Shoot: How to Shoot a Tall/Short Couple


The Complete Wedding Photographer Experience


Lesson Info

Shoot: How to Shoot a Tall/Short Couple

Fantastic. Today's lesson we are going to be focusing on how to shoot a tall and short couple. I actually have spoken, I actually kind of made a reference to this on social media, and a girl corrected me and she had said that they're not a tall short couple, they're a high low couple. And I was like, I agree! So this lesson has changed from how to shoot a short tall to how to shoot the high low. However you call it, this can sometimes be a disconcerting aspect to what we do as photographers. Generally speaking, I don't really know if it's a science, but people seem to be attracted to people who maybe might be the same height, or, there's a scientific study that couples are naturally, people are more naturally attracted to another person if they share the same letter of the start of their first name. Yeah? Jasmine, JD, boom. Science. No, but legitimately that was a study. So I've been asked quite of10. The blog has become a mix. My blog has become a mix of photography resources, persona...

l lifestyle posts, and sharing my photos and, photographers will sometimes ask questions and I can write about them. Now people have asked, well how do you shoot a tall short couple? And I've kind of, for over, nine, 10 years, have stayed away from that topic, because the last thing that I want any of my prospective clients to think, is that I shoot a couple different based on their physical appearance. My brain has become, I, what you come to me is what you get. And I hope that it stands the test of time as what you come to me is what you get. If you're tall, short, black, brown, Haitian, Croatian, Asian. If you have a checkbook and will pay me, I will shoot you. And you will come out looking like a division of my brand. But recently, I wanted to get into this topic because I do know that it's a pressure point for a lot of people. So let's talk about what that looks like. But before I get to that, this shoot, I wanna just kind of like lay the groundwork. We shot in Laguna Beach, which is about 10 minutes from my home. Brittany was five feet two inches. Tony was six feet. And it was an overcast day and the thing that I really want to focus on is that my goal is not to make my clients the same height. That is not the goal. When I go into a shoot of shooting clients of different heights. The focus is always to be on love. It is not on physical appearance. It is not on differences. It is not on color. It is on love. So know that I, once I have those things, the thing that I want is. What I'm showing today is not what a traditional portfolio would exclusively look like. I will have my portfolio reflect height differences to dramatic degrees, and then throughout the shoot I will also mix, so that what the client gets as an end result, reflects truly a mix of how they are, hopefully, naturally. Because the last thing I want to do is to have a couple come to me and then what they walk away with are photos just of all the same height, and doesn't really reflect the type of photos that they take naturally. So I wanna walk through what we're gonna be focusing on in this particular session. Now, if you, by this point in a previous lesson, you have seen me shoot the not dream engagement session. Taylor, I have it writ10 down, Taylor was six four, six five, and Samantha is five one. So what you saw me do in that shoot, which I was not articulating, was going to be the same thing that I'm doing in this shoot, but in this shoot, I will be articulating. So you'll be able to see the pattern of what I do and then ultimately you can see the galleries and compare. You will see similarities and you will see differences based on that height difference. So the height difference between Tony and Brittany was about 10 inches. The height different between Samantha and Taylor was 14 inches. So we're gonna see how I did that now, especially considering, that I am, mm, short. I was gonna try to think of a clever name of saying it. I'm fun sized. But, when somebody is six four, six five, it is a little intimidating to me, because, I don't ever want to be shooting up at him in such a distinct and strategic way. But where we're gonna see that is you're gonna see how I've created patterns. The patterns are going to unfold themselves as we go through this video footage. And then hopefully at the end, I'm gonna give you a cheat sheet of what I did along the way. So we're gonna show the video right about now. Hello and welcome to Laguna Beach. Today I'm very excited because we are going to be having a photo shoot. And I may seem a little bit nervous, too, because the groom is almost six feet tall and the bride is a little bit on the petite side and she's at standing at five two. So, I'm gonna be talking about the techniques that I would use and employ, to kind of minimize the 10 inch difference between the couple. So I'm gonna be showing a few of my favorite things to do, poses. Now the thing to remember is that I'm not going to shoot my couple too differently than how I shoot any other couple, because they've seen my portfolio in the past, and they know what they want. So I want to keep it as close to the portfolio as possible, but at the same time, kind of giving them a variety of images. I'm not going to shoot it in such a way that I highlight the difference between the height. The couple knows how tall and short they are. If my goal was only ever to put them on the same plane of focus on the same height, that they would think that's not really us. So my goal in this shoot would be to shoot them just the way they are, but also, at the same time, add a few twists and turns to kind of level up their height in case they want that option at a later point in time. This is what I've done so far as I arrived. I'm waiting for the couple, and I've arrived to Laguna Beach and it's a little bit overcast. This is very normal for Orange County. So the day started off really bright and sunny and it kinda hit around four or five o'clock, and the coastal fog is kinda setting in. So I know that my shoot time has been minimized. So I'm going to have to work faster and more efficaciously and I'm gonna talk to you a little bit how I do that. I'm gonna go in with a strategy. I know where I'm gonna start the shoot, I know where I'm gonna end the shoot. I know where I wanna hit the shoot right in the middle. And then I'm just gonna have to fill in the gaps from there. So, join me as I go along this ride and thanks for being here. So, our amazing couple Tony and Brittany are here. It's a little bit cold so I'm gonna actually expedite the shoot to ensure that they stay enjoying the shoot from beginning to end. Where I'm at right now is against this rock like edifice. If the sun was shining bright and totally, completely in the sky, I would still start them here. I'm gonna start the shoot the way that I start every single shoot. This is for me. The best way, I've found the way that two bodies work together, just by starting the shoot and getting them comfortable. After that, my plan is to have them walk towards me to kind of create a relaxed cadence, and then what I'm going to do is I'm going to lean Tony against a rock so that I can use this particular position to lower his body naturally, and then I'm going to bring Brittany in nice and close and then we'll talk about shooting wide open. So that's the first three things I'm going to focus on and if this was an actual shoot on a wedding day, that's exactly what I would do as well. So here we go! So I'm gonna bring your bodies in close to each other. Now every single time for the rest of the shoot, Tony you're gonna stick your feet in underneath this dress. Okay. Cool. Now you're gonna put your arms around Brittany's waist. Beautiful. And because she's having, that's nice. Beautiful. Brittany, I will take your bouquet. I'm gonna rest your bouquet right about here. You're gonna wanna get your left arm and drape it over his shoulder. Like that. So this bouquet's a little bit heavy. So right here it's competing with his head, so what I want you to do is you can still keep it there, but we're just gonna tilt it down a tiny bit. That's gorgeous. Try to relax this arm. You're gonna put your hand here. And, beautiful. Great. So I'm gonna back up a tiny bit. Brittany can I have you get on your tippy toes? 'Atta girl. Good! Now you guys are gonna be looking at each other. Gorgeous! And this is how I start every single shot. I'm gonna be shooting this at a 2.8, 200 ISO, 400th of a second. Once I get my settings right, this is where exactly where I wanna be. Can you guys bring your foreheads in nice and close? Gorgeous! Beautiful! A little bit closer. Touch your foreheads to, ah that's gorgeous! Beautiful! Hang out there one second. Beautiful! Now, Brittany can you look, can you peel your heads away? Brittany look at me. Relax that shoulder. Turn your face a little bit towards me, chin towards me. 'Atta girl! Slight smile, take a deep breath, relax that right shoulder. Ah, beautiful! Gorgeous! Tony can you lightly kiss your, um, Brittany. There we go! Thanks for reading my mind. That's gorgeous! Beautiful. Peel away from each other. Take a deep breath. Now, Brittany, when he does that again, I want you looking at the ground right in front of you. Thank you. Beautiful. I'm gonna come in a little bit closer. I'm going to stand on a rock. And by me just standing on a natural edifice, I'm going to actually be at Tony's height. And by me getting at Tony's height, I can shoot a little bit, in a equal to equal masculine perspective. And Brittany will still be minimized. You can come down on your feet. Poor thing! You're gonna have the world's sickest calves. That's amazing! It's a workout! Good, take a deep breath. Same thing. You guys are gonna be looking at each other, and then Brittany I'm going to be coaching you into something. But as I stepped in let me check my settings just once more. Yeah, my light's great. Or exactly where I want it. Beautiful. Now, tippy toes again. Brit? There you go! Beautiful! Now with your right hand, can you guide Tony's face into yours, under his chin? Beautiful! Beautiful! (laughs) Good! My fault, my fault! Ah, no no, none of the cute stuff yet. Okay, sorry! Relax the hand. What you're going to do, bring it up to his chin, and then you're going to guide him in. Beautiful! But not yet. So put your hand down in the crest of his elbow. Beautiful! Take a deep breath. I'll count you down, I'm ready for you. Hand to chin. Gorgeous! Forehead to forehead, guide him in, guide him in, guide him in, guide him in. Ah, thank you. Beautiful! Awesome. Great. So now what I'm going to do is I'm going to minimize the amount of time that my bride actually has to walk. Tony, I'm going to put you, your back here. Great. Now, Tony kinda came into like a crest of the rock. I actually want him at a peak of the rock. So I'm gonna move him because if he's at a crest, his body's gonna be sunken in and I don't want that. Now what I'm gonna do is have you widen your feet a tiny bit. I'm having Tony widen his feet because from my angle I'm going to be cropping out his feet, and by a man widening his feet it's gonna bring his height down. By him widening his feet, he's gonna shorten himself. I'm gonna put Brittany into his waist, and I'm gonna shoot nice and tight. And I'm just talking down to a rock right now. I don't even know who I'm talking to. So Brittany come in this way. I'm gonna take your bouquet. Beautiful. Come in nice and close. Beautiful. Gorgeous. I'm not gonna be so concerned about always highlighting the height difference. What I really mostly just want to do is to yes, get their height at their natural levels, but at the same time I really just want to highlight both a natural height, and then I'll have her stand on her tippy toes as well for one. My settings, because nothing has changed in my lighting situation or scenario, will still be the same. I'm at a 2.8, 400th of a second, 200 ISO. That is so stunning, darling, hang on. I'm going to get on a rock to give me a little bit more height. Now what I'm going to do, is I'm going to have both of them... looking at each other. (camera beeps) (camera clicks) Beautiful. Now, Tony can you look here? Nice. Good. And Brit, can you get on your tippy toes? Nice. Now bring your torso into Tony's. There you go. Tony can you look towards the beach houses? Oh that's it right there! Oh my! Okay, Brit can you get up on your toes and then lean up for a light kiss on his cheek? 'Atta girl! Beautiful! Beautiful! Good. Let's see, I don't want your face in competition with the boutonniere. So see if you can get in. Come to this side a tiny bit. No, no, no, this way. Yeah! And then you just, you don't have to get on your toes. Just bring your body in, nice and close. There you go. That's beautiful, thanks. Good. Beautiful. Can you both look at beach houses? Okay I'm gonna give you a specific beach house. The second gray one. I want you guys just the same point, or you guys decide between yourselves, which house you're looking at. Good. Okay, beautiful. Now what I'm gonna have you guys do... is I'm going to pin you. I'm gonna bring your dress. And I'm gonna have you just back up towards me. Gorgeous. Gorgeous. You're gonna turn out this way. I'm sorry, towards, beautiful. I'm gonna give this to you. I'm gonna pin you back again. Tony I'm gonna get you to this side, of her. You're going to be facing that direction. (Tony murmurs) An no, that's good. That was good but no. I love it. Turn towards me. You're gonna put the bouquet in that hand. You guys are gonna hold your hands here. Gorgeous. Now I'm going to have you, can I have you unbutton your jacket? And then you're going to put your ring hand in your pocket, but just your four fingers. Yes, and so, see how all the time when I want your hand in your pocket, see if you can have your coat just like that. Okay. Awesome. Beautiful. Ah, holding hands. Beautiful. Great. And then... yeah, and then excuse me while I adjust this. That's great. Cool. I'm gonna be shooting this at a F4.0, because of the height difference and they're going to be walking towards me. I'm no longer afforded that latitude of having my couple, shooting it slightly wider open at an F2.0. I have to compensate and will most likely do that by way of my shutter speed, so, my first guess is gonna be 250th of a second, 200 ISO, F4.0. So now what I want you to do is, actually, Tony can you stick your hands a little bit deeper in your pocket? Yeah, good! Now Tony can you bring your ankles a tiny bit closer? Good, now I want you to rest your weight in one hip or the other one knee. There we go. There we go. Nice. And, I want you to do the same, Brittany. Just you relax one, into one hip. Exactly! That, kind of like falling into it, is exactly what I want. Beautiful. So your eyes are gonna be here, no looking at each other. Beautiful. Now can you guys, you guys are hand to hand. Now I kind of want you just leaning in lightly for a kiss. Thank you! Thank you. Beautiful. Now what I want you to do is, Brittany can you just bring your body in closer? And then just rest your head. See that's what short girls can do. Good. Now I don't want you to just, be like this. So Tony can I have you widen your legs a tiny bit. Nice. Distribute the weight a little bit more into one hip. There we go. Beautiful. Beautiful. Now, instead of this do you mind, come, bring it here. Chin to me. 'Atta girl! Good. Beautiful. Tony can I have you look out that way, towards the ocean? Give me more of your profile. There ya go. Thank you. Beautiful. And then Brittany look up at Tony. Ah, beautiful. Now what I want you guys to do is walk towards me. I understand there are rocks in front of you. You're gonna take your time. You're gonna start with your left foot, at a cadence of one, two, three. You're just looking at each other. You're not worried about me. I might call for you Brittany. I might call for you Tony. If in the case I call for Tony, Brittany I want you looking at Tony. If I call for Brittany, Tony I want you looking at Brittany. Cool, I threw a lot at you. Let's see how this goes! Okay, I'm going to change my F stop to a 2.8, because I'm not going to have both of them looking at my camera. So the idea them, of both of their eyes being in focus, is not as important as in, say a classical portrait. So, I'm going to compensate again. I dropped my F stop to an F2.8. My shutter speed's going to be at 400. I'm at 200 ISO, and when I count you down in three, two, one, I want you starting with your left foot. And hang on one sec. You guys are doing amazing. Thank you. I was back there and I was like, I threw a lot at you. And Tony just winked like, I got this. I will think you do! I trust that you do! Okay, cool. Okay. Awesome. I'm gonna count you down. In three, two, one, left foot, eyes at each other. Aw Tony, I said you, I thought you had it homey. Ah, you had it. Good! 'Atta girl! Good, good, good, good! Eyes here, Brittany. Ah, I threw Tony for a loop! Okay, eyes here Tony! (laughing) Dude, you talk a big game! I'm sorry, you talk a big game! That was so freaking amazing though! That's exactly, exactly, exactly. No, that's exactly what I want! Okay, I'm gonna turn to the camera and I'm gonna chat a little bit about what just happened. I probably would have my couples do that one more time to ensure that I have the photo that I wanted. But in this case, because of my mad, trash talking skills, Tony laughed in a way that I really liked. Like, he was laughing in like a real Tony way, and I just met him. And Brittany was laughing at Tony which gave her a big, big smile. I'll take it, and we're gonna be moving on. Now-- (Tony speaks off mic) yeah. (Jasmine laughs) that's how it is all the time. The girls are supposed to laugh at the guy. What I'm going to do now, is traditionally, this is like a hot spot for photographers in Orange County. But luckily, just due to the weather, which is a win for us, we don't have too many people out here on the rocks. I'm going to take our bride and groom out the rocks. I'm gonna be shooting kind of like a wide, pano shot, to give diversity to the portfolio, as well as setting the scene. So my bride is barefoot, so I'm not gonna haver her go too far out. I'm gonna be conscious of what she is wearing and how she's feeling. But until then, we're gonna walk out here. So um, what actually happened was we just moved a few feet from where we were standing. But I'm going to crop the photo in such a way that, it doesn't reveal that we didn't walk too far way from the original source of our shoot. But actually just a few feet which makes the clients comfortable but gives them diversity to their portfolio. Where we are standing is on a rocky area, but what I think in my mind is that rocks are a natural, ah, elevation source. So I'm going to choose a rock that's going to give my bride, at minimum, three inches. So I'm going to put my bride on an area that I think might be a tiny bit higher. Because any height, elevation will definitely be beneficial. But one thing that I notice is that there's little tiny crests along the rocks. So, I'm going to put the bride along the crest. So Brittany, I'm gonna have you stand here. I'm going to bring, you're gonna face that way, I'm going to have her dress float this way, because if wind picks it up, that would be fantastic. And yes, for photographers who are wondering if my bride will stand in the water at the ocean the answer is yes. And the answer is yes because I have a portfolio that actually showcases this type of thing. Ah, you look so good! Now, what I'm going to do is I'm going to put Tony a few steps behind the bride at this given point in time. So we're gonna have you take a few steps back. Because the farther Tony stands, right there, perfect, the farther Tony stands, they're gonna eventually get the same height. So Tony I'm gonna have you button your top button. This is a mix between a bridal portrait, in a way, because the focus will definitely be on the bride. Now, I'm a huge fan of shooting wide open. So with this particular situation, Tony being in focus is important but it's not imperative. So, I'm gonna shoot very close to my style which is an F2. I'm still gonna be at ISO 200. I always want to keep my ISO as low as possible. I'm moving a little bit slow because these rocks are a little gnarly. Okay. I'm gonna compensate my shutter speed. I'm gonna try first. That's brilliant, Brittany. Ah, good! Tony, hand in your, left hand in your pocket. With, yeah, nice. Now Brit turn your left shoulder, towards me. Not that much. Yes, that's ultimately where I want the body, but just relax it out now. Good, good, good. Bring the core in. Beautiful. Just, give me a deep breath, and then just relax it all. Just shake it. Just let it out. Shake it off. Good. Already your body changed, beautiful. I'm gonna remind you to bring your core in again, but I don't want you over thinking it, because it just doesn't look natural. Ah, this right here. Good. My settings are an F2.0, 1000th of a second, 200 ISO. My focal point is on the bride. Beautiful. Take a deep breath. Pull back the shoulders. Relax. With your left hand, place it just slightly against your thigh. There we go. Beautiful. But give me a little slack in your wrist. A little slack. Gorgeous! Beautiful. I want that wrist, but lower. Beautiful. Beautiful. Beautiful. Ah, let's see, Tony can I have you down there towards the ocean? Beautiful. And Brittany, I want you turning back to the ocean, but with your left shoulder. I'm sorry, this way boo. This way. (laughs) Sorry, good. Look back at the ocean. 'Atta girl. Good. I want you looking back, there we go, at me. Beautiful. Now, what's happening is that the elbow is a little locked. So give me a kink in the elbow. Now what I want you to do is start with your bouquet here, and you're gonna be facing this way. You're gonna be facing that rock. You're gonna take a deep breath and you're gonna, watch me for a sec. Take a deep breath and you're just gonna lower your, that way. So I'm gonna give you one motion. You're going to be. You're gonna end here. You're starting here, you're ending here, and in the process of you moving, the bouquet comes to your side just so that it's not locked. I'm giving you a lot. You just roll with it and then we'll fix it. Good. (Brittany speaks off mic) You are starting there, ending here, I got it boo! You got this! We're doing this! We are doing this. Beautiful! And we're starting in three, hand, left hand on your, there you go boo. Thank you. One, two and three. 'Atta girl! This time I want you doing the same thing, but this time, I got too much of your profile and too much of your white eye. Bring your chin slightly here, and bring the core in. Right, here we go. Three, two and one. 'Atta girl. 'Atta girl. Thank you! Kind in the elbow, kink in the elbow! Ah, there you go! Heck yes! Tony can you come up from behind Brittany so that your back, your chest is in her back. And you're gonna get your feet underneath her dress. Okay, right now I'm going to be shooting this at an F3.2. I'm going to compensate by way of my shutter speed. I'm going to be shooting at 640th of a second. Actually I'm gonna make that 500th of a second. Cool. So my settings right now are, I'm shooting with a 35 millimeter. I changed from the 15 millimeter to the 35 millimeter, to get a wider shot, and set the environment. I'm shooting at an F3.2, 500th of a second, 200 ISO. I will probably be shooting at 200 ISO for as long as possible. Probably for the next 25 minutes, to which then I will bump it up to 400. This is just based on experience and what I, the style which I like to shoot. So right now what I want you to do is, we're not gonna be really looking at my camera, 'cause it's a really wide shot. So I just for now I wanna keep your face nice and light. Slight smile, beautiful. Tony, you're gonna come down, you're just gonna kinda give her a nice, big, bear hug in three, two, and one. Beautiful. Eyes down at the bouquet. Nice. Good. Tony can you look out towards the ocean? Ah, never mind. Bring it back to me. And then what I want you to do, is just to kind of squeeze in like you're kinda looking down a little bit at her. Yes, that, but not yet. So we're gonna peel away from that. So this is what's happening. I want to actually bring my clients to the ending point. I peel them back and then I work them back way into it. So, the idea is show them what you want, Where you want them to end, peel them away, then work 'em into it. Because that's what's going to yield a really natural pose and him coming from such a height, down to her height. So here we go. In three, two and one. Bear hugging. Nice. Nice. Thank you. Beautiful. Hang out. And because I shoot a lot with primes, if I was using like a zoom, I could just zoom out but what I'm gonna do is I'm gonna zoom out with my feet. I'm still gonna keep the same lens. I'm gonna change my aperture to an F4.0. I'm gonna back up a tiny bit. I'm gonna get up on a rock so that I can be at slightly more of the same height that they are. Cool. Now I'm just gonna set more of this scene. So Ryan forgive me, can I have you back up? Thanks Tony. Good. So because I changed my aperture, I'm going to have to compensate by way of my shutter speed. Because I'm at more of a distance and. This is beautiful. Great. So I'm gonna be shooting at an F4.0, 250th of a second, 200 ISO. We're gonna do the same thing, guys. So on the count of three just kind of come in for a nice bear hug. In three, two and one. Beautiful. Good. Now what I want to do is I wanna create a little bit of movement, but it know it's a tiny bit difficult because of the rocks. The good thing is, is that my bride is wearing shoes, and she's comfortable walking across the rocks or, that's what she told me. So what I'm gonna have you guys do is simply just make a line from here to here. And what I want, what I want Tony to do, we're gonna try to see if he can kind of lead you. As if he's leading you away along these rocks. Now I wanna be careful that the dress doesn't snag. So I'm going to take one step out so I can lift your dress up instead of dragging it across. So hang out one second. Okay. I'm gonna need a pedicure after this shoot! Can you take a couple of steps out? Oh that's beautiful. Pause there. Tony, can you take one step out that way? Boom, great. So what we're about to do is we're going to have the bride and groom walking along the rocks, and that's going to be great, but I'm purposely having Tony to be a few steps in front of his bride, and it will accentuate the height difference and I'm okay with that height difference. It is exactly what it is. What I want to do is I'm going to coach him to have him look back to his bride as if he's genuinely helping her out of the rocks. All I'm doing is creating motion within their portfolio so that it looks real and it feels natural to the day. So, let's see. Tony, exactly, just like that. And as you walk through the rocks, it's going to be natural to feel off kilter. That's fine, just go with it. Just occasionally make sure that you're looking back at Brittany and making sure she's okay which is I'm sure something you would just do naturally. Brittany I want you bringing the shoulders back, the core in, relaxing that bouquet. You can't do anything wrong, 'cause you just look so gorgeous. I'm gonna back up a tiny bit. Now, one thing I wanna point out, is just behind the bride and groom, there are a bunch of people. Some people wearing bright, tie-dye colors. I'm going to crop in camera. Instead of me shooting them directly into this direction, just to save me time later, I'm going to scoot over a tiny bit and crop them out of the frame entirely. I just think of it as trying to think of my post processing far in advance. Because I don't want to have to deal with cropping people out of my frame in Photoshop at a later point in time. My focal point is on the bride. And I will be rotating it to the groom if necessary, but for right now we're good. I'm gonna count you down in three, two, one. Take your time. Casually walk. Not a big deal. In three, two and one. We're walking. Looking back at Brittany. Good. Beautiful. Beautiful. Gorgeous. Now Brit, walk to me. Walk to me. You're gonna be leading. Take your time. Take your time. (laughs) Relax your hands between you two. Nice. Beautiful. Eyes at each other. You can't do this wrong. Gorgeous. Hand in your pocket, Tony. Nice. Beautiful. Cool. Before we leave this area. One thing I'm going to point out is, I want to make sure and find something that's going to give me more height than Tony. Which is difficult. Because on a good day, I stand at five four. He's close to six foot, if not six foot exactly. So I'm gonna try to find a rock that give me, at minimum, six to eight inches and that's what I found. I'm going to find my rock, or my point of elevation, and then I'm going to position Tony within that, so that I can shoot down on the couple. I will have the bride get up on her tippy toes, to level out what that looks like and we're just gonna take things from there. This is my rock. Okay. So I'm going to stand on the rock first. I'm gonna figure out my frame. Cool. Actually, let's just, let's just enjoy this moment real quick. Distribute the weight unevenly, heavily. There you go. Beautiful. Beautiful. You know what? (Brittany speaks off mic) I was gonna notice. No, it's fine. It was fine. I was like, I want it to be that. (laughs) I'm just gonna be more conscious of it, but it's fine. And own it. Own it, own it, own it. It is not gross whatsoever. I just get to see more of your beautiful arm. There you go. (laughs) Okay, good. Good. Beautiful. Nice. That actually worked out really great. You guys, thankfully you guys think I'm funny. This is great. Tony I'm gonna have you come in. And then Brittany you can pause for a second. Tony I'm gonna have you come in. Yes, please. Come in? Come in. Come in. Right about there, perfect. Now that I've positioned Tony, whoo, the best part of this situation, the amazing part and, again, I just happen to be lucky and this is what I look for in a lot of situations is, on the ground there is sand, but there's also a rock. This is gonna be great. 'Cause not only did I get elevation, my bride will get elevation. And these types of natural elevations exist everywhere in nature at all times. So for now I'm gonna get your dress, and what I'm going to do is I'm gonna have you stand as much as possible on this one. And then I will bring Tony in to you. Beautiful. I know it's a little hard. You're gonna get a workout. We're getting a workout. Okay, so Tony come on in great. So the tide's coming up so I need to work fast, as fast as possible. Now Tony I want you on the sand as much as possible. That's great. Now look at this, like, I gave my beautiful bride some inches. Some inches! So, I'm going to shoot this at a 1.4. I'm going to focus on a rotation of eyes. This is, um, lovely. Just lovely. Great. So, I'm going, because I'm shooting at a 1.4, I wanna get really close. I wanna make this a really intimate photo, but I'm going to have to compensate by way of my shutter speed. I'm gonna test it out right now. This is pretty close to what I want. I'm at a 1000th of a second, but I'm gonna change it to 800 because that's just the style I like to shoot, just rather, rather bright. Beautiful. So now what I want you to do is to bring your hand on the inside of his elbow, um yeah. That's great! And then Tony, can you have your hand on her elbow. But um, instead of cupping it, to the side. There we go. Nice. Nice, nice, nice, nice. So I'm gonna adjust your dress. Great. So I make adjustments all the time. Just like I cropped people out of the frame last time, I'm going to make adjustments so that I don't have to do them later in post. Can you bring, bring your hand up to his. Yeah, right there. Just relax your fingers. Gorgeous. Now what I want you to do is to bring your, bring your foreheads in. Foreheads in. Brittany can you drop your chin a tiny bit? There you go. And actually Brittany I changed my mind. Can you put your hand right down here? Good. I'm gonna actually shoot this at 500th of a second, 'cause I feel like I'm losing light and then the minute they got closer. Okay, here we go. My settings: F1.4, 640th of a second, 200 ISO. Take a deep breath Brit. Relax that right shoulder. I just abbreviated your name, it's all good. It is all good. Bring your foreheads nice and close. Beautiful. Good. Beautiful. Now what I want you to do is peel away from each other. Or actually, Tony, were you about to kiss her forehead? I mean, 'cause. (laughs) Good. Beautiful. Now what I want you to do is peel away from each other. Brittany can you look down here at my wrist. Are you okay? Oh I'm sorry, I meant. Excuse me. My fault, my fault. Yes, your faces. (laughs) Totally my fault. Totally my fault. Okay, good, good, good. Now Brittany can you look here down at my hand? Beautiful. Now, I'm having too much of the neck twist. 'Atta girl, 'atta girl! And Tony you come in and you kiss her wherever your lips land. Beautiful. And then, Brittany, eyes here. Heck yes. Thank you. Okay, we're moving. We're in the second half of our shoot, and I've moved them away from the tide pools and back onto the sandy area. Now my goal for this particular part of the session is to have strategy. Strategy would be three main points, what I want them to do. I'm gonna have them walking towards me, just enjoying it against the sandy area. Then I'm going to have them simply just get nice and close out looking at the ocean. It'll be a little bit more portraity in nature, and that's fine because mom and grandma always want something. The tide is coming up so I need to work rather quickly, but we're gonna adjust to it as we go, and we're going to end the shoot with the couple sitting down. Couples sitting down is kind of like, a little bit more intimate. Will also be a great opportunity to put them a little bit closer to equal levels. Now, starting this part of the session, I've positioned my couple standing next to each other, which would be fine and wonderful and great, except for the fact that, these are certain things to take into consideration. I don't want to magnify Tony's height difference. So here's the beach. There's a slight incline. And whenever I see a slight incline, I see it as an opportunity to bring the bride, elevate the bride up naturally. So seeing where Tony and Brittany are right now, he's on the up side of the incline, which is making him even taller. He's probably about six foot two, six three right now. I'm going to have Tony sit on the opposite side of Brittany. Brittany will now be standing taller and it's going to lower Tony, just naturally. Beautiful. Gorgeous. Let's see. JD? I'm sorry, can I get the 50? Great, so I'm gonna have you guys, just, ah, Tony, I actually want you holding the bouquet. I know, I know. There's a vision so, we just go with it. Okay. I got it, thanks. Okay cool. So, you guys are gonna hold hands, and I understand that there are people in the background for this frame, and people in the background that I cannot possibly crop out in advance, but it's all good. I'll worry about that at a later point in time. I'm going to have the couple not be looking at me. I'm going to have them looking at each other. So again, another opportunity for me shoot at a 2.8. It's a little bit wider than like the traditional 4.0, 4.5 apterture, but I can still get away with it because they're not going to be looking at me. As long as they're somewhat in focus on the same focal plane. Right now the height difference between them is looking about six inches. I'm going to put Tony a little bit closer to the water shore which will shorten him and elevate Brittany. So, Tony step a little bit this way. Great. And, beautiful. Now, are you barefoot Brittany? Good. Can you pick up the side of your dress? 'Atta girl. Beautiful. And you guys are just going to be looking at me. I'm sorry, excuse me, at each other. My settings right now are at F2.8, 250th of a second, at 250 ISO. I'm gonna have you guys look at me to begin. Beautiful. Gorgeous. Now, you're gonna start with your left foot on the count of three walking nice and slow, just looking at each other, enjoying. When I call for you, you look at me. We know the drill, right Tony? Wink at me Tony. (laughs) So in three, in two and one, left. Nice. Slow. Beautiful. Beautiful. Now what I want you to do is Brittany, pause Tony, Brittany come up towards me. Come out towards me. Come up towards me. 'Atta girl. Hold on, hold on tight. Tony, don't let her to. Try to get away from Tony. In three, two, good. 'Atta girl. Eyes down, eyes down, eyes down! Oh shoot! Eyes back at Tony! Eyes back at Tony! Good! Eyes back a me, eyes back at me. Eyes down, eyes down. 'Atta girl. Thank you. Thank you. Thank you, thank you, thank you. Beautiful. So, by me actually having Brittany drag Tony from behind, again, we're elevating their height without um, without making too much of a drastic change. So, we have walking. Oh, we're gonna have you guys just enjoy this beautiful beach. Okay cool. I'm gonna shoot this. Can you guys bring your shoulders a little closer? Yeah, I'm too, um. So I could shoot this with a 35, but I actually don't like that distortion. It doesn't distort too much on the 5D Mark III, but instead of me changing my lens, I'm simply gonna hop up on this ledge, which will give me a height and distance. I'm gonna do two angles. One directly behind them. And I can already tell right now that, I'm at too much of a height distance so I'll squat. But I'm gonna just get my settings adjusted to where I want them. My focal point will be on the back of the bride's head, but for a specific reason. Brad. Brittany? Can you rest your head on, beautiful. JD, can I have the 35 on deck? Jd? Can I have the 35 on deck? I'm gonna shoot this at a 1.4. A 1.2. Because I can. I'm gonna adjust by way of my shutter speed. Brit, can I turn back and get a test shot real quick? This is fantastical. I'm shooting at a 1.2, 800th of a second, 250 ISO. Lean on, lean on Tony. Beautiful. 'Atta girl! Good! Now, come up, look out towards the ocean and on the count of three you're gonna look back at me. In three, two, one. Good! Beautiful. Good. 'Atta girl. You look so stinking beautiful. This time what I want you to do, this time what I want, yes, that! What you just did? You looked back and you look gorgeous and confident! But just relax the eyebrows. (laughs) okay, okay, okay. That's brilliant! In three, and two and one. Good! Now what I wanna do, that exact thing, but bring your torso closer. Yes! But only movement, not. Yes! You got it. You got it, you got it. In three, in two and one. Good. Again, but looking a little, tiny bit happier. (laughs) Okay, in three, two, one. Good. Tony, can I have your hand in your pocket? Your left hand in your pocket? Nice. Core in, turning around, happy face in three, two, one. That's it, now. Good. 'Atta girl! 'Atta girl. (Brittany speaks off mic) After this we're going to have the couple sit and then we'll call it a day. Good. (Tony speaks off mic) Can you guys turn towards each other? Oh that's cute! I need you guys to not do the cute stuff if I am not shooting! I mean people! No, that's brilliant. Good, good, good. Good! Nice. Now, just how we had started, can you, um, the start of the shoot where you had your hand around. Keeping the bouquet in that hand. (Brittany speaks off mic) Yeah. Ah, let's see. Okay, never mind. Great. Bring your torsos nice and tight, nice and tight, nice and tight! 'Atta girl. Relax that left shoulder. In three, two, one. Gorgeous. Eyes at each other. Ah, let's, let's back it up. Okay, okay, okay! (laughs) And then, let's see. Nice! Bring your foreheads to touch. Good. JD fifty? JD, JD! 85, 85, 85! (laughs) sorry, sorry, I love you, thanks! Okay, great. Beautiful. So I'm turning on the 85 because this is a beautiful portrait lens. It's a little slower to focus, but I'm okay with that. I'm gonna change my ISO to 320. This is just a test shot. I'm probably going to have to bump my ISO to 400. Yeah, I'm gonna bump my ISO. It's time to, it's time to get this party started. Let's go to ISO 800. Yep, I'm where I wanna be. My settings now. I'm shooting a traditional portrait F4.5, one 60th of a second at 800 ISO. I'm not gonna actually tell them any instruction because they're just laughing and hanging out and having a great time. So in that case, I'm gonna shoot a candid. Good. They're looking just happy. Can you guys look here at me? Are you on your tippy toes lovey? Oh, 'atta girl! Bring your faces in a little bit closer. There you go! Eyes at each other. Beautiful. Can you look over, ah JD can you wave? Can you wave at them? Can you guys look at JD? (laughs) Good. Nice. Good. JD can you stand closer over here? (laughs) Thanks. Good. Ah, very good! Tony at JD an Brittany at Tony. You're looking at Tony? You're looking at Tony. There you go! (laughs) No, Brittany you're looking at Tony. Tony's at JD. There you go! (laughs) We need to just, we need to just stop, we need to stop depending on him! You know, you're a lost cause. Okay, I'm gonna hop down. (Tony speaks off mic) I know, that's true. (Brittany speaks off mic) So we're going into our last shot of the day. We have lost a considerable amount of light, but as long as I can end the shoot on a high note for my clients, then I know that I did everything that I set out to do. We had three main objectives in the first part of the session, now we have three main objectives in the second part of the session, but we've kind of interspersed things as they happen naturally. I'm gonna go into the last frame of our shoot, and we're gonna hope for the best. I'm gonna have them sitting down, as this will be a great way to even out their height difference, kind of get in a nice, emotional close pose, and then we'll just call it a day. So here we go. So, let's see. I'm going to intentionally place the groom away from this gate, but I'm not gonna place him too close to where I've seen the tide come in. So, I'm going to have, Tony, Tony can you just sit down here and kind of face in that direction? Now I don't actually coach a guy too heavily into where I want him to sit, because I wanna see what his body does naturally. Great. So now what I'm gonna do is, I'm going to place the bride, I'm going to place the bride sitting right here, and I'm gonna adjust her body from there. And I'm gonna shoot really quick. JD can I get the 50 on deck? Can I get the 50, please? Okay, here hang on one second. Hang on one second. Brittany, you're gonna actually come to your knees. 'Atta girl. Boom. Good, good, good, good. And you're going to sit on the side of your bum. 'Atta girl There you go. That's great. I wanna see a little bit of your feet. Now I'm intentionally showing the bride's feet, because if I don't, she's gonna look like a cupcake. Bring it out a little bit more. There you go. Good. Good. You're gonna interlock your arm. We'll see, we'll see. Okay. Brad. Brad, Brad, Brad. Okay, cool. Um, I actually noticed that the bouquet is in competition with your feet. So I'm gonna place it out a little bit like that. With the head kinda facing up towards the camera. So Tony as much as possible, fall into the pose so you're just kinda just still a little bit. There we go. That's great. Already the body kinda changed a tiny bit. Beautiful. I'm going to shoot at a 2.5. I'm gonna drop my ISO to 640. Can you guys look out that direction? Now one thing that I can tell right now, is the position that I have actually placed the bride, it's magnified a part of her body that I actually wanna minimize. As a result, I'm going to turn out this side, part of her arm, I'm making it look too large. So I'm gonna have her turn her body out so that I can consider that later in post. So can you turn a little bit more towards me Brittany? You can keep your body in that way, and then shift your shoulders out towards me. Good. Now, I'm gonna have you just place here. And then wrap your arms, 'scuse me, wrap your, there you go. Now lean in. Beautiful. So I basically just shifted her position of her body not to kinda showcase what was going on in the back of her arm. Now I think it looks much stronger. Relaxing the hand. Nice. Looking at each other. Looking at each other. Great. So there's somebody walking in the background, and I'm just gonna let him pass. I'm sorry guys. We're gonna let somebody pass in the background. So this is what I'm thinking so far. What I'm thinking so far is this pose isn't all that strong. I mean, just to admit it. But I'm gonna shoot through this pose and then amend, to see if I can create something a little bit stronger. Can you guys look here at me? Beautiful. Brittany see if you can bring your head in a tiny bit. Okay cool. Yeah, I know. It's my fault, it's not you. It's totally not you. Lemme have you. Let's see, I can move you easier than I can move Brittany. Let's see. Tony can you scooch your bum out towards the ocean. Stay there lovey. You're gonna actually turn towards me. Yeah. And then scoot back. Yeah. And then Brittany, you're just gonna kind of hold his, yeah. Actually, go back to what you, I like it, I liked it, I liked it, I liked it, I liked it. And then um, Tony can you hold my camera real quick? Can I see your left toes a little bit more? Good. And then wrap your arm around. There you go. Can you lean against um, can you lean against, Tony. There you go. (Tony speaks off mic) It's okay. It's okay. Good. Okay. One, we're gonna do one last shot. I'm gonna fight for it. If this does not work, we're cropping it. Scoot back Tony. So that, she's gonna come in the crest of your body. Okay. Yeah. Okay. (Brittany speaks off mic) Okay, one important learning lesson. If your clients aren't comfortable, chances are the photo doesn't look good. I'm trying to fight for the pose and it wasn't working. And I think it's so painfully evident that it wasn't working and here I was trying to fight for it. Third time's a charm. She feels comfortable. Tony looks masculine. He looks comfortable. This is exactly where I wanna end it. Cool. Cool, cool, cool. Beautiful. Can you guys look maybe in that direction? Nice. Ah, can I get the 35? And this is where were gonna end it. Oh yeah, great. Thank you. Beautiful. Tony eyes towards me. Eyes down Brit. Beautiful. And then eyes at me. Now we're not gonna be paying any attention to me. You're gonna be looking down here. And then, Tony can you give her a kiss? Good. That's cute. Cute, cute, cute. Eyes down. Great. And then Tony eyes here. Just Tony, eyes here. Forgive me. And then actually, Brit, can you look out that way? Ah with your chin, not just your eyes. There we go. Beautiful. Slight smile Brittany. There we go. Eyes, hands here. Eyes. There we go. I said hands. Aww. What the heck, man. I'm all over the place! That was so good! Thank you. Thank you a thousand times over thank you. So this is the end of the shoot. For those of you who are paying close attention to what was happening at the end. What was happening at the end was, I couldn't get the shot to work, and as much as I was trying to fight for it, I knew that I had to make adjustments to tweak it so that the couple one, felt comfortable and two, that it felt natural. I actually took it through three variations of it, to actually find what it was. And if I had an idea in mind, um, this is kind of the progress, the evolution of what happened with the pose. I had to change three times, but at the end she looked at me and said yes, this is it, this is comfortable. Once I actually got them into that pose, which was simply just something that's trial and error. Every time I position a couple and I know it's not working, I need to make a few modifications and adjusts from there. So you saw it three different ways and three different times. Now, and I actually think we're gonna get a photo that I ended up liking from it, whereas in the beginning, just the photos weren't really landing. So a quick thing just to kind of recap what happened today. Anytime that you can put, place the subject who's taller in a tall short relationship, against a natural edifice, so that this person can rest and come down a bit in their posture, which would be phenomenal 'cause when you bring the shorter person up close to them. Secondly, any time that you can place the shorter subject in front of the taller subject, it'll even out the playing field a tiny bit. Lastly, if there are natural things around that cause elevation to one person or the other, make sure that the shorter person is on the elevated slope, elevated rock, elevated anything, to make sure that the heights are equal, and that both the couples are enjoying themselves. Like I started in the beginning is how I'll end. 'Cause I don't want to make my couples look any different than how they look. They know that one person's tall and one person's short. My goal as a photographer is to document them exactly how they are but at the same time diversify the portfolio in a way that gives diversity so that they have the option for those types of photos. Thanks for joining me on this shoot, and I hope you have a great day! ♫ Let's get it back on track ♫ Let's put the mark on the map ♫ I'm gonna take you away ♫ We're never ever gonna look back ♫ And if you want me to stay ♫ All I need you is to say ♫ I want you, I need you, I love you ♫ Wouldn't you like it ♫ Wouldn't you like it ♫ If we could just go anywhere ♫ And wouldn't you like it ♫ Wouldn't you like it ♫ If we didn't have any cares ♫ And wouldn't you like it ♫ Wouldn't you like it ♫ If we could just go anywhere ♫ Wouldn't you like it ♫ Wouldn't you like it ♫ If we didn't have any cares ♫ Let's make the moments count ♫ Let's make adventures out ♫ Of all the normal days ♫ Let's make a getaway ♫ And if you want me to stay ♫ All I'll need you is to say So what we, I, it's like a default word. Have you guys noticed? Awesome! Awesome. There could be a clip at the end of the show, it's like awesome, awesome, awesome. Okay! What you have seen was the approach that I take for posing a tall and short couple. I will say it again and again. What you come to me for, is what you get. Yes I might amend a few things, but I would never openly admit that this is what I do where I change my approach for any shape, size, anything of that nature. However, if you find yourself in a pinch, and you're just like, I'm stuck and I feel frustrated. Let's go through a little cheat sheet. First and foremost. What I want is the groom sitting, maybe perhaps perched against a ledge or in this case it was a rock, and the bride standing. It would lower his body naturally and bring their faces roughly about the same height. The bride standing on something to make her taller. This was shown again and again in this video. You would be at a beach and you wouldn't think, oh well what could she possibly stand on? We found two or three different edifices to give her at least four or five inches in height. In fact, I had posted a photo, like a sneak peek from the shoot on Facebook, and I was talking about how to shoot a tall short couple and somebody had left a comment, so they're like, well they look a bit, to be about the same height. This is not tall short. And I'm like hmm. You missed the point. If they look like the same height, I did my job. Next thing, I want the bride leading the groom while walking to me to minimize the height difference. The closer a subject comes to the camera, the taller they appear. So if he remains about two or three feet behind her and she's two or three feet in front of him and I'm about a foot or two in front of her. Boo, boo, boo, boo, boo. Their heights then match up. Now I want to move to the bride and the groom sitting. Most of height comes from the legs and appendages. So torsos, I can actually get them on a closer planal view if they're both sitting. Next, the groom opens his legs wider to lower his height without having to bend. I don't want to make the groom look bad on account of making the bride look taller. So a lot of times just depending on the height, to have somebody just lean, lean, lean, guys just aren't good leaners. Girls are better leaners. So if I'm going to do that, I would ask him to open his legs. And then what I would do is I would crop the frame waist to waist. And now that I did, at least, even if I shaved two or three inches off, that's two or three inches better that I think that I can work with them. I want the groom standing at full height, and then leaning over to kiss the bride on the head. If there is going to be a lean, it would be more of a cutesy lean. Like he's gonna magnify his height, but come down into that natural frame that I like. Now, what I think might be good would be the bride dipping back and the groom leaning into her. 'Cause that's creating a natural lean with purpose. So we're going to shorten her body and we're gonna elongate hers. That's something that I can go to as a default. Another tip could possibly be for the groom to reach down and pick the bride up. Now it depends on what they're comfortabilities are between each other. Sometimes I have had grooms with a lot of upper arm strength, to pick up their bride and kind of like lift her up, but most of the time, she will put her arms around his neck and he'll grab her around the waist and he kind of picks her up and it makes it kind of like a cutesy photo. But the thing with that, is the not so attractive photo, is when he's giving her a bear hug and then they just stand like they're sitting, and she's just elevated. It has to look like it was really natural. You have to move them into the pose. So you say okay wonderful. Put your arms around her. You're talking to them from behind the camera. Put your arms around her, squeeze her nice and tight, can you pick her up, can you pick her up, until all of a sudden, another thing that just irks me is the, this. And then they just stand there like a pelican. And I'm like, or flamingo, not a pelican. Or a pelican and a flamingo? I don't know, I'm not a. Anyway, a one-legged bird. We don't like that look, right? So what I say, if it happens naturally, and they moved into that pose, then that's when I think it's gonna be the more solid fit for bringing their sizes down. In a worst case scenario, if you see me do this, at the not dream wedding, you will know that I'm in a pinch. And what the pinch is, is if I'm really stuck and I don't know where to go, I have the groom twirl the bride. That is a time saver y'all. Like, I'm just like, oh code red. Don't know what I'm doing, don't know what I'm doing. Why don't I have you twirl? Great, so you just hold her. Great, great, great, but in the back of my mind I'm like, what am I doing next, but I'm giving something to do, and maybe one of those photos might make the end portfolio. Lastly, the bride facing the camera, the groom from behind with his legs separated leaning down into her, but because he has separated legs, his legs, I can crop from here, and as he leans, he's not going to be leaning forward, he's going to be leaning down into the side. He will either just be looking or kissing the top part of her head. They're gonna squeeze her in nice and close, and bring that back down. You will also see this reflected quite often, in the not dream wedding engagement gallery. If you've downloaded the course, you will be able to see what I mean in three different variations of that pose. So now what I wanna do is I wanna head into homework. What I want you to do when it comes to posing a high low, tall short couple, is I want you to add three to five poses that reflect your brand. Now, if you need a refresher on how to shoot for your brand, what I want you to do is to revisit a previous episode that we had entitled, How to Shoot With Intention. Once you know that trajectory of the words that you're going to choose, you're gonna have your poses, but then I want you to add three to five different ones for couples of different heights. So this is the overall portfolio stays the same, but you've added a few modifications to kind of get them down to the focal planes that you prefer. Okay, my question is sort of related. I am similarly not a vertically gifted individual, and I've noticed recently that shooting up towards a couple, especially a tall couple, can be really unflattering. Are there ways that you can, that you work to avoid that, that you work to augment, not augment but diminish that angle. Absolutely. Absolutely. So, when it comes to posing a couple the same height but that are taller, I will use a lot of the same poses or tips that I had thought here, but I'll flip it. So when I ask, for instance, as you've seen in the video, I asked Brittany to stand on a rock. And that made her almost as tall as Tony. But that's six foot, and I'm five three on a good day? So what I need to do is what I then found was a rock around them so that I stood on the rock, and then I shot down on them for that particular angle. Now the closer you stand to your subject, the more you're gonna have to angle your camera up. So when I shoot taller couples, which does happen often, I will back it up a little bit. So now I'm just, I might not, when I shoot a tall couple and I'm close to them, I must find something around me to stand on. If I have nothing to stand on, I simply walk back. But I will tell you that the minute, it's very similar to how to look for natural reflectors, it's how to look for things to stand on and then you start saying okay, which is why I arrive to a wedding venue early. I arrive to an engagement session early. It could be simple as a curb. A curb gives me a good four to five inches. Now if I place my subjects in the center of the street, now caveat, I don't want somebody on the internet being like that's so dangerous, let's pretend that this is a street where both ends are closed. The clients in the center of the street, and I'm on the curb, I am now of equal height, and now it looks like exactly what I would pose a client of a shorter height, or maybe my same height. Awesome. (audience member speaks off mic) Hi! Do you ever bring like, when you're shooting a tall short couple, other than like looking for natural things, do you also like bring a box or bring a stepstool ever, if it's like a really tall couple that you're gonna be chasing around all day? You know, um, I don't. I do know that other photographers do that. I don't think that it's part of my brand. I have been very fortunate to photograph athletes, and we have shot a few like NBA weddings and, in addition to the groom being tall, his workplace, his co-workers, are all seven foot tall. So even if I took a box to stand on, I would still be short, and in light of that, I don't, but I don't have problem or see an issue for people that do. Just for me, I work so fast on a wedding day, that I couldn't imagine being like, oh hold on lemme get my step ladder, and then like move with it, and I'm like okay, okay now. Family photos and then I'm gonna step up. It's just not how I roll, but that's a personal decision. [Female Audience Member] Thank you. I was just gonna ask, do you use the same techniques when the bride is taller and the groom is shorter. Ah, largely yes. But for instance, like one of the poses where I had the bride lean and then the groom lean into her, I would not have him lean back and her lean into him. I absolutely would not. However, the pose that I would use and use quite often, is having him walk ahead of her. That one works very well for me. And, for a girl it's okay, I have to be very careful with these gender conversations. From my experience, it's easier to ask a girl to step on something to elevate her, and not so kosher to ask a guy. Now, the couple knows that she's taller than him, right? I mean it's not like they're seeing this for the first time. So me documenting them exactly how they are is entirely okay. Now, in another lesson, how to shoot a curvy bride. I was working with a curvy bride and her fiance was a bit shorter than her. Now when we were shooting in natural environments, we were shooting almost in like a concave area. Now, it wasn't a curve, a curb, but it gave the same effect. So without saying anything, instead of placing the bride on the curve, I placed her on the down slope, and him on the up slope. Without saying, homey you're short, lemme even this out, I'm like hey, why don't you stand here and I'll place her here. So finding natural things in that capacity, is always a good thing. And in that same situation, and again, I just work with what I'm given, but in this situation, there was a fence. And so I said can you lean against this fence? I want you standing nice and straight, and I want you just to kind of give me an arm, kind of relax back into that hip. And once he was relaxing here, I said Ashley, come into him, so she got in nice and close and I said, I'm just going to want you to open up your legs, relax your weight back into one hip, and I want you to fall into him. So, those types of things happen naturally, and you can do it without the guy being really conscious of what's going on. (audience member speaks off mic) Yeah. Are there any other questions? Fantastic. On that note, we are going to close this section and, next time you approach a shooting situation where you are photographing either a high low, tall short couple, I know you guys will do it with ease and with grace and if you're ever in a pinch you just pull out that cheat sheet and you guys are gonna be fine. Thank you. (applause)

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.

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  • 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.