Location, Posing, Execution

Lesson 14 of 31

The Posing Chart

 

Location, Posing, Execution

Lesson 14 of 31

The Posing Chart

 

Lesson Info

The Posing Chart

we're gonna start having the awesome life audience we're totally just doing an amazing job today on we're going to start doing heavy heavy posting stuff it's going to be more of a challenge based students that are not being challenged are going to be photographing with their own cameras and then I'll have a student who will have a challenge that they're gonna have to overcome okay every student's gonna have a pretty difficult challenge this is not easy for them is not easy for anybody so try to put yourself in their shoes and try to imagine what you would do if you were here instead of watching on your computer screen iphone ipad or any kind of device we're going to be not only looking at posting for now we're going to be implementing locations on top of posing I'm never going to be finessing the whole post putting an injection of expression on totally finishing the complete look so that's what's coming up the first half we're going to do half of the uh posting chart on the last segmen...

t today we're going to finish that post in charge and we're going to finish up the whole chart today okay so we'll go ahead and get started all right uh let's see I'm feeling david should go first what do you think you're on fire david good okay we're gonna do this man uh we're going to start out in that area right on dh I want youto a not only choose the location right but mentally go fundamental dynamics the mental gymnastics explaining yourself why saying on the microphone so people can hear you across the world right because we went toe basically grab your thought process as well based on stuff you already know it's got to be in this area we're going to stick to this area first okay so you are you are like the ninja master off that area right there but way cannot go anywhere else you have to choose it there don't be limited by the obvious you can do any kind of sit on post anything like that okay we're actually uh I'm gonna ask you to only stick to the first half of the posting chart okay we're going to the second half on the last part so you can do any of these all up until say interpretive also interpretive he's the last one you can do so any of these open through interpretive okay so traditional him behind her her being him walking kissing playful action movement holding hands sitting down together side by side right interpretive ok you have the options okay um of course I will be coaching you through it if I feel like we need to get in there on that way people can see what I would do is watch what they want okay some thinking we're going to use that wall there on we're gonna use the little red um tree is a background so let's get you standing against that wall right there so I won't get you any kind of like this and then looking this way I'm going to shoot this sure from madison has doubled in size ten shoe with white aperture I'm just going to get a little bit of the texture from the wall way got some nice sunlight coming through the roof you got a nice light in your face everybody get that okay go ahead I'm gonna I'm gonna shoot this way I'm looking at the red in the trees and I think it's gonna be nice blur what impression will large aperture I'd agree with you and I'm gonna shoot this way and have just catch a bit of the texture on the wall he's leaning ok and I like the light coming through the transparent roof he looks good faith yeah the patterns of the friends are great but I have one thing I wanted to show mention look how the sun is hitting part of that fence and that's changing the luminant in the background right if you can somehow not show that yeah uh you have ah total attention on him because right now if you did it I think will be pretty darn good but those little sunspots on the fence so you could be a distraction and it's not really that that's distraction is the the mental gymnastics of thinking that's a brighter spot there I'm thinking I'm thinking about using him to block those things okay I love it did you post it already or supposing yeah I've given him a basic pose but I'll continue to direct him as I shoot okay perfect uh so let's go ahead and start we need to get my cameras can I get my camera out please here you go um you know how to use it right yes is kind of our three yeah this is um what's it on now right now you're the esso is that three twenties we can leave it at that okay you're right now your aperture is that two point eight right on your your shutters people just controlled here is that fifteen hundred well an appetite priority on manual urine manual did you just change the shutter speed ok ok now do me a favor yeah go through the three things what are the structural dynamics you gonna use for his body what is the artistic well how do you want enhance the lighting artistically and how do you want a crop which is the two items for artistic and then at the end you have to inject the expression right so give me the body this with the body dynamics first okay body dynamics um I like the way his shoulders are uneven so his collarbone it slanted away from the camera position I agree um a little too much weight falling into that wall so if you separate a little little nicer so I mean yeah ok so what I'd also like to do is to bend left arm elbow a bit so I have a little bit of space they're right and then um we've gotten rid of all the vertical lines no vertical and horizontal lines on him exactly right yeah perfect all right um then how were you going to enhance the light because right now the lighting is nice but can we enhance it way could bring in a reflector applied him locate reflector please and get some shadows out of his eyelids his brow okay also you notices he's squinting so when you do post him tell him to close his eyes on when you're ready to shoot he can open them and he can keep his eyes open for that split second then take the photograph if you having people squint you're gonna have a hard time keeping them with their eyes open the whole time right okay so white on the other side of that reflected is there white side it's a gold and silver all right we'll use a silver side then and not too much on his face and make him uncomfortable no unless you're sure you're not shooting the legs right that looks like our looking according yes they are but you can focus in that section right okay yeah just get this out of the way good killing me right now this is it's ready it's on its ready you'll focus with this too we should have way and he will focus get it right on the eyeball the focus point and then recompose let's go ahead and close your eyes um reach up with your chin rich forward with the chin lower your chin a bit uh that's excellent all right open your eyes excellent tilt your head towards the water a little bit there's not so much yet close your eyes open your eyes it's nice try different posts so let me get you turning with your back what's the wall like that yeah excellent job be careful with your head in the back there yeah on fuel light on his face eyes closed little spot on his nose yes yes whose nose on the inside of his nose by the fence see that little yeah could you lean forward forward a little bit that's on his forehead there you go better clear good uh for him for it ok lean forward like that there you go good dead on eyes open excellent I'm gonna catch a little bit more of him when it just mean cool yeah turn that camera off looking way to show you what the lighting looks like turn that camera black and wait and I'll take the photo and you gonna be able to really see what the lighting looks like now it's already done so just take your picture I understand it looked like a white a little overexposed yes of explosive was a shudder shutter speeds that fifteen hundred dollars for three thousand right eyes open for the audience listening why are you having why are we having him close his eyes and then open them he's closing his eyes because sun's very bright and it's squinting right so take the stress off in having him keep his eyes closed and open them only when I'm going to take the shot because the iris can handle about half a second off hard shell night before he closest yeah so you khun it's a great way when you have harsh light tohave him just close open and it takes about half a second for the eye to react but by that time you already took the picture right see what I mean yeah so just keep your ass close security system picture take the picture yeah I didn't take one leans towards me a little just tip your head towards me here and then matt when he takes a shot don't move okay would explain something all right open your eyes okay good job I'm gonna explain something real quick when you are posting when you're photographing him from that angle actually uh he's jacket you see how he's jackie has like a hole right there is opening yeah you see that yes those little details make a difference in the pictures sometimes so this is a little bit crazy ain't all right but if you unbuttoned his jacket that goes away right okay try another picture okay andi this is good for the live audience just to see how detail oriented you really have to be right so when you when you put your eye through that camera look at everything look at the pieces like this is always the separated he looks good look at all the pieces on once you're satisfied I think the shot okay okay go ahead I'm going to go a little slightly different angle to get the leading lines off the pattern that they have on the wall here you go a little bit lower eyes closed mouth open eyes oh man you're killing it oh my goodness that's so good that's such a good photo man yeah stop right there that's it you just killed they're right there so guys god fire right now he used that he used that little between double pole action that's the frame that's so good man seriously the background clean because it's the same bless you is the same pattern of stripes there's no distractions whatsoever we opened up his jacket he's elbows were bent to make him look a little more firm and sexy and all these bring sexy back right um you had him lean forward towards the camera to get that invisible plane to hit the ice first not the whole body man that is gold I mean thank you that was great thanks good job thank you so going out I'm still it's just firing I'm sorry take a look at this photo guys it's incredible not the first one that shows up because that's the wrong chart uh you tell me you tell me you tell me I mean can you look at that good man I know it's tough guys in this photo right here that we just did is is the quintessential example off him he had a perfect structure for the body dynamics then I we talked about artistic dynamics he added a reflector that she was holding on in third we close the eyes the expression once turn it with a sexy shot expressions right on with it so when it's your turn body dynamics artistic interpretation which is lighting and cropping and then and then injection of expression to match the mood that you will you visualized please try to visualize the whole post including the artistic stuff the crop before you actually try to execute it oppose because if you don't we're backto guessing okay and that's gonna machine so um fire fire man you're killing I would buy that picture it's not even not even me all right uh let's get uh juliana to do it we're gonna stick with the building so I want you guys to be limited and force yourself to look at the gift this location is giving you now photograph only met actually she's not even here yet so it doesn't even matter photograph only matt you can use I'm not gonna tell you anything I want you to see for yourself and create something drastically different they went davey did in the same location good luck get the tether cable not remember to photograph actually want to change it to one photo at a time because it's going you don't want to firing too many times so here you go radically I wanted to be a totally different in the same location but you can use any side of the building can I go behind here as long as he's he's alliance matt on somewhere in the building area I was gonna put him here you can do that here with the uh diffusion on talking about the feathers long enough go ahead with the future the future did you see that teo e sick no seriously sick e I don't think I can visualize that frame okay farted in front of this little sign can I have the future's coming up I thought maybe having these and it's a great choice because it's ah it's ah frame and it's gonna be out of focus because he saw me so far from him can you hold on hold on wait hold it for you I wanted bythe I just wanna let you know how much I must love you because I'm a wreck before vic really yes what do you want to diffuse it on top of his head so it's not spotting oh my gosh there's a spider on the diffuser hold on there's a spider on the diffuser let me know what I don't get out that makes the really dark be careful with the luminous change in the background yeah still so you even either even it out with the diffuser or you out or you take advantage of the shadows okay I think I need the diffusion all right go ahead so there you go it's all soft crop only to the part where it shows the that diffuse part don't forget body dynamics can e was going on just tell us about the body dynamics what what's division and then tells you can lean on the wall yeah like relax your body a little caylee put right into the camera so friend while she's doing that it looks good what can we do to enhance the light instead of just defused could we add three erection or light from somewhere sure we could what we cannot isolate really because the light's refused if you do put the ice like you will give it a kick of light on that's the kid that I was talking about so much that you do something that makes you ahead of everyone else yeah yeah so can we get a nice light somewhere nice like okay uh my two flashes the six hundred flashes please I wish everyone was like this and just talk and things that just happened no that's cool it's really cool let's use let's use the trees t give it a bit of a frame so you can try harder by going back and use this as the frame position him somehow and then you have multiple levels so you bring that up because yeah sure just I don't want to be in the picture so I don't know how to do it let me see use this to our different dimension okay good if you framed this you said it's a frame like blurry like it will be good if you use it trust me I know that's not working you want this to be pointing at him you don't want it to be keeping hunter nickels and that they're covering you know what this would be pointing at him you don't want don't don't do it don't put it on here kind of like an arab pointing at him so here's that the photo shoot go kind of like this you have the use of him I mean this is like a little air out here is pointing so have me hold this in a way that's kind of just pointing at him to see what see that and then take the shot you might want to get rid of that branch first okay so this is gonna give your photo steps so tell me where you want it so it's pointing at him closer to the last they're better yeah it's better I mean I can keep going but you're adding depth so okay so guys that photo looks quite good take a look at what she did here uh how do we do this okay see it this little guy just at a little depth to the photo way could have gone without but julian decided to use the leaves as a bit of a frame on is a little more and gives it a little touch not to mention a that's death to the photograph is not just personal personal yeah I mean it has something here and something here so we're using framing way using I don't focus framing we're using balance okay this is all incredible can you imagine like you yesterday you guys were not like this is like leaps and bounce so that's really good okay I'm feeling friend e my look my direction you know what's great is like I don't even have to take over the camera you guys are like doing exactly what he should be crikey it's amazing okay um now friend we already used this that we already used this what other elements do you see in this building that you can use like there's that red thing going on it's all part of the same color right yeah you talked about the train they are red treating you can use that you can have her you sure walk around walk there look to see what you want to do it you have some trees you have leaves were they use them you have crazy shadow stuff going on julianna could've houston she decided to go for the soft look and then use the framing you could go for the hearts crazy look right on as long as the eyes are on this our own our own sun spots I think it's gonna look it's gonna look sharp okay obviously it's on purpose that he said thirty lighting situation but it can be kind of cool so try you have a little trunk don't forget this little guy just chilling he's there for you is saying I am a gift and you're not using me you see what I'm saying I like put his foot up you can use it exactly like you can have matt be like this and he changes the whole body dynamics right you can have her sit sure look I'm just giving your samples there's a black widow there so you don't want to have her sit there well you look ready to go you look at you hey everybody you know what I got to talk it out um what I was thinking is some see how this like this tunnel of yeah I was wanting to do something with that like have that as a frame of a tunnel about and I feel good well first of all that's a good idea uh hey baby had already used the tunnel frame so we have to cancel that idea okay we're going to do is try you may be going that at the train to the tree and see now we have eighty five millimeter you can try that to really get the you're a headpiece try doing something focusing on the headpiece be creative with what you can do with your focus point so blank totally cool check it out come over here all right hey gorgeous could you come over here for a second sure is it alright if we take the necklace because she's got such a pretty girl border nitrous yes thank you thank you for calling again sorry guys okay friend we're not gonna worry about anything we're going to dig it step by step okay you have some cool leads going on is they're all part of the same color palette if you used that section right there it's going to have a gap yeah I'm going to show through so you don't want to use that gun on this side of the white decide right here because it's got a full release so that patterns a little more uh what you call it a little more uh even I don't know what it's like really simple could you come even think you're putting seriously just putting kiss you in front of this and um emphasizing failed and maybe her eyes looking at me and then the blue would be okay well try the blur in the ice and focus on the veil okay well don't try you don't know what you could try the eighty five I don't if I don't have to I don't want it you you might have to for the let's explain the body dynamics even if you're not gonna photograph the body just explain what division iss okay so the emphasis off the photo is mainly going to be a that portrait certainly possibly up to the waistline not more than that so we'll be emphasizing her the color touch so beautifully with such a gorgeous come face in a bone structure phenomenal really wanna focus hone in on that that's what I'm thinking so okay you sorry I'm getting killed and you're looking at me this way yeah and so your hand will be there so we do the hand placement and you showed a kind of forward almost like kids and you yeah and I guess some would need to feel her this is gonna go here right thank you ok you go on then you want this or not I think just take it for a pop because right now what do you want to pop the bubble is already happening here so you want to even it out or do you want to light and then go into a smooth shadow on the other side to give it that you have to think about all these things well if she's this's going to be the focus um then they took a shadow they said this I want to be highlighted and this already like this so could you think we should focus on the veil yeah so you probably want this had to be so much more evolved than you you know you gotta talk it out you gotta talk it out yes way and so you sort of just a wee bit forward yeah that looks lovely but I'm spine straight sorry honey very gay now you can focus on the eye yeah I just I mean sorry focus in the veil yeah well before you don't want that fault going on soon saying yeah yeah I think it's inevitable this then everyone so what I just christer wee bit more over there and take it from this side doesn't look we've now we'll take it and see what it looks like we'll do uh I got him to the camera right now it's on the black and white we're gonna do faithful okay go ahead space is my sea alright twenty just changed the so that shutter speed you already have to point out you're good yeah because you want to make her I had a focus we want to be farther than that and zoom in yeah okay I'm just gonna give it a shot you hope for the best balls who sorry hey the tether thing came out well I'll just take it as a test and then look at me close your lips of it there we go so smile and then close your eyes close no well okay we're the angles right all right and see that pattern is working yes oh you're good okay you just have to increase the shutter speed it's way too slow try that I mean just look at the meter inside sorry when you pointed at her okay try that right honey you look amazing already so I looked down and then open your eyes look at me and could you give me a smile at the same time and there is e mail and you're nice school job okay I think I got the reflector on the side but oh my god that was good that was very nice that's very nice let's trade this point photo here very nice let me borrow the camera for a special when I give you another option to show you a little bit okay you can improve that let's try to prove it right now so she's got you have the trees in the back right so that's taken care of we're going to emphasize that beauty off her headpiece or some incense so instead off um I'm gonna actually go go and make her go on profile a little bit or I can go a straight on shot with her eyes with their children you like to straight on john now her eye is just because the tattoos were taking away from something beautiful uh somebody has to kind of like your chin down when you're nice stores me chin down right there no smile whatsoever okay go ahead grab straighten your spinal cord good like that grab your body weight and tilting more towards this I just that right there stop god see what I'm saying yeah just changing this good good good good okay reflect them with the reflector on her face I'm gonna focus right on her left eye ball is that right they reflected down close your eyes and gentle smile in your face keep your eyes closed okay now drop the smile slowly slowly slowly slowly suite you see how by dropping the smile slowly you can choose what level of the smiling you want if you say can you smile again can you say okay don't smile boom just dice okay so you go like this smile please keep smiling they're smiling okay wait I shouldn't say e just with your eyes keep your cheating the position look at the camera close your eyes chin down event and when I say just opened and look at the camera ready go you see how corrupt creatively and all of that stuff let's try more okay now I'm gonna do more open so I'm gonna show more of the scene okay take a look at that tree right there the leaves of the tree don't smile chin down relax your eyes and your jawline this spine straight and now very gentle in the mouth very gentle smile positive since it's right there look at the camera right there look at the camera away the second lighting changed music sorry sorry sorry turned your chin towards the camera more that way more and I keep your eyes on me there you go a little less on the chin there you go on close your eyes when I tell you open them ready one two three very nice less tropical thank you thank you thank you guys

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.

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!!