Unique Posing for Weddings

Lesson 11 of 28

Bonus: Roof Shoot Recap

 

Unique Posing for Weddings

Lesson 11 of 28

Bonus: Roof Shoot Recap

 

Lesson Info

Bonus: Roof Shoot Recap

one of the things I've learned over time is the photographers of very nervous people and they think way too much if you're thinking you're going to shake the camera you shake the camera it's like I tell my kids with baseball if you think you're going to strike out you're going to strike out you go up there and you do your job and you don't think you do I think I'm going to do this so what happens is I went out on a wedding with one shooter this's not an exaggeration and he said watch me so I heard him actually saw him do this he told the bride and groom he's like and this is the way study whatever you tell stay very still if you move nothing comes out so when he walked back to the camera while you whispering I don't shake the camera I said you weren't near the camera he's whispering to them then he saying to him he's like one two three you think I should dear I think you might have because he's sitting there shaking you can't think about it it's got to be banned damn hold yourself stea...

dy you know what the first thing I teach my photographers is stands getting in a good shooting position locking your elbows and he is one of the things idea which is kind of mean the first thing that I teach a photographer to do is entrances during a reception first thing why because people are rude they're goingto bump you they're going to hit you they're going to move you do you know how many times I got knocked down in my life and I'm a pretty big guy when I was younger I got knocked down because I wasn't paying attention if you ever done a jewish wedding grandma who's ninety five she can't move but you have a whore grammar is going to knock you out she is going to take you down during that horror so the idea is very simple good stance locked those arms in my thinking about shaking the cameron know let me ask you did I know yesterday when my exposure was off before it ever came up do you think I knew when I shook it did because I know I could feel my arms lock in the reason these images aren't hard is because I'm down I'm locked this is a strong a tripod it could get so the thing is if you are scared go by your inexpensive name non name brand tripod the flashpoint tripod is the least expensive thing I could club people over the head with it I can beat it I could drop it I can throw it and it still works and I don't have to pay a thousand dollars for it keep it simple and not think about it ladies okay I have a question from coal miner twenty two who asked where there was a tungsten filter that used last night to make the sky blue are because of all the streetlight no it had nothing to do with street lights I would have got those streetlights anyway because they were tungsten because it was allowing it to burn in but what I did d'oh was make sure that I was able to use the tungsten so that I white balance for tungsten allowing the sky toe burn into blue dept because I wanted that off white balance there if I went with daylight out of my life I would have wound up making the sky black so that's why I went tanks then in that case quick question from mike christopher photography do usvi are on slow shutter speeds well vibration cheers to think my lens has br remember I told you I don't read directions I don't even know if it's turned on I've never looked to see how to turn this stuff on why involve myself with technical because years ago when I shot what a house so glad and I shot with a camera that had none of these functions that I have the york I learned to do it without the's functions are there but I don't I it may be turned on it may not I'm not thinking about it and not every lens has bee or if you have it you should probably turn it on okay but I need to hold the camera steady if I shake the camera v r is not helping me okay now if you want a photo shop has come up with the most incredible thing ever it hasn't been released yet but if you're home you can look up a video of it on youtube I believe it's on or something like that it's called deep alluring this is the best and the worst thing that's ever going to be released on the planet to photographers why is it the best thing because if you're a photographer and you make that one critical mistake you can fix it the problem is if you're not a photographer you could fix every image and make you look like a photographer so this goes back to my message again if everybody could shoot good images because they can fix them and photo shop with a deep blurring tool what should you learn to dio learnt to do something nobody else is doing what is it posing and we're going to cover a big time today because we need to tell the story anymore questions from a lady I've seen that video it's insane it's insane what it does if you haven't seen it it's absolutely it's insanity it takes the image and you go into a separate kind of plug into photo shop and it analyzes where the camera's shook or the focal plane was off george all these little squiggly lines and within a couple of seconds it comes out magically shot in my opinion they killing us you can't you can't do that you can't do it because it's a professional I should be able to take a shop image now it's like oh I can under expose it by thirty six stops I can't overexpose it by thirty six stops oh yeah I don't even have to take it and focus we need to bring the value backto what we dio so we guarantee a story that's why I oppose so there are questions that came up last night when you were shooting the four of them with the the torches so photo jo asked with the group shot would you also be able to shoot full length with those or will there be too much fall off okay let's think about it would I be able to shoot a group shot of them how would I do it same same way same way but I put the light and right on top of them did and I I would pull it back to give it a wider spread one of the things I love tio dio it's snoop so what I do a lot of times is I don't buy these big expensive suits or barn doors I do it the old fashioned white I take a magazine and I wrap it around my light or a piece of paper and soon it down I do that close but if I want to hit the group I just back it up or at a sec light now I know the people who are home are saying well he just wants you to buy a second light I'm not telling you to buy a second light how many times did I use a second light I used one you need one to make magic like I said I could do the entire day with one light because I know exactly what I'm looking for for good consistent lighting so of course I could do for is not what I do I've done bridal parties of thirty people at night with them because it's not about how much you ad I think that's where we mistake we think we need to air more light and light add light add light the more we add the doctor the image becomes because we now have to close down to compensate for it it's not about additive it's about billing remember almost every like you use is known as a fill light which means you add to it when I use flash if I'm outside and I want to use flash for a group picture do you think I make flash the main light never ever ever unless I want the background to go deep I use it as a bill light so what I'm doing is I'm going to go in if I see the subjects here and I know that there are eight of natural ambient light rather than add a bit of light to it and make the image over exposed in the background go deeper I'm going to take that flash and I'm going to fill it in two stops underneath the ambient light so let's think about that two stops underneath the ambient light so if the flash is up eight if you're on t t l I'm going to take my teach ya and that's why I love my pocket was it I'm in a manual mode I'm going to dial it down minus to stop it's exposure compensation to stops toe fill it just a little bit underneath that's why I do it that way so I'm working in manual mode on it and I'm taking it and die on a flash down okay just a general question when you're shooting what percentage of the time are using strobes and what time what percentage of the time are using just like a flash I'll be on in natural light I very rarely use tropes ninety nine percent of what I do is using my torch fight I'm not a tremendous stroke person and you want to know it's funny everybody I've gotten questions well you obviously don't know how to use them if you remember when I shot bill the first I'm sure twenty two years the first fifteen years of my career I never shot an image without a flash unless it was an accident ever ever ever ever so all I did was use flash my expertise is in flash I could do the same thing would flash that I could do with natural light but I use flash in my studio I'll use flash it certain segments during a reception if I want the sky to go deeper I'm going to use flash but most times I tried to use what's existing that's the problem it was sitting there thinking about how we can add work to ourselves it's too much that's why used to torture all I do is turn it on to write turn it down perfect now I meet her done with forgetting something people pay us to do things quickly you the questions on the web yesterday were very simple oh his cut my client would never do that of course your client would never do it because you're saying they never do it I'm not asking an opinion because when they come in and they hire me it's very very simple they're hiring me for what they saw they're hiring but I love your website I love your images that's what I want so I have to replicate them no matter what because when they come back and say to me doug my images looked nothing like what you did I can't say that I'm sorry you were so uncooperative and you wouldn't listen so what do I do when a client says I'm not getting on the ground and doing these poses what you're going to see us do later what do I say I don't say oh no e I said okay it's gonna be great no I don't I say okay I just need you to sign this piece of paper here just stating that I'm at least of any liability because your photo's going to suck because you're not listening just sign this and say you understand do you think they listen again as much as I want to be their friend I'm their friend until they don't like the picture I have a job to dio people come to me to get it right it's about consistency person hits three hundred his entire life is he going to hit three hundred every year you have to have confidence that he's going to get it done and he's gonna be consistent people pay top dollar for consistency why you're the best athletes making the most money because they're consistent life is about consistency is about getting the job done

Class Description

This 3-day weekend workshop will be unlike any other CreativeLive event you've experienced. You'll learn Doug Gordon's unique flow posing system. Learn how to seamlessly move from one pose to the next creating a string of 30 – 50 different unique poses all within a few minutes. Doug is an amazing businessman. He knows what clients want, and how to deliver a product that every client will always love. And beyond everything you'll learn, Doug's style and personality are unique. Prepare yourself for a wild ride!

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