Shoot: How to Shoot a Curvy Bride


The Complete Wedding Photographer Experience


Lesson Info

Shoot: How to Shoot a Curvy Bride

(audience applauds) I am particularly excited for this lesson. It is how to shoot a curvy bride. Now, one of my favorite things as a wedding photographer is the ability to make a girl feel beautiful. It is the most amazing job perk for me to walk away having seen somebody blossom in front of my camera. I can't tell you the gratification that it feels, and I see you guys nodding in the audience, so we understand what that means. So, now that we're on the same page, I realize that I have read, over the internet over the years that there are photography tutorials addressing how to photograph large brides, how to photograph plus-size brides, how to photograph overweight brides, but what I'm going to say that this is different, because this is not one of those, remotely. This guide, this lesson, will be how to shoot a bride of any size, but lucky for us today, the bride is a size 16. She came into this shoot knowing that I wanted to shoot somebody with curves, so that the things that I'm ...

applying, because there is also another lesson, Top Five Bridal Tips, but the criticism that I can easily come across is, "Well, that's easy, Jasmine, because all of your brides "are X," and that's not the case. I just happen to be really good at making girls of any size be confident, and confidence translates as beauty, and beauty is what is so attractive in a photo, from the inside out. So, the tips I'm going to be sharing today apply to how I shoot all of my brides, and I'm going to be mentioning specific ways to highlight curves and focus on finding good angles. Most important, is I want my clients to feel comfortable. When they feel comfortable, they are empowered to shine. Now, the number one tip that I can give when shooting a bride of curvy nature or any nature is to make sure that she is having a good time. If she is not having a good time, you will be climbing an uphill battle. I want women to feel beautiful, I want them to feel effortless, I want them to feel whole in front of my camera, and it is not her job to be that way, it is my job to make her that way, and I do this by talking to her behind my camera, but this is something that I do to all my clients. Now that you are so far advanced into this 30 day course, you will now know that I am a talker. I am not naturally a talker, I prefer silence, but when it comes to working with my clients, I err on the side of really meeting her where she is. And secondly, I am constantly providing positive feedback. That is so important. But it is so important for girls who might be struggling with image issues, and I am not talking about weight. I could be talking about appearance. I could be talking about scarring. I could be talking about premature graying. I could be talking about wrinkles. Whatever that issue is for a female, I want to make sure that I'm ahead of her, saying, "You got this. "You're beautiful. "You've got this, you've got this." So for an hour, she's gonna walk away thinking, "I got this, I got this," and that's exactly what I want. Lastly, I'm going to modify each pose to ensure that I am doing two things: highlighting curves and understanding her angles. Now, what I want to do is I want to first clarify that it is not a photographer's job to mask or hide what a girl looks like. A photographer's job is to highlight what she looks like, and highlighting the best parts of her is what good photographers do. Now, getting a bride comfortable is easy when I follow the following things. I talk to my bride behind the camera. I have said this just a couple minutes ago. I'm gonna say it again in case you might've dozed off, 'cause this is a key thing that I do. I instruct her to relax her shoulders. It is natural when a bride gets nervous that this comes up, and that is never a good look, so I'm constantly saying, "Take a deep breath. "Relax the shoulders." Also, I am asking her to pull in her core. I choose my words carefully. I tell all my brides of any shape to pull in their core, because overall, it makes the female figure look stronger. It focuses on their posture, but far be it from me to ever say, "Suck in your stomach, bring in your belly." There's a difference, and because when you say, "Pull in your core," it's no longer to bring in your stomach, it's pulling in the core, pulling the shoulders back, and that happens naturally when you use the right verbiage. Lastly, a big thing that I do to help highlight curves is to ask the bride to distribute her weight into one leg or the other. What this does is it brings the weight out of both knees and locking of the thighs and creates a nice, relaxed structure, resting her booty naturally back, her core up, chin out and down. These are a few things that you're gonna see me discuss in this lesson, and now, we're gonna walk into that video. So, today, we are on Laguna Beach, but specifically, Laguna Canyon. We're less than a mile away from the beach, but with kind of, like, a rustic feel at sunset. What we're gonna be talking about today is how to shoot a curvy bride. Specifically, how we're gonna be shooting a curvy bride in a way that's most complementary, period. Now, I say most complementary not because she's curvy, not because she's not curvy. I want to shoot my brides in any shape, any size, any color, the most complementary way. One of my top priorities is to ensure that the bride feels that when she looks at her wedding photos, they look like a distinction and a derivative of my portfolio. She hired me specifically for a reason. I want to make sure that what she's going to get from her wedding day doesn't look any different because of her size, it simply looks like an extension of the portfolio. So, I'm not gonna employ techniques that I have seen or heard, one of them being, people say, "Oh, you should shoot down at a bride," so, if the bride were to squat and I shoot down on her. Sure, it might look complementary, but I've never done that with any of my other brides, so why would I do that with her? I think that she would maybe look at that and think, "She's probably doing this "because of my size," and that's the last thing I want. My goal as I enter into the shoot is to shoot the bride the same way I would shoot any other bride, and we're gonna incorporate things like slimming tonalities, but at the same time, she knows her size, and she embraces it. One of the reasons I'm excited to work with Ashley is because she's confident, she's curvy, and she's a lot of fun. I'm gonna talk through a few things I do and how I do it, so here we go. We have some broken light behind us, some beautiful, backlit, but it's being diffused through the branches of the trees, which is going to be fantastic. I'm not gonna expect anything from my clients to begin with, because this is first and foremost how I want to see how their bodies interact with each other and the lines that I can see between two formations. I'm going to be focusing on putting them in a shaded area so that I can have this beautiful backlight, but I'm also going to be putting a natural reflector in front of them, because if I was shooting without the natural reflector, light illuminating the ground in front of them, here we're looking at, like, a brown, tan color, which is going to be great, 'cause it's going to offset the green tonalities in this. I'm going to leverage that to the best of my abilities. In this particular case, Matt and Ashley, our beautiful models for today, I mean, they're just looking fabulous, are going to be working together, and the best part of it is that they are roughly the same height, which is going to give me a lot of flexibility to shoot wide open, which is absolutely one of my favorite things to do. So, Ashley, now, one thing that I'm going to take into consideration is behind Ashley, we have kind of, just, like, a hiker's, like, chair-overhang thing, and I don't want that to be in my frame, so I'm going to position Ashley so that I can shoot at an angle that I can crop it before post, so I'm thinking about these things in advance. So, I'm going to probably be shooting in this direction, so Ashley, can you square your shoulders towards me? Beautiful. I'm gonna bring you down. Now, one thing I want to notice is that it's a kind of, it's curved, where we're working at is curved, and because Ashley and Matt are about the same size, the same height, I don't want to put her at an elevation which would make her taller than Matt, so I'm gonna have you come down this way, right there, perfect, and so I'm seeing this nice, beautiful light behind her hair, which is exactly what I want, she has this beautiful-colored hair. You're gonna square your shoulders towards me, and then, Matt, you're gonna come in, and you are going to put your chest towards Ashley, so come in this way. Mm-hmm. So, I'm gonna be shooting your profiles. So, come in nice and close. Beautiful, beautiful, beautiful. I'm gonna have you relax your dress. Awesome. Okay, cool. Cool, cool, cool. Now, Matt, can I have your hands here? Beautiful. You're gonna come in nice and close. Beautiful. And then, Ashley, can you spread your feet out a little tiny bit? Beautiful. Now, what I want you to do is to put your weight distinctly into one hip or the other. Exactly. Matt, you're gonna bring your body nice and close. Beautiful. And then, Ashley, you are gonna have your hand here, and you can relax it, and I'm going to adjust this in a sec, I'm going to get my camera. Ash, can I have you, I'm already abbreviating your name, I'm like, "We're tight like that." Can you open your legs a tiny bit, a tiny bit, and then give me that same kind of, I think, here we are, I wanna pull, yeah, there we go. Ugh, that's beautiful. Now, Matt, can you come in nice and close? Bring your body in nice and close. There we go. Beautiful. And let's see, Ashley, can I see your elbow on the inside of Matt's arm? Yes, beautiful. Nice, nice, nice. And then, Matt, don't feel the pressure to bring your arms all the way around, just kind of relax your arms a tiny bit. There, that's beautiful. That's beautiful. I'm gonna get my light right, I'm gonna be at ISO 200. I'm going to shoot. Right now, I just want them looking at each other. I'm gonna get my light, see where I'm gonna be. Yeah, this exactly where I want to be. I'm at 2.2, 640th of a second, 200 ISO. Beautiful. Can you guys look towards the 133? Beautiful. Can you guys bring your faces in just a little bit? Beautiful. Heck, yeah. Good. Good, good, good, good, good. We're starting off really, really strong. Nice. Now, what I wanna do is I wanna have a slight change of the formation of the arm. So, Matt, relax your left arm all the way down. Nice. And then, Ashley, can you put your hand, yes, beautiful. No, thumb out. Yep, exactly like that. So, the reason I'm having, Ashley, can you put your arm down? Beautiful. So, this is Ashley's beautiful, gorgeous figure, but what I'm gonna do is I'm gonna create, I'm gonna use her hand to create a nice, natural, cinching area for her waist, 'cause I'm gonna highlight everything good that she has, and by doing that, too, what's going to happen is, naturally, I have your arm out, just relax it, I have this, we have her beautiful figure. Now, I'm gonna put this in. You have your hand here, relax, and now I've opened up her arm, I'm giving her a natural cinch, and then, I'm gonna have Matt's hands either, I'm gonna adjust to have them either in his pocket or on her waist. I'm going to see what looks best in a second. So, Matt, can I have your hand in your pocket? Excuse me, in your pant pocket. Nice. And what I'm gonna do is I'm gonna make a slight adjustment to the jacket, so I can see a little bit more. And then, Matt, I might have you turn open towards me. I have you guys in, like, bug-ville. I know. Matt, you're just playing it off really well. It's great. (Ashley commenting off-mic) Oh. (laughs) Good. Now, Matt, can you open up your left shoulder towards me? A little bit more? Eyes here, nice. And then, Ashley, you're gonna be looking at Matt. Beautiful. Beautiful. What I'm going to do now is have Matt on the incline. I'm gonna give Matt a little bit more natural height. The reason why I shot them this way is because Ashley's hair opened up, and I got to see the beautiful curvature of her body and face, but now, I'm gonna just flip it so that I can get the back of her dress. We're gonna just show a few things. So, Matt, I'm gonna get you here on this incline. You're gonna be right about here. Kind of stand right there. Nice. Uh-huh, beautiful. Beautiful, beautiful, beautiful. Can you come up this way? Nice, beautiful. Hang on. Good. And then, Matt, can you kind of just distribute the weight unevenly on one leg or the other? Exactly, awesome. And then, if you can have the hand in your pocket to be the front hand. Good, beautiful. And so, I'm not going to have Ashley facing me with squared shoulders. Any time I can highlight a girl's figure, one thing I wanna take a quick second to talk about would the idea of creating a thunderbolt with the female figure. I do this for a bride of any size. I'm going to have positioned her shoulders not directly at me, but at a slight angle, then I'm going to have her rest her posture into one hip or the other. By doing that, it's going to create a natural curvature within the abdomen. Then, I'm going to have her rest within her hips. I'm gonna have her choose her favorite hip, and I'm going to make sure that she's not falling forward with it, like this, or even like this. I'm gonna have her bring everything in and back, so into the booty, back, head out, chin down, and then she's just gonna be shifting her shoulders a little bit, a little bit, and I'll be changing the posture from here to there. Ashley, you heard what I was gonna say, so you know what's gonna come next. So, I want you to feel okay with the bouquet, to have it in any way, shape, or form. If you even want to flip the bouquet in the other hand, I'm going to kind of just work with you a little bit to see what's going to work the best. I'm going to put my aperture at f/2.8. I'm gonna compensate down to 400th of a second, because we are quickly losing light because we're in a canyon. This is really good. Matt, bring your left shoulder towards me a little bit. There we go. Nice, good. So, Ash, I'm just gonna have you kind of work from side to side, so I want, beautiful. Beautiful. Bring that left hand to your hip. Yeah. Bring that shoulder back to me a tiny bit. Cool, beautiful, beautiful. Gorgeous. I want you to bring the core in, booty back. There you go, gorgeous. So, I want to make sure that I take a point, and Ashley knows that I'm using this exclusively for educational purposes, I want to make sure that I never say, "Suck your belly in." I want to say, "Bring the core in," because all of a sudden, it changes the dimension. I'm not saying that she has a belly, I'm just having her bring everything in, and the minute I said that, she implicitly understood, brought everything in, booty back, and brought it forward, which is exactly what I wanted. Take a deep breath, relax this right arm. That a girl. Beautiful, beautiful. Now, I'm gonna get something a little bit, Matt, can you get your feet underneath? Yeah, right, right, right. You're gonna come up, or actually, come back up, I'm gonna bring Ashley to you. Good. I'm gonna back you up. Now, quick, quick, quick, that's beautiful, quick, small thing. I initially had Matt come to Ashley, but by Matt coming to Ashley, I lost his height advantage. So, instead of Matt coming to Ashley, I backed Ashley up into Matt, so he still has the height, and I have him come down, around. Actually, you're gonna bring your torso to her back. Ashley, you can have your hands here on your bouquet. Beautiful. Now, what I'm going to do is I'm gonna try out a few things. Matt, can I have your hand here? Right. So, I'm going to have Matt's hand there, because I want Ashley to feel 100% comfortable, and most brides of any shape feel the most self-conscious about their arms. Anything that I can do to get Matt nice and close to Ashley, bringing her in nice and close, that makes it look and feel natural and have that wedding day connection is going to be the thing that I'm gonna do. This is where I want your hand, ultimately, to end. We're not gonna start there. So, have your hand relax. Beautiful. And then, what you're going to do is, Ash, bring this a little towards me. There, good. And then just kind of, there we go. So, I'm gonna tell him where I want him to end, and then I'm gonna peel back and have him repeat it. So I'm losing light a little, tiny bit, so I'm going to switch to 320th of a second. So, I'm gonna count you down, and so, I don't want you guys to be aware of me. This is gonna be a moment just for the two of you guys. Matt, your hand's gonna go to her arm, and then with your left hand, you're gonna put around her waist, and then bring her in nice and close, like a nice, big cuddle. We're gonna try it, and then we can amend it from there if I feel like it's not gonna be exactly what I want. So, let me count you down. Great. I'm at 250th of a second, I made a modification, and then we have, there, okay, here we go. In three, two, and one. Nice, beautiful, beautiful. Great, that's exactly what I want. This time, Matt, for your fingers, instead of having a palm, I want you to kind of bring your fingers in a little bit closer, and then with your left hand, I want you to guide your beautiful, beautiful bride-to-be in. Good. Beautiful. Great, I'm gonna pause, I'm gonna switch the position of my camera, but everything you guys are doing is right, and this time, I kind of just want you to tilt your face, Matt, in a little bit more towards Ash. I'm gonna switch my aperture, because they're not gonna be looking at me till 1.2, I want more bokeh in the background, but I need to compensate for light. I'm shooting at a 1.2, catching the light to be at 640. I'm gonna change it to 800th of a second. Good, 1.2, 800th of a second, 200 ISO. Great, I'm gonna have you guys bring it in in three, two, and one. Beautiful, great. Let's move, and I'm just gonna follow the light. Any time that I'm losing light as quickly as I am right now, I'm going to find the best light, because good light makes anybody look good, all the time. We're gonna walk this way, guys. I'll take your dress. Let's walk this way. Okay, as we're walking to this next location, I'm going to actually shoot a bridal portrait of Ashley. Ashley, I'm gonna have you pause here. I actually just like what's going on a lot, and so, I'm gonna just use this background. Since I'm shooting in the canyon, the sun has fallen behind the canyon, which means I'm not gonna get a sunset proper, but I still will get, like, golden illumination, which is fine. Because I don't have really strong natural reflectors, I'm just gonna try to find the light that I think that she looks the best in. Because I stayed within this area, I have to understand that behind, I still have, like, a hiker's kind of information center. I want to crop that out. I want to adjust hair and make sure that it's balanced. I'm going to shoot a proper, just very traditional bridal portrait. What I'm going to do first is because she has really, I'm gonna shoot her facing me, and then I'm gonna have her face the mountain so that I can actually get her turning over her shoulder. Any time you can get a bride to twist within their abdomen and put the weight somewhere else, it's going to give them a very nice hourglass figure. Now, Ashley, if you want to do anything, if you want to try anything, if you want to give me a pose that you feel, like, the strongest in, you do that. So, I might have ideas, but I'm totally willing to work with you. I'm gonna start you off right here. I'm gonna be shooting this at ISO 200. I am at 1.2. I will try to shoot all my bridal portraits, when possible, if possible, at a 1.2, because everybody looks great at a 1.2. We have some beautiful bokeh. We have this gorgeous light. Great. You look phenomenal. Like, you look so beautiful. So, as I'm talking to you, I want you to give me a variation of looks and faces. So, a full smile, a half-smile, smiling with your eyes. I'll let you know. I'll be talking you through every step of the way, but so far, we're just doing phenomenal. Why don't you take a deep breath, look out towards the 133, beautiful. Chin down. Gorgeous. Good lord, woman. I mean, you gotta make my job a little harder. (laughs) Good, beautiful, beautiful. So, I'm doing a full body, and then I'm making sure that I'm gonna be talking to my bride, because what just happened here is exactly what happens naturally on a wedding day. I'm talking to her, so I that kind of, like, beautiful, regal, fierce look, then I talk to her, and I get her to laugh. A bride of any shape, of any size, that's exactly what I wanna do. I wanna make them comfortable. I wanna make them look like they're having fun and feeling good. I did a full body vertical, I'm gonna step in to do a half-body vertical. I might have to adjust my light ever so slightly. I'm gonna be at 1.2, 1600th of a second, 200 ISO. My focal point will be, as I am facing the bride, my focal point will be on her right eye, because her left eye is covered by her bang. Beautiful, beautiful. Now, I want you to shift the weight in your legs. Kind of give me a little shimmy. That a girl. So, that's exactly what, boom. You just hang out there. Beautiful, look down at the bouquet. Take a deep breath. Good. Actually, do what you were about to do, 'cause that was beautiful. Slight smile. Beautiful. Eyes down at the bouquet. Good, pause here. So, what happened with Ashley, which was really cool, is that she just fell into it. She already had this great posture, but then, she took the liberty to actually fall deeper into it. Any time a bride is feeling confident enough to actually come this way, what we're gonna do is we're gonna have a slimming-down effect to that. The deeper a person pulls back, the more that their chest is going to come forward. The more their chest comes forward, the more the booty goes back, the more we get a curve throughout the hip area. So, now what I've done, I've done a vertical portrait, a full body, and now, we're gonna do a vertical half-body. I'm gonna switch it. I'm gonna do a horizontal. My settings are not going to change. We're gonna have that bouquet drop a tiny, tiny bit. Can I have your eyes down? Beautiful. Now, I'm going to focus and kind of set my camera a little tiny bit down, which would still be a standard, traditional portrait from me, but give it a slightly advantageous angle. Gorgeous. Look out towards the 133. Oh, actually, boo, you can bring your eyes right here to me. Wow. I'm saying beautiful and good at the same time, and it came out, "Gyu." (laughs) I mean, really? Wow, beautiful. Great, I have a vertical, a vertical half, a horizontal half. I'm gonna have you face this mountain, or, I mean, it's a mountain if you're in California. Anywhere else, you would be, like, "That ain't a mountain." Now, what I want you to do is I want you to face this way, all the way. And what I'm going to do now is I'm going to have, actually, square your shoulders, I mean, your hips this way. Boom. Now, I've spread out her wedding dress. I don't like perfect wedding dresses, but as she twists, it's gonna take on a life of its own. I'm going to stand, actually, can you take two big steps to the right? Actually, a little bit more. And why I'm actually having her do this is because I have signs in the background. Move a little bit over to the right. Right there. A little bit more. Good. Right there. I have signs in the background, and then I have a post. If I can use her body to cover the post, it'll kind of not be as much of a distraction. So, Ashley, your body's here. I want you to turn back with your bouquet like this. Yes, but put it, actually, keep it there. That's beautiful. But I want you to fall more into your turning. Exactly. And then as you come, I want you to, exactly, peel that shoulder on back a little bit more, and then you're gonna turn this way with your hips. That a girl. So, that's where I want you to end. Now, the learning point from this. It's Ashley turned this way, which is beautiful and great, but the more she turns, the more she arcs her body, the more we're gonna get that nice curvature. I'm gonna pop you back. Good. Ash, I am right behind you. Why don't you turn on back towards me in three, two, one? Good. Beautiful. Now, this time, what I want you to do is I want you to bring your left shoulder even more out towards me. I want you to flip this way, look forward, and then the next time I want you to even bring that left shoulder a lot more towards me, and then put that weight in one hip or the other, whatever you darn well choose. Three, two, one. Beautiful. Gorgeous. Now, this time, what I want you to do is I want you to turn around and give me a look like somebody had just called you, like, "Oh, hey, me?" Beautiful. So, I don't you want to be too couture. I want it to be girl next door, I want it to be girl on her wedding day. Three, two, one, turn around. Good, good, good, good. Good! Now, this time, what I want you to do is instead of bringing your bouquet here, I want it to be a little bit lower. Why am I having her bring it lower? Is one, we have this beautiful sweetheart neck, which accentuates good things for her. I don't want to hide it, right? And what it's doing is competing too much with her face. If I have her bring her bouquet through her abdomen, we're gonna be showing her best attributes, her eyes, her smiles, and let's be real, her god-givens, right? So, we go boom, here. That's what we're thinking. And three, two, and one. Turn around. That a girl. Beautiful. That's what I want you to do. Now, this time, I want you to relax your right shoulder. Look forward in three, two, and one. God, that was it. Good job. So stinking beautiful. Good. Matt, can I borrow you? I mean, I know, she's just looking good. He's back there smiling like, so, like, beaming. Beaming. I'm gonna keep your back slightly, just shift your shoulders a little bit more towards me. Beautiful, and I'm gonna stick Matt right here. What I'm going to do now is I'm going to focus on shooting smaller details of the couple to tell a bigger story. So, I'm gonna bring my couple in nice and close, and I'm going to be intentionally cropping out certain aspects of the frame. I have talked about this before, but it's a great way, any time you shoot close to a subject, it's a great way to kind of convey a romantic photo without doing traditionally romantic things, like, say, a kiss, so I think in this particular case, I'm gonna take this from you, I'm gonna be shooting with the 85. I think the 85 has this beautiful, beautiful compression. There's no distortion. I could stand at a distance. I'm gonna shoot this at a 1.2, because I'm gonna be focusing on details itself. Matt, if you could lift up the front of Ashley's dress. Get your feet underneath. It is a photoshoot. But they look good. You guys are appealing to strangers. Now, I want all of these photos to just be candid. I want you guys to be relaxed. Bring your bodies in. Gorgeous. Now, Ash, turn out this way, towards me. Matt, you come in towards Ashley. You gotta turn your body in. There we go. Oh, Ash, you're good. Now, piece of instructional. Come back to where you were. Now, what I'm getting from a photographer's perspective is arm and back, which is fine, but I'm gonna open Ashley up, boom, I'm gonna give her more a curve, I'm gonna roll her shoulder open, and then Matt's gonna come into her, so any time I can make a slight adjustment, open her up, and then give her more of that curve again, is exactly what I'm gonna do, so this is why I want you to end up, and we just relax, take a deep breath, come back to however you were. I'm gonna call you in for that. My settings right now, I'm gonna do a test shot. We can just kind of, I'm at 1.2, I am at 1600th of a second. I'm at 200 ISO. I'm gonna have you guys come in nice and close to each other. Beautiful, beautiful. Ash, can you relax your left arm? Yes, there, bring your fingers nice and close together. Nice. I'm gonna stand a little bit closer, and then we'll have to compensate by way of shutter speed. I'm at 1.2, oh, darling, 1000th of a second, 200 ISO. Beautiful. Ash, can you look out this way? Beautiful. Now, with your chin, not just your eye. Now, one thing I wanna point is that Ashley just looked out and I got too much of the white of the eye, so I want to use her chin as a point of focal so that I don't get too much white, so everything's going to follow her. Follow her, yes. Follow. Beautiful. Look out, Ash. Beautiful. Can you look out towards the cinematographer right over there? Gorgeous. Now, let's see, Matt, can you come in and lightly kiss Ashley's cheek wherever your lips land? (laughs) Good, good, good. That's really, really pretty. Can you look just kind of relaxed, just kind of turn in towards Matt? And then what I want you to do is I am still getting this really nice, natural glow from behind Ashley that I like. I'm gonna compensate through the light, go down to 800th of a second. Ash, can you look out towards me? Good. Let me try something. Let me just see what happens here. Okay, so what I just did by simple moving of her hair is I saw a lot of a white dress, a lot of her skin, by bringing in this really cool color. This could be brunette, it could be black, it could even be, like, a dusty blond. I'm simply breaking up a lot of what I'm seeing here. I'm gonna re-frame by using her hair, kind of shape it in a tiny bit. And my frame is now existing here. It's gonna tell a very private, intimate story. Beautiful, beautiful. Gorgeous. Look out towards the videographer. With the chin. That a girl. And Matt, you're gonna be looking at Ashley. Bring her in for a nice, tight squeeze. Nice, good. Beautiful. Good. Awesome. So, now what I'm gonna do, as I'm gonna be shooting from this angle, I'm going to make it a very clear intention not to actually open up this entire side of the frame, because my goal always is to have it shoot complementary. I don't want to show too much of it, so my shot will then be composed halfway through her arm. It's going to get her profile, and this will be more focused on Matt. But the reason why I'm intentionally cutting off a portion of her arm is because we're just gonna tell a tighter story, and we're gonna make our bride look and feel confident with every aspect. Now, what I'm going to do now with her hair is since I'm shooting with this angle, this hair is going to be a distraction. I'm gonna pull her hair back. I'm gonna do this nice, long, beautiful neck. I'm gonna get her earrings. I'm gonna get these small details, and I'm going to be focusing, yes, beautiful. I'm gonna pull, no, now, what I noticed is as I was shooting this way, there was a slight pucker of her dress here. I'm gonna pull it down here, and yes, I do this on a wedding day. Beautiful, and then, Matt, you're going to be looking at your gorgeous, beautiful bride. And then, Matt, can you look out towards that area? And then, how about something a little bit closer? So, yep, there it is. There it is. Hang out one second. And then, Matt, can you look at Ashley? And then, Matt, can you look here? Slight smile. There you go, thank you. That was great. Good. So, the frame became here, and then the frame became here. These are all intentional decisions to make my bride look the most complementary and flattering. Ooh, one thing. I'm gonna get the 35. JD, can you get the 35? And Matt, can I have you here? Good. So, all right, Ashley approves. So, Matt, I'm gonna have you here, and you're just gonna kind of lean, but I don't want you leaning down so that we lose height, I just want you to lean so you're comfortable. Then, what I'm going to do, the intention, I'm gonna talk to the camera now, the intention is what I want Ashley to lean into Matt. They're gonna be nice and close. He's gonna have his hands here. He might rest one hand or the other on her body, which, anytime you can compress two bodies without smooshing the bodies, you're gonna get two smaller forms, which is going to be specifically within the kind of hourglass curve area, so Matt, I'll have you here. Now, again, I'm gonna be focusing on two main things. I don't want to shoot directly onto my subjects. I want to slightly shift. Come out this way, Matt. Good. And actually, maybe we'll have this hand up here. Yep. I'm gonna then switch a little bit more. Good, cool. And the reason why I'm doing it, I'm gonna open up her body again, we're gonna get a nice, complementary figure. And what I'm going to do is I'm gonna use, hopefully, this fence as a leading line to what I wanna shoot. I'm gonna be shooting this at a 1.4, because I'm not gonna have my subjects both be looking at me at the same time. I will either just have the bride, just have the groom, or they will be looking at each other. In the case that they're looking at each other, and they're both the same height, their eyes will be at the same level, again, focused on that focal plane. I'm gonna get beautiful bokeh with this light in the background and a lot of distortion, so the focus will be on the person who I want it to be at any given time. Nice. Good, I want you to relax. I want you to take a deep breath. Nice. Ash, I want you looking up at Matt, and then, Matt, eyes here. Cool. Looking back at Ash. Good. Ash, beautiful. Beautiful. I'm going to step in. Beautiful. So, one thing that I'm focusing on is I'm making sure that Ashley's doing a great job at this naturally, is that she's rolling that shoulder open. Any time she rolls that shoulder open, it naturally comes into one hip, weight comes in more into one hip, and then it kind of brings her abdomen in nice and close to Matt. Now, you're gonna see that I'm inching a little closer, a little closer, and a little closer. I'm going to see if it's there's any possible way for me to kind of get up on things that are around, because I am a shorter girl. I'm gonna get up and then shoot down on my subjects. The reason why I'm going to shoot down is because it's a complementary angle. This definitely works, but this is something that I would do and do with all of my clients. As we progress through the 30 day course, you're going to see that I will stand on anything around me to give me any sort of height leverage, which I'm going to do now. I'm going to hope that I don't fall. Good. Whoo! Now, I'm going to reposition Ashley. Now that my angle is up, I don't want her turning her body in too open, because it's going to make her look wider. Turn it in towards Matt. Gorgeous. Gorgeous. Now, what I'm going to do from time to time is I love the way her hand is positioned there on his chest. But I might have her move her arm slightly. I'll be calling for it. Move her hand slightly from his chest out, maybe, to his arm. By her moving out to his arm, it's changing the shape of this arm. I want to give my bride both options. That was beautiful. So, we're gonna start with your hand here, one, two, and three, exactly what you did, and then I'm going to give myself three options, and I'm going to choose the most complementary. Hang on for one sec. Let me get my lighting right. Good, I'm shooting at a 1.4. Ashley, take one step towards me. There we go. Now, I'm having Ash take that one step towards me, closer to me, so that they can be on that same focal plane. When I'm shooting at a 1.4, I need to be very conscious of these things. Beautiful. Heck, yes. So, I'm just gonna kind of work you there. Ashley, this is beautiful. Eyes here at me. Beautiful. Eyes up at Matt. Good. Switch the hand. That a girl. Beautiful. And then, Ash, can you have your eyes down here? Take a deep breath, relax that front right shoulder. And then, Matt, can I have your left arm around her waist? Beautiful. Beautiful. Eyes here. Good. Eyes down here. And then, Matt, can you lean in and give Ash a kiss wherever your lips land? Good. Now, this time, I want you to do a slightly bit softer so that she doesn't blink out her eye. (laughs) Good, good, good. Pause for a sec. When my clients will laugh, I will shoot a whole bunch through it, and what I see a lot of photographers do is when they see their subjects laughing, they'll be, like, "Oh, ha, ha, ha," and they'll put their camera down, and instead of getting that nice, natural laugh, so any time, I intentionally do that. I said, "Oh, Matt, you don't wanna kiss her "so that you're gonna poke her eye out." They start laughing, and I knew that that was coming, so instead of having a lot of, like, really, like, harsh, haute couture beautiful angles, I'm gonna get something that's really natural. And any time you can make a bride of any shape or any size look natural and like she's having fun, she's going to love the pictures as a result. But now that we got the fun photo out of the way, you're going to kiss Ash a little bit softer this time, keep it nice and light. Beautiful. Eyes down, Ash. There we go. Lips a little closer together. Good, this is beautiful. So, we're walking now to a spot probably 10, 15 feet from where we originally were, but I'm gonna change the position of our location so that I can avoid things that are in the background, like the hiking station or a doggy poop bag station, and this area right here is really pretty. I'm gonna create, I'm gonna kind of set up a natural type of area for them to walk naturally towards me, effortlessly towards me, and at the same time, what I want to do is I want to create movement, because brides are attracted to my work because it looks and feels two main things: natural and fun. So, I want to make sure that a bride feels as great as she possibly can, but at the same time, is looking in a way that's both complementary and true to herself. Most of my brides of a curvy nature know exactly what they look like. They just wanna look like a better version of themselves, and Ashley's the perfect depiction of that. She embraces everything. We're gonna pause here. She embraces herself and she's gonna have fun along the way. What I'm noticing is that I have some light in the background. I also have sunset in front of me. I'm gonna have them walk towards sunset, even though I don't have sunset because it's fallen behind the canyon, but this nice, dewy light is going to look great on my subjects. Again, good light makes everybody look great. So, Ashley will be here, Matt will be here, and then we're gonna start the the process of simply walking. So, a couple of seconds ago, I said I was going to have my subjects walking in that direction, and I stepped on the other side, and I took a picture, and I realized that light's not what I want, specifically because the light is bisecting the ridge behind me, so again, there was a broken light source, and so, your eyes are gonna go to the illuminated portion of the picture, which I don't want. I really just want nice, soft light on everybody, so I simply flip them. The ridge is behind them, which is sunset where it was originally, but we're still getting that nice, dewy sunset light. I'm going to have Matt, again, very much like how we started this, there's a slight little dip in it. I'm putting Matt on the slight elevation which will give him a little bit more height, and I'm going to bring Ashley's body into Matt. The thing that I noticed that she's doing right that she just understands is that she's going to be putting her left leg just outside of Matt's leg, which is going to bring her body even closer to Matt, therefore kind of giving her curvy figure the even that much more of a beautiful, curvy figure. I'm just loving what she's doing, I'm loving this just naturally. Beautiful. Eyes at each other. Oh, hang on. Let me fix my settings. I'm at 2.5. Oh, this is pretty. 2.5, 500ths of a second, 200 ISO. I understand that there are gonna be bikers that are gonna be coming in. Bring your foreheads in nice and close. Good. Good. Now, what I want you to do is you're gonna turn toward me. Shoulder to shoulder, holding hands. Nice, and all you're going to do is you're going to walk towards me, but I understand that this path is really small, so, Matt, you might have to walk on the incline. You're just gonna make it look as natural as possible. You're not gonna be paying attention to me whatsoever. The thing that I want, Ashley, to make sure that you're going to do is to put one foot in front of the other, very slow. Take your time, the path isn't even. Part of the reason why I'm having Ashley put her feet in front of each other is that every time a female walks with her feet in front of each other, it's gonna give her more of a tic in her hips. I love that, and I want to be very conscious of her form and figure as she's walking to me, that we're still keeping that shape that I really, really find so beautiful. So, I understand that there are signs behind her. I'm gonna shift over to cut out one of the signs. I might keep, another one has to stay in the background, but I will be able to fix that later in post. We're gonna start with our left foot forward, and the cadence will be three, two, one, three, and I am going to be walking with my subjects at the same cadence, so I can track and keep the same distance between us, so I can focus in between each shoot and ensure that each shot is in focus as they're walking towards me. In three, two, and one, looking at each other, good. Good, good. Good, Ash. Looking up at Matt. Beautiful. Uh-oh, uh-oh. Yeah, we're good, we're good. Good. Now, what I'm gonna do is I'm not gonna have my subjects change too much of position, except I'm going to flip Ashley this way. I'm going to step into this grassy area once I adjust Ashley. I'm gonna turn Ashley towards me this way, I mean, Ashley's gonna turn towards the ridge that way, I'm gonna be shooting them this way, but there's a slight inclination, and that's where I'm going to have Matt. You're going to turn back this way. You're gonna scoot back a little bit. Right there. And you're gonna be looking that way. Good. This way, and then, Matt, you're gonna be here. Beautiful. You're gonna get in nice, nice, nice and close. Gorgeous. What I want to make sure that I am doing is I want to put my bride and groom within an environmental element that's going to play into the story of their love, their day, and in this particular idea, just the two of them hanging out in a beautiful field on their wedding day, enjoying their time. I'm gonna shoot this with a 50 first and incorporate things in the background to make it part of the story. Can I have you take one step this way? Sorry. Beautiful, beautiful. Relax that front shoulder, roll that left shoulder out. Boom, gorgeous, gorgeous. Always just making sure of those tiny little tweaks in her body, in her form. Beautiful. Looking at Matt. I'm gonna be shooting now with the 35 millimeter. I shot with the 50, and then theoretically, I could take a few steps back to get more of a wider photo, but the 35 millimeter lens is the lens that is truest to what the eye naturally sees, so from periphery to periphery, and that's exactly what I want to do right about now, I want to put my subjects and my clients in nice, beautiful area that they feel really good in. Gorgeous. Making it nice and wide, making the environment a part of this photo. Great, cool. What I'm gonna see if Ashley is wiling to do is climb up to this rock. I'm going to have her sit, and I'm gonna talk about how I would position a bride to be in this position to make it the most complementary in nature. I'm going to, hop right here, I want your bum here on this corner. Here. Let's grab that. I think I might. Let's have you just get down first. See if you can scoot your bum to the very, very tip, 'cause I love, oh, beautiful. Yeah, yeah, good. And Matt, I'm gonna have you here. Have your hand in your pocket, just right about there. Thanks, guys. So, I'm changing what I thought I wanted to do because it just wasn't working, it wasn't complementary, so I'm just gonna cut my losses and not fight for it, but I have them in this beautiful area that I still wanna keep. I'm going to give Matt the inclination on this point. I'm gonna have Ashley step two, three steps this way. Good. Matt, I'm gonna take you here. You're gonna turn in towards Ashley. Turn in towards Matt. Beautiful. Good, and so then, because I'm up here right now, I'm going to still keep you in this formation, so I'm gonna have you guys together, and then Matt, I'm going to pull you back right over here. You're gonna have your hand right about there, so I'm gonna put first pose, second pose, instead of yelling from a distance, it'll kind of be an idea. Yeah, yeah. I don't want you moving too much. So, what just happened now is I stopped a particular pose 'cause it just wasn't working. What I want to do is any time that I can put distance between me and the subjects, putting them into the environment, it's going to be less focused on physical form and the physical form within the overall environment of the photo, so I'm going to have the couple look at me, or at least look at each other. Beautiful. Matt, can you turn your body in a little bit more towards Ashley, come down a tiny bit towards me? Ash, roll that, yes. Ashley, your angle is beautiful. Now, Ashley popped her hip back as she came in, pulled the core in. Matt, step in towards Ash. There you go. Beautiful, looking at each other. Right now, I'm at 2.8, 400th of a second. The sky is gone. This is what I'm getting for not having a true sunset. Foreheads together. Beautiful. Good. Matt, can I have you flip to position number two? Cool. And while you're getting there, yeah, that's great. So, one thing that I'm gonna focus on right now specifically with Ashley is I'm going to make sure that I can see the tip of both shoulders, because the minute I can see the tip of both shoulders, good, good, is the minute that I'm gonna get that nice, beautiful curve within her waist. Ashley naturally put her hand on her waist, which is something I love. Again, we're going back to that natural corset feel of bringing in her hips, her waist, and her shoulders, but one thing I don't want is for Ashley's shoulders to get locked, so I'm gonna have her pop one shoulder or the other. The minute she can do that, I'm gonna even get more of that thunderbolt. So, whew, you got it. You got it. Beautiful. Beautiful. I'm going to be shooting this at a 3.2. My ISO is 200, and I'm at 250th of a second. Beautiful. Gonna switch over this way just so that my subjects don't have to switch, but I'm now going to be framing them by a rock on the right side, a rock on the left side, and then, the last frame will probably be them walking through the field. Here we go, on three. Beautiful. Now, Ash, because I switched my body, I'm going to have Ash turn a little bit more towards me so I can see, beautiful. Now, since you couldn't, I think you're locking one knee. Good girl. I could already see. Good. Thumb, there we go. Beautiful. I'm gonna have you guys, Ash, how do you feel, do you feel comfortable walking down this? Absolutely. Or, Matt, can you pick up the back of her dress? So, what I'm going to do now is Ashley is going to be coming down in front of Matt, which is great, which is what I want to do. I'm having an inclination. So, I'm going to make the groom taller, bigger in the frame. As she's coming down toward me, I'm gonna be angling it slightly up so that we're gonna be getting this, and I'm shooting this at a 1.4, and I'm not going to move. They're going to walk through me, and my goal is to get one frame that looks candid, photojournalistic, nice, easy. Walk straight here. I will be talking you guys through that. Look. Making sure, Ashley, you're kind of keeping that light smile. I know, it's not perilous. I'm sorry. I'm making you work for it. Beautiful. Can you look back at Matt? Beautiful, good. We're good, thank you. So, this is the end of the shoot. As a quick wrap-up, three main points to be focused on, and I'm going to use Ashley in real live modeling form, because she was so phenomenal. She was so, so, so beautiful and naturally fell into things, made it easy for me, but it also made it easy for viewers to actually see how they can coach their brides into this. One thing to always be conscious of would be the idea of a thunderbolt, so Ashley's shoulders are here, gonna shift slightly towards me. You're gonna shift your hips one, beautiful. You're gonna bring the bouquet and here, we're gonna have the bouquet around the abdomen, not in competition with the god-given. Just relax your shoulders, we're gonna peel it back. Point number two. We have to be very conscious of shoulders. We don't want to pull the bride's body in or even turning it in this way, having more of this shown, there we, see, she's just making it look good. I mean, I don't have to do too much. Another point. Matt, I'm gonna bring you into the frame. I'm turn Ashley in towards Matt, and as, Matt, pop in right in nice and close, as Matt and Ashley are standing in nice and together, the closer they stand, the more complementary both figures look, but specifically a female. That's always gonna be my main focus. So, then, the two of them coming in together, bringing her that nice hourglass figure, and then, lastly, we're gonna focus on creating a natural corset. I don't wanna overuse this, but she did so wonderfully, where she distributed the weight unevenly in her legs, popped the booty out, the chest up, the shoulders back, and then she brought her hand in. I am more of a fan of instead of this, 'cause we see this too much in selfies, we see this more in editorial work. I'm seeing this, hands on the hips, but what I wanna do is flip the thumb out. That a girl. She just makes it look so much better than I do, let's just be real. So, those are the tips I want you to walk away from. Thanks so much for joining us this shoot. Thank you to our beautiful models, I appreciate you guys very, very much. Awesome. ♫ Heaven knows you're like water and I'm like fire ♫ You put me out and I put up a fight ♫ But I know where you've been ♫ What you're going through today ♫ And I swear on my life I'm not walking away ♫ Oh, you're a pain to be around ♫ Oh, but you're my solid ground ♫ Oh, you're the only one who knows ♫ That when I say go, I'm hoping that you'll stay ♫ And I promise you that I won't walk away ♫ Well, I can't make up my mind ♫ You're one thing at a time ♫ I'm prone to run ♫ You keep me in the line ♫ But I know we can take every stumble, every sway ♫ I swear on my life I'm not walking away ♫ Oh, you're a pain to be around ♫ Oh, but you're my solid ground ♫ Oh, you're the only one who knows ♫ That when I say go, I'm hoping that you'll stay ♫ And I promise you that I won't walk away ♫ Oh Wasn't Ashley a dream to work with? I mean, somebody had even commented, like, her hair looked good. I mean, she just shined, and I think that that's one of the things that happened from the difference between the start of the shoot and towards the end of the shoot. She just started having fun, she started getting sassy, and she started blossoming in front of my camera. Now, just to kind of recap that I modified each pose in each location by keeping the following things in mind. I'm going to angle the bride's shoulders away, slightly away from the camera, to avoid that straight-on perspective. So women, of any shape and size, look better by simply shifting and turning. We've created a natural angle in their abdomen. Relax the shoulders, take a deep breath, bring them on down. I want to pull the core or the abdomen in, and by that, her body center gets strong and her shoulders are pulled back. I also want her to rest her booty back, because oftentimes, it's easy for brides to kind of lean forward, 'cause it's just natural inclination, you might want to step forward. So what I wanna do, I wanna bring the angles close, I want the booty back, the rest is back, and that brings up the chest, brings up the chin. Then, what I want to do is to distribute one leg, the weight into one leg or the other. And this is a constant reminder. These are the five things I'm asking every single bride, every location, or any shape or size. Now, let's move into the homework. What I want you to do is if you have never worked with a curvy bride before, I don't know if that's something you really want to experiment with on a wedding day, so why not release all expectations and create a fun shoot for you? Ask a friend. Go on Model Mayhem. Look for a curvy girl. Go to TJ Maxx, go to a thrift store. Heck, have her wear a white dress and put on a floral crown. It doesn't matter. What you want to do is start articulating what you want to do after setting up the shoot, and you want to practice how you are speaking, not what you were saying, but the fluidity in which you are offering positive feedback and encouragement. Now, what I want you to do is to, lastly, find ways to accentuate her curves and the more you do it, the easier it will become. And once you realize that you can do it with any bride of any size, you approach every single shoot with confidence. Thank you guys so much. We're gonna move into Q and A right about now if you guys have any. Any questions? How do you respond to the question we all get, like, "Are you gonna Photoshop my arms skinny?" "Are you gonna Photoshop your arms skinny?" okay, let's roleplay, because I can go into theoretics, or I am shooting you, I'm shooting you, and then what do you tell me? I don't like my arms. You don't like your arms? Oh, your arms are beautiful. They look good. Now, usually, so, then, I'll put my camera down, like, so the way that it usually works for me is I'm gonna find poses that I feel make your arms look the most complementary. I might, and possibly can do Photoshop retouching to the best of my ability, but if it's something that you want, I can put you in contact with a great retouching company and they can handle it for you and you'll just pay them directly. Then you smile. Because I'm not paid to be your retoucher. I am not paid to be your plastic surgeon. You know what you look like. I am not here to change you, I am here to document you. And even thought I know that I could do it doesn't mean that I should. My personal beliefs, people can rock it however they want it after that. Awesome. Mic, thanks? Another arm-related question. So, having the groom or the future groom kind of rest his hand on the bride's arm, I get a lot of guys who, you know, if they're interacting, they're kind of, like, squeezing their bride, they're kind of cuddling with her, and so, you know, it's not always flattering even with their hand is on her arm, so do kind of step in, then, and just kind of say, you know, "Gently have your hand there," and not making those shapes? Yeah, and I try, and it's become an art form of learning how to speak in affirmatives, so I stay away from, "Don't do this," or, "Try not to do that." I will say, "Oh, I love when you just relax your hand, "so why don't you just go and squeeze her nice and big? "Awesome, beautiful, beautiful, now, take a deep breath, "relax from her, now, just kind of lean in nice and softly." So, I basically said, "I didn't like what you did "the first time around, let's peel it back," but I spoke three times in affirmatives. Okay, thank you. Yeah, of course. So, this situation's a little bit different in the fact that I have a bride who booked me a year ago and then, two months after she booked me, she found out she's pregnant. So, come next month, she will be seven months pregnant, so she doesn't wanna hide the fact that she is pregnant, but she doesn't want to accentuate it, so I'm wondering if you have any tips for not accentuating curves. Right, I think that first and foremost, my knee-jerk reaction is to send her a very detailed email outlining expectations. Be like, "I am so excited, being pregnant and starting "a family is one of the most beautiful things, "and you get to have your baby there at your wedding," positive, positive, positive, and then say, "I just also want to point out that due to "the nature of an ever-expanding belly, "I want you to understand that this is what it is. "I won't put you in poses that accentuate your belly, "but I also cannot be held responsible "to come up with poses that detract from your belly. "I will make it a part of the photo, "and then I will also focus on getting photographs "both full body, but also half-body "at a later point in time," but I'm telling you, girls who get pregnant around that seven and eighth month, and maybe this is just me, from my experience, they will be extra critical, 'cause they know that their body is being inhabited by a wonderful new alien, but they don't live by themselves, you know? So, there's a good chance that she's gonna come back to you and say, "I'm not happy with the way that I looked," but if you set the expectations and say, "This is what I am responsible for," then at the end of it, you can say, "Maybe let's arrange, I will offer a discounted rate. "Once the baby is born and you feel like you're gonna "get back in pre-baby-body shape that you feel good, "we'll do another shoot, and I'll give you a 40% discount," because then it works for you. You get another opportunity to work with great clients, then you make them happy, and you get a very happy endorser. Thank you. Yeah. Yes. So, two questions. One, you were talking about distributing the weight on your hips, and would you primarily do that on the back hip, would be question number one? I primarily choose, to answer this question, and then we get into the next question, 'cause that was two, right? Yeah. I tell her to choose the hip of her preference. Because I don't have-- Towards you? Even if it's towards you? So, if I'm standing, if you're Jasmine, and I'm the bride, I'm going to just have her to distribute her weight here or here. If she is standing to me here, I will say put the weight back into your right foot. And then with the arms, you said as romantic poses go, you like to have them in close, all the appendages, but with a curvy girl, would you try to get some angle and some negative space in there, or do you still tend to stick with the-- My poses are my poses for my brides. Yeah. I have shot curvy brides, and I have shot curvy brides who are extraordinarily self-conscious, but after she saw the photos, and here's the thing, I do keep my appendages close as a preference, but that's not to say that I don't have my brides, as you saw in that latter part of the clip as we tied it up, is the thing that I want to stay away from, from a personal, aesthetic thing, is what I used to do a lot in my career was this, and that's okay, but with the big advent of Instagram, every girl in Vegas is like, "Vegas, baby." I don't want to be a "Vegas, baby" photographer. By simply switching out where the thumb goes on the inside and then relaxing it back and instead of having it here, pulling it back, that, right there, is a pose that I would give a curvy bride, any bride, so the things that I do are the same things that I do for all my brides, but yes, I will offer close appendages as well as a slight extension of appendages, but that is for all shapes and sizes. Awesome, wanna pass the mic over? Do you have any tips for curvy grooms? Or, if there's a better term for that, but curvy grooms. Yeah, curvy grooms, I think, is, from my experience has been walking in, and most curvy grooms assume that I don't know how to work with curvy grooms, so if you guys have seen a pattern, my pattern is to manage expectations and over-explain, so I will, but here's the thing. By the time I work with the curvy groom, I have engaged with him at the engagement session, so we've established a relationship of trust at that point. But let's function that we had not had that experience and I show up on the wedding day, I would be, like, let's give him a name, we'll give him Jonathan, "Jonathan, you look so handsome today. "You are looking sharp. "There are few men that will look "as good as you do right now." That's the same thing is say to, not verbatim, but I always say, "You look so handsome, congratulations," and JD will be, like, "Hey, man, you're looking really good." Okay. So, that's where we start. And this is with the same conversation we had in the engagement session. I'm, like, "Okay, so Jonathan, what I want you to do "is I don't want you to think about me. "I don't want you to think about us. "I want you to look and feel like Jonathan "at a ball park, at the grocery store, "but you happen to be wearing a really nice tux. "I'll be making small modifications to what we're doing, "but I want you to look and feel like you. "If you look and feel like you, and then I add my kind of, "like, my magicness, you're gonna really sharp. "So right now, what I just need you to do "is I need you to turn your shoulders away from me, "I need you take a deep breath, I need you to comb "your jacket off to the side, and then, "what I want you to do with both hands "is maybe have both hands in your pockets. "Secondly, I want you to have your back hand "away from your pocket, I want you looking at me, "I want you looking off to the side, "take a deep breath, roll your face on over to JD." I'm talking him through this whole thing. It's the pauses and the laughs, the silence in between, that make people second-guess. Thank you. Yeah. Cool. So, on that note, I think that this would be a great place to end this particular session. Thank you guys so, so, so much. If there's one thing that I could say to end the session, it's that every girl is beautiful regardless of their shape, but my goal, as a photographer, is to enhance what they naturally have. I look forward to seeing how you guys approach these shoots with confidence, and thank you guys so much. (audience applauds)

Class Description

Running a wedding photography business is stressful work – you are on the hook for capturing one of your client’s single most important (and expensive!) days. But if you do it right, wedding photography is also a whole lot of fun. Learn how to balance the books, get the shots, and deliver the magic in The Complete Wedding Photographer Experience with Jasmine Star.

The Complete Wedding Photographer Experience is an all-inclusive wedding photography bootcamp that gives you all the tools you need to run a wildly successful business. You’ll learn the marketing, shooting, posing, and branding skills you'll need to thrive as wedding photographer.

On the business end, Jasmine will teach you how to:

  • Create an effective business plan
  • Attract new clients
  • Establish and communicate pricing
  • Build a referral network
  • Get free marketing

Every day, for 30 days, you’ll get a 30-90 minute comprehensive lesson designed to inspire and help you build a wedding photography business that thrives.

You’ll also learn all about Jasmine’s shooting and editing techniques for wedding photography. You’ll learn how to:

  • Prompt clients to get natural-looking poses
  • Leverage natural light so everyone looks gorgeous
  • Deal with unexpected events and shoot under pressure
  • Cull, edit, and market on social after the event

Jasmine will take you on location as she shoots a real wedding, narrating her on-the-fly decision making and how she keeps clients happy throughout the day.

This comprehensive class offers powerful insight into how one of world's leading wedding photographers runs her business and gives you the tools you need to pick up your camera, follow your dreams, and develop a rewarding career in wedding photography.