All language subtitles for 13. In a Bedroom

So there'll be times where you actually photograph

in a hotel room.

There's gonna be times where you photograph in

the bride's bedroom, the parent's bedroom, and you

would like to use the bed as a

prop, or arguably getting the bride to lie

on the bed and so on and so

forth.

So short of bringing in a bed in

this environment, I thought would make it a

little bit easier.

We've got here an ottoman, and that will

give us an idea of how to emulate

what it's like and give you a couple

of foundation poses and things to look out

for when photographing on a bed.

So Lisa, what I'd like you to do

is come around this way.

We have a cushion here for your knees

so you don't get a little bit sore

there.

So just do that there for me, and

I want you to just rest with your

arms in front, and let's see how you

do it naturally.

Okay, all right, so I'm glad you did

that because there's a couple of shots, there's

a couple of things in this shot that

actually need fixing.

Automatically what you're doing is you're sinking the

weight of your head and your body into

yourself, and then your shoulders are riding up

and it's gonna become a little bit of

a problem.

So what we need to do, first of

all, I want a little bit of finesse

with your body and a little bit of

shape.

Now, knowing that we prefer this side, we

can certainly stay there because your face will

end up being the chin to the outer

shoulder in this context, and then we can

maybe look at the other side and perhaps.

So what I want you to do is

bring your body a little bit more this

way.

So you're, yep, and then bring your arms

a bit more this way.

So do it again, just sink into your

arms, so naturally that's what you would do.

We do not want that kind of a

pose, that's gonna be an issue.

So what first I wanna do is just

widen your arms, bring your hands closer in

together, beautiful.

Now, I wanna pretend like I'm just lifting

you up by a string and turning your

face this way, chin to the outer shoulder,

beautiful.

Now bring that shoulder back a little bit

there, you got a bit of tricep action

going on there, look at you.

She's, girl, do you even lift?

Do you even squat?

Do you squat?

Sometimes.

Sometimes, not anymore.

She's like, ah, whatever.

I like to bring the veil over the

shoulders with this kind of photograph, I love

the fact that her wrist is bent there

a little bit too.

I want a little bit of air there,

there you go, that's beautiful, very finessed.

Let's come back and have a look.

Always take your time, always relax a little

bit.

Now, your shoulder, your right shoulder, bring it

out a little bit there and your elbow

out a little bit there too.

There you go, beautiful.

Chin up a little bit, that's gorgeous.

Let's have a look at it from this

camera angle.

Yeah, that's really pretty, I love that.

Tilt your face more this way and chin

up a little bit, there you go.

It's funny how, let the air out a

little bit.

So let's just sink in and there you

go, that's what we don't want.

That will only work if you photograph over

her shoulder and get her chin to her

shoulder, that will work.

It's a nice little tight crop, because we're

cropping the awkwardness out.

But what you wanna do is just stretch

her out, beautiful, nice and tight, gorgeous, life

is good.

Now, this could be likened to a bed.

You might say, well, Gerry, if she was

lying on a bed right now, what would

she be doing with the lower part of

her body?

And what would she be doing with her

legs and so on?

Well, first of all, she could just simply

bring her legs down and do nothing else,

that's totally fine.

Or she could actually ride up the dress

a little bit and get her ankles over

and then cross her ankles over.

And then of course you would show the

Christian Louboutins and she'll be very, very happy

with that.

And now, as opposed to that, what we

could also do is, let's say for example,

this could be likened, not only to the

bride on a bed, it could also be

likened to a bride arguably resting on a

carpet or a piece of grass or something

lying on the ground, doesn't really matter.

It could be anything lying on something.

Remember too that you can very, very quickly

change the pose by, for example, let's do

that hand pose that we were doing.

So we put our hands together and then

we just roll the wrists around.

That's beautiful, that works beautifully on her.

Also, this could be something where she just

frames her face, gorgeous.

Now this hand, I want you to bring

on here.

You see how that can be a really

beautiful pose as well.

Chin up a little bit, that's gorgeous.

It could also be where she's framing her

face with both hands and then just bring

the chin up a little bit, just lift

it up a little bit, that's gorgeous.

Perfect, there's so many variations.

Remember the phone number technique.

We simply don't have to dial the same

phone number every single time we pose, just

change one digit and all of a sudden

things will change dramatically.

Now let's just modify this and alter it

by adding the groom in.

Okay, so Dylan, come over here.

Let's pretend like you were lying on a

piece of grass or carpet or something that

you were lying on the ground.

What you would do, again, assuming they're lying

on something flat rather than a step here,

you would just kneel on the ground next

to her and you would basically put, yeah,

if you can put the cushion there as

well so you're all happy.

You're gonna put your right arm around her,

beautiful, and then widen up your stance there

for me, Lisa, and then put your hand

on his hand.

Beautiful, and I want this hand just sort

of like this a little bit, gorgeous.

Bring your face right into hers there, mate.

And this gives us a really good little

foundation.

Now, even her hand can just tickle his

face there a little bit, and I love

that.

That's a really beautiful shot.

Do you see how it somewhat emulates what

we did on the table height or that

bar height?

This is just a starting off point, but

everything is soft and everything is elegant.

I even like the way half his face

is hidden.

Just turn your face, Dylan, a bit this

way, stop.

I love that.

So now she's looking down and he's giving

us that cool Calvin Klein look as well.

Love that, perfect, love that.

We get that smile as well.

But it's awesome that we can quickly change

the pose, but do never waste the shot.

You've taken photographs of the bride.

Now we've taken photographs of the couple, and

then we simply take photos of the groom.

So now we've got three spreads, arguably, for

the wedding album.

Very cool, guys, fantastic.