay we're gonna grab the flash and we're gonna turn down the power good ah fixed yeah yeah I'm getting a reflection in the mirror and the window though that window okay then I'll go like this good uh still getting the reflection maybe higher higher yeah excellent good yeah it was that they both even lit hey small strongly than she is she ok then we turned down the power let me see this one quick no no no no look school no leave it I'm just gonna go a little farther away right on you know what I'm gonna do it for the audience watching this I'm not going to leave the flash of twenty four millimeters because we don't want to light her up she sort of lived by the reflector right I'm going to grab the flash that's the head of the flashier on dh I'm going to zoom it in so it's a twenty four I'm gonna assume it all the way two two hundred millimeters so that the beam of light will be very narrow now so you'd only hits him not her ok all right my friend hit it okay all right he should come towards me keep coming keep coming keep coming nice so we got him on the flowers and a hint of her let's see if that the second to last picture I took I'm saying that okay hey guys go on and check out this photo how we fixed the issue because hopefully okay this photo here has movement on the arms of the bride you got movement all over the place her waist is moving her head is turned this way so that's actually creating an automatic three point check her color bones her chin and her eyes aren't in three different directions right next that guy's face is now lit like there's another piece of son in the other side on it looks fan freaking tastic right andi creates movement and stuff but you noticed how much you have to use how much you have to know your equipment like how I know zoom that flash to two hundred the light would have spilled all over the place makes sense this is why I um I say think about what you need like think about the photo and fix it and don't just fix it by chance how do you really fix it when this photo showed up when that photo showed up that's not gonna get you through your recession right that's like talking first is good for her but it's not mind blowing it's not like oh my god like he's totally dark but when you fix it there's no contest that's a that's a photographer at work that's really photographer at work you see the difference between the two thiss one he's late by the flash perfectly this one pretty close to the same post has no issue a normal person would say that's good enough we move on now if I was shooting this this photo would've been down the same way I would have something to two hundred right away because I knew that that was not gonna work I asked for a second reflector we didn't have it we fixed it anyway there's a solution to everything remember

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!!