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Posing the Bride

Lesson 6 from: Think Like a 10K Wedding Photographer

Scott Robert Lim

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Lesson Info

6. Posing the Bride

Lesson Info

Posing the Bride

Great okay so we're going to get to the bride now and we're going to really start moving because the groom like I I say when I shoot the groom it's like there's very little options that you can do for the groom make him look strong confident given one smiling shot for grandma and mom and bam you're often going where as the bride is a completely different story there's so many facets and ways to pose and emotions and feelings there's a lot to cover so let's get to it okay um this is my main philosophy make a woman look like a woman what I mean by that well what I mean by that is what makes a woman look different from a man can I give you a hint look at this poached picture okay now this is one is in my bahamas workshop last year and let me give you a hint what makes a woman look like a woman and not like a man there's kind of two areas there's this area on then there's this area okay so basically my posing a woman is to make a woman look like you wanted what is she she's this and this m...

ake it come out show that beauty that curve that's what she's about and that's what I'm trying to accentuate so when I'm looking at bridal photography lets say I'm critiquing it well does this woman like the like look like a woman the photos that I like the least and I know that we all do him because we need some variety in our shots is when the man the groom looks exactly like the women like you know the holding hands one right or they used to do this a lot it's holding a tree and look right so whenever the band looks exactly like the woman I don't like it because as of wedding photographer I want accentuate both their different qualities so man, I'm looking strong and confident where's the woman I'm looking more like whatever I mean there's so many things a woman is right demure or sexy or whatever and so that's my general philosophy and there's another one that's a little bit different is what it feels right eso whenever a woman wears great shoes then you've got to make sure that that somehow featured in some because she spent a lot time choosing out those shoes and sometimes they're very expensive to sew those kind of three things I mean this is if you can get it in general but definitely this and this that's that's what's all about to me okay so let's see go to poses for the bride okay one I've got to really this is all I do really and what is the same thing that's popping the hip but there's an added way on how there's an extra way you can pop the hip ana women because you can make a woman look feminine and masculine and it still works and so that's why there's a little bit more variation and then there's the roll over or the lean and that's when you have the bride either sitting are on the gap are on the ground in this case we won't do too much of that live because the dress that she's wearing a so formfitting it's hard for her to sit and lay down but that's okay that's fine that's a real world situation will have to deal with two but I'll show you how to do that through the lecture slides okay so this is the one way to do it and it's popping the hip towards the light it's very similar to the groom post right the head till the hip and the head in the same direction so whenever this is basically whenever you tell a woman give me something sexy this is what they do pop the hip out and they do this right this is it this that's what happens and so generally what you want to do is you pop the hip out their heads out it's kind of like the same as guy right and it gives you but it could be a little bit mohr curvy to it where is more aggressive in that curve in that pop the hip and let's do this and it creates that curve that's what like watch see that curve so actually let's bring hanna hanna right that's hannah right look at how beautiful she is. Get ready. Wow. Okay, so let's try to have her do this, okay won't you come over here? So what you're gonna do is you're gonna pop out to ship this way oh, you can do this with yeah, do this way here and then kind of look after the safety that and then look to me right? See that curve that she has right here um and it's very much like a guy's post she can look off this way if she looks off this way could put the light that way if she looks more towards me I could try to do it to find the lines like an shooter. What? I could come back and could shoot her wide then I could shoot her tight whenever you've got a great pose wherever you shoot it it looks good. So if you want to judge your photos, look at the pose and wherever you zoom in if it's on the hands or if it's on the ear or wherever it should look beautiful, then you know you've got a perfect post no matter where you zoom in on that all right, thank you have it for demonstrating that okay, so that curve comes out there okay, now look at this this is interesting you can make somebody popping that hip more masculine or feminine if you have the hit okay here's the camera where's the camera right here okay here's the camera if I have the hip going away from the camera here I'm looking more masculine but if I move the hip forward towards the camera I'm looking more feminine but it's the same pose so you can very masculine too feminine it's just you can use that to your advantage how you want that person to look and so here it is exact same pose I did from the male does she still look like a woman? She looks great right head knows towards the light head lean to break the stiffness so that's the same it's that polls is exactly like the guys post where I'm off this way and you're breaking that just breaking that head tilt that way to get that curve right it's the same pulls it did for a man but maybe now you have the variation of doing the same thing up here like this but the same pose but just the position of this hip makes it look different. Okay, so you can experiment with that. I recommend the light source is always going towards uh you could actually do that with your bride let's spring cannon again and let's try that so I'm gonna have you. What I like to do is I like to demonstrate first and I don't know what's that saying about me, but I would like to demonstrate first, so I'm gonna have you you like to lean this way? What does it say? She's talented let's. Just go this way so we're gonna have you kind of like, if this is the camera here, you're goingto kind of position this way and you're gonna bend your hip away from the camera like this and then I'm gonna have you come up towards the camera, but your head is always going to be so want you stand right there, right? So you're gonna turn that way? Yeah. You just follow me, right? And then you pop your hip this way. Okay, let's. Look, see? She has a very masculine turn. Turn your head like this. Okay. Towards mejust bennett. Just a bit right there. Okay. Can you exaggerate that hip a little bit more? There you go. See how I made her do that? Just that extra little off I need from her. Okay, now, let's, rotate. Keep your head. Word is kind of, but let's, rotate that hip uh, yeah, and do that too much let's, go back here. And then do that same thing pop the hip and then you could bring the shoulder up like like this and then look that's going to give me something more feminine turned your head more that way it's the same thing but it has a different field but it's the same thing and you can see look is quite different but the same pose with sister the position of thank you hannah uh the position of that of the hip so there you go you've got a variety of poses with the same pose right there's something very simple okay, so look at the difference that one that picture there the first one post like the males very masculine then I brought her hip forward and then I was able to do something more girly with the arms and it looks a totally too don't those two look different? They look completely different but it's the same exact pose it's just between where the hips our relation to the camera and then because this is more feminine it gives you license to do more feminine things when you're doing something masculine, your options are list limited when you're doing something more feminine there now I could do this you could do whatever it's all there for you but it's the exact same post questions on this we don't have time for questions because we gotta keep going theo hip away from the camera hip towards the camera okay see her hip is away in that one towards it and it has a different feel to it that one on the right has a little bit more feminine feel to it versus that one on the left has a little bit more masculine feel to it so if you look at this it doesn't that look pretty much identical, right? Whereas you still get that curve from the guy and you still could that kurt it's it looks like the same thing it is the same thing they worked for both. So if you learn one pose you could just do for both. Okay, so here's another one where we can also do is a sane thing lean it isn't this looked familiar? Didn't we do this with the guy where we're leaning her against? Uh the something doesn't that look the same there? Right? And you can see that it's the exact same pose whereas with the gentlemen we could remember who was did I pose you? Yeah, I pushed I just angled his hips back like if he's leaning here is deceiving here like this, I put his hips back further so that shoulder would look higher, right? But it's exactly the same place so for the guy you could maybe push the hips back a little bit where as the women you could put her hips even towards the camera to onda will look okay I will get into well maybe we'll try that but I see that now that's exaggerated if you're going on the bahamas workshop with me right after this she's gonna be there posing so that's going to be great so see how exaggerated that is that curve that comes out there right the head tilt towards the hip right arms away from the waste that's another thing what you want to do is get your arms away from the waist so you could see her shelf let's bring hannah back into here and let's have her pose the same thing just uh your hips this way yeah, right and you're looking up that right now let's put your arms close to your waist just let's do the wrong yeah I'm goingto purposely do something wrong so exaggerate that hip like that and then you're just going to keep your arms like she still darned skinny she looks great anyways but so what we want to do is make sure you can see this space in here so there has to be space here why making a woman look like a woman? What is a woman it's that hip there? So if you've got your arms they're covering it up you're not seeing what a woman is so that's why you have to kind of accentuate that some people make them put their hand behind that there or see how she moves her arm in or she can kind of put her arm up this way in your kind of leaning pretty chin down exaggerate your hip a little bit more right on dh so you're accentuating that waste thank you hannah is make sure those arms are away from the waist is public better that I do it because I'm not wearing a mermaid outfit so what's right? I'm popping the hip this way looking this way you can't see my waist so if I move my arms back you're going to see that space in there it's going to accentuate that curve curvature in the women okay here's again I'm popping the hip that noses towards the light so basically it's like if I was posing right here right let's say if I was posing right here I could have her looked towards this area here and I pop the hip and this is when you're having a little bit of trouble with the bride she's not an actress she's not like hannah she's she has imposed before this the first time she's ever posed in her entire life. She's feeling like a little bit nervous leaned them up on something it's a lot easier when somebody is leaning on something to do to do oppose because they don't have to support themselves the right way so lean him up against the wall pop that hip out but the nose towards the light and you're going to get a good shot every single time it might not be like super fabulous but it's consistent and even a lot of people don't even do this so you're ahead of the game okay arms away from waist there's that curve right there that's what you're going for that curve right in same thing knows towards the uh right okay and it's a little bit more feminine because the hips the way she's she's leaning and hips are a little bit more towards the camera that pose will not work for a guy I'm sorry because the hip is towards the camera and when that happens it's more feminine not masculine hip has to be away from the camera for to be masculine so that's why? If you bring the shoulder up at the same time that's gonna have that feminine feel so lookit I turned her face right? Do you see that line to find? And then the lights heard noah this is pointing towards the light. The other side of her face is defined by shadow perfect right there and what I always like to do is when especially if you have bright light but it works in this case too is that especially if they're wearing a white dress is the body always goes away from the light the body away from the light the face towards the light why is that anybody? No, you got it shadow look it now in this particular photo here where you're going to get all this shadow in here and it's going to define the shape, make a woman look like a woman. So if you don't see a shadow here, you're not goingto, like, see the best part of the woman or, you know, one of the best parts s o that's why, if you turn the body especially if this was really bright light coming in, then you have to get that shadow rose you're not going to define the shape. Shadow defines shape without shadow you're not going to get shape. So that's, why it's important to have that too? And it also has that slimming effect on people, especially on the face. Her face is a little bit wider. I had to put shadow on her face to me if I'm photographing her because her face is wider. So it's a must. So when you see somebody, you know, they could be very pretty but it's just that they have a wider face. You've got to get that shadow on them. Okay, there is there okay, this is the other end where I call it the more of a classic traditional, okay, um and this is what I used to call like the walkaway pose and why I called it the walkaway is I was walking away from the what light so I was walking away so um what this camera's on here so what's happening here is let's say the light is coming this way how this works is that I'd be walking away from the light so I could get shadow here popping this hip and then looking back at the camera okay this is very classic this is probably the number one pose in the world because it pretty much works on every body type and so it's a very long elegant post and you're getting this diagonal line here this way because the curve is not as accentuated as if I were to do this see that versus this is longer here so to really see the difference of poses let's say I started I'm going to show you the two let's say my light that I mean my head is pointed this way here right and I wanted to keep my head there but do the different pose if I shift the weight on the other leg don't I look longer now right so that's two completely different verses this so I could have the light coming from one direction I can have him do both poses because I could do this long look this way right and then I could also do this look this way those are the two different times this is more kind of modern and sexy and fashion field where this is more elegant and kind of uh you know, um just elegant and confidence and sophisticated so you can look at your bride and you can see how they are, how they're dressed, what type of person they are you can kind of sum them up maybe if they're a little bit older bride they might not be into this kind of thing, you know, if they're in their forties or something like that but everybody looks good in this it's not as over the top this move that stuff right but it's classic it earned you money it's solid it looks good and so that's why I usually start off like teaching people this pose here because it generally works for everyone if you look through the fashion magazines, you'll see it all the time it's there constantly ah lot of times now when they do they do it like this and they just dropped this arm down but they can hold some flowers right here and the key to that is you're popping this hip out like this you're putting this neat in here like this so you get this mermaid she's already wearing a mermaid so it's kind of give it that right there like this long so let's have her can I come in let's have her do that pose where you're gonna say I let's say I'm the camera, right? So, um, the camera's gonna be over here so she's going toe come here, you're going to pop out this hip this way and you're gonna look off this way like that, right? And you could just exaggerated a little bit more, right? And you're gonna look off that way, right? And so instead of it's, it has a little bit more elegant feel teo, turn your body this way so the light would be coming in this way and she's looking off this way here, okay? And look at me but you had this way a bit too much down over this way, right? And then exaggerate that hip a little bit more right there. See? I can tell, by the way, she's posing that and she's interacting that she's used to doing this post because she actually wants to go to this post and maybe that's her power pose or whatever. So I'm actually having her do something a little bit different then she's accustomed to so you have to take that in consideration to when you're posing somebody, especially if you only got one minute sometimes I'll just scrap it, I'll just okay let's, just stick with the curvy because that's what she does but it's no one has but I'm telling you the person thank you kind of but the person who has never posed before in their entire life I actually don't go to the curvy I go to the to the walkaway diagonal type of pose because it's not as aggressive and everybody looks good in it okay does anybody have any questions about that versus see this is this is like the curving here this way and then this is the more you I'm switching I'm keeping the head the same but I'm using this I agonal instead versus this curve here this is more diagnose okay um so we could break it down a little bit see how traditional that looks okay it's not something over the top the hip is away so basically the hip is away from the camera at that point the head is towards the light. Scott yes quick question from the internet over here for question cool so a lot of people are asking about what your workflow is to get your models your brides into the proper positions do you talk them through getting into them? You actually we touch them a little bit to get them into that right look wrong I don't touch them right away you know we're going through the whole day and and I feel really comfortable with the bride of whatever I start that but in general I don't move that sometimes I do especially if we had an engagement session before and they know what I feel comfortable that's like pop that I usually this's my method I show them that's my great I showed them first so if I was going and doing something against oppose I would say, hey, I want you to do this pop your hip out this way and then look over here or whatever right look back that way and I just want you to feel like you're really cold or something you know? I saw I actually get into it I go into character right? And I had to learn how to do that I had to learn how to feel like a woman and it was very foreign to me very very I'm like this is weird but the strange thing is is that I kind of like it now I mean it's like I have to pose that way I have so like when I like I mean I'm over here right? And I want a pulls there I can't tell the client to go over there you know what I have to do? I have to feel it so I go oh shoot I'm in this chair here if I was a woman like what would I do uh something like this so I get into character right? And I showed that I can we do something like this you know we're looking across and I show them and I go to that place they laugh at me and they go wow that guy's pretty good doing poses and that allows them to go there too so that's my method everybody has to come up with their own way of dealing with things but that's how I do it I find that's easiest yes what if you ask them to do something and you feel like they're not comfortable with a people back or kind of tell them okay trust me gonna work or I mean I was usually the reason why it doesn't work is that our technical skills not high enough it's our fault ok it's always my fault so and that's and that's the way I do it because if I can't break it down to where it looks good it's something about me I'm not telling them something correct it's never the model in the rial fashion world it's always like if you were watched that america's top model and everything five tyrant just sits there clicks away they set up the light takes four hours to set up the lighting just click click, click and it's always up to the model right because that's what it's about the model giving the look the model as a wedding photographer I have to generate all that they're not models so it's all on me and so if they're not looking right it's we need to get better that's my thing it's like we don't have it down yet but that's okay, you just get up and go to something that's why I always start with something that I know that I can do first and then I break into it and it doesn't quite work out that's fine because I at least have something and you know we're going to do that we're gonna go through weddings aa lot of times where it's not gonna work out that's ok get it next time but we're practicing and you get to the point where you get better and better so don't be afraid to fail during the wedding day but the one thing you don't want to do is you just don't want to have it experimental type you've got to get something first okay you gotta hit that single first and then go ahead from there okay uh let's keep going nose towards the light but the opposite direction of the hip okay if the base and foundation the poses correct everything else will look correct so look it I went back I shot this photo but I'm just coming in closer right changed and it's all looks beautiful when you get the base correct everything else looks correct you can shoot it anywhere, just change the emotion or changed the look look off or whatever and and you got a completely different look with one pose and so that's what you want to do is that you want to be able to do one post but get a bunch of different looks at it because you only got one minute to shoot the bride. Okay, I want you to get that in your head okay? You've whenever you're practicing or whatever, I got one minute to knock this out of the park out in one minute practice that that way get it into your head that way that way you're gonna feel a lot better about going into your sessions do not realize that thinking that you have all this time okay, so see that diagonal feel that I'm getting with that and that's what this shot is doing and it's creating a diagonal across the screen it's breaking the spine and it's looking everything is looking natural but I one hundred percent post her almost all the photos that you see I am one hundred percent posing tweaking making it look the way I wanted to do it same kind of thing where she's has that diagonal across there that way uh very elongated ok here's another thing that we talked about here's the same like walk away she's walking away towards the light so I could see shadow on her that light is above her her nose is towards the like light so for example let's say the light was here okay don't put your subject here and look towards light you'd be like this doesn't look good right? So if the light was here I'm goingto either pose mice client out this way so now when I look up it's not a strange like this or I'm gonna pose them out this way, right? And so the strain is not as great as if there was the light so here's the light this way what I'm going to do is I'm gonna walk away from the light and look back towards the light and that's going to be deposed and put this or we could do the cute c or whatever that she's made her throw out a dress that's that pose right there okay it's the nose towards like she's walking away from it so we could get the shadow see this shadow here getting that and then putting her knees together to create more shape um but and then look towards the light was a very basic pose nothing special about it nothing over the top but it gets you paid and you can master it you can master it by going out on a few sessions and just working with people I suggest you just don't get models because models give it to you too easy that doesn't sound right uh yeah it's too easy now I gotta use that well anyways, you know what I mean right? Use normal people uh that haven't modeled before and then you hear lee have toe work them because that's a really world so get some really good looking friends and just take them out and work these things on dh you'll learn a lot from it okay, that hips out that way the nose towards light needs together here it is again went okay, so she had never really modeled before our polls before so I realized that she was having a difficulty doing some of these poses so I just leaned her on something so you could even have a chair, right? So if if they can't do it this way right you could have a lien on something just to support them. We're in this way uh let's say the light was coming this way you could have them lean here and they have support here too okay? Leaning on something a diagonal feel to the pose. Oh, okay here's another one to create the diagonal is there simply just leading back and doing something like this? So a lot of times if I'm doing a let's try with hannah so if you're just I want you to kind of lean back on this on this rail but kind of put your arm uh let's just do it like arresting your arm this way so it's not see that and then looked towards that light that way look put your chin up right and then exaggerate your ship this way you can put your ship out that way yeah okay and you're leading back and you're looking up right and so on then I'll have the light right here keep looking up I have that light coming right down on her face that way and it gives me that long elegant diagonal feel but it's the same thing I'm just breaking the spine angle with it all right thank you and so that's what you can do a lot of times you can try this lean back post and it's giving you that diagonal feel to it here same thing again I'm breaking the spine that's all I'm doing and whenever I do that you know they have the nose towards the light and it's very dramatic so when you have that you know I told you that you should have the head different from the from the body direction but you can have it the same but it has to be exaggerated it has to be like oh wow like cleopatra like this um so when you're going to do that you have to sell it it's an event when you do a lean back it's more like a sophisticated elegant royal tea type type of feel to it right um and that's when you use that pose so here's some bamboo here and I just have her leaning back there creating that diagonal long noses towards the light I had a flash with an umbrella right above her and that's how I created that light there okay, so another saying so she's leaning against the um wall right she's leaning back having her close her eyes looking up um I probably should have got created more space in between here but she's never posed before in her entire life s oh, she was a little bit uncomfortable so but I would have created a little bit more space there see how this is purple in parallel to the wall that's what's kind of say I started critique my own work oh, god, why did I do that right pulled her out a little bit more that would have worked a bit better also. Yeah. When I first did this I had her shoulder squished up behind the pillar but then I brought it out so she's leaning let's let's bring that over here. Can we use this wall over here and I can show what you mean so let's try toe copy this bill so if you're I say what I want you to do is I want you to show a difference like you can lean back like this here and then I'm gonna have you lean here in front so let's start with like smashing your shoulder against the wall, okay, but you're gonna turn your body more that way and you're going to look up so you're like at an angle like this just leaning back right and just like put your hands over your heart and you're looking up like this and close your eyes see I have to get in here and actually physically mold it, but I don't really mind touching their head, but when it comes to that stuff that's and I'm like what I have to kind of feel it out, right? And so like put your hands over your heart and you're looking up right? And so depending on what it is in this situation are depending on the column, if it's round, you might not be able to see the shoulder so I could do the same thing again come up this way and now when I put the shoulder there, I'm going to see it same thing with a guy to a gasoline mac same thing they're just yeah, good and then holds hands of your heart and look up straight there like that damn right okay, thank you so this shoulder position is important too because it could be scrunched up like this, but if you bring it out this way you can see it and that's what I did with her they brought that shoulder out in front of that so I could see it that's a really, really great tip is it? Yeah, I hadn't even considered that bringing the shoulder out around the corner thank you. You got it. Okay, so see the diagonal there okay don't look at the difference right so now we have the diagonal versus the curvy has a different look look, it depends on what you want a more sophisticated elegant or you want something a little bit more fashion forward and you can use those to poses to do it that way. Okay. Yes, the thing that also now what do you do? Ok that's standing early what do you do when they're sitting or on the ground and what? You know what I'm I'm gonna have to go ahead impose these things because our model can't do it. So right? So okay, so this is what I call the roll over and the easiest way to do that is let's say this is the camera here um I sent my client out she lets say it's on the ground so I I turned him on the side and just have a roll over and put this leg in front and see how my hip I don't have a but really but it's doing what it can crystal wright let's have you do it just got way more hips than may you look way better and so let's have a rollover and then in straight this oh yeah look at her beautiful hips okay, could you lay down and then okay let's put your legs like this, right? Okay, right here. Maybe okay and then just roll over on that hip and bring this leg in front there you see that? Okay, now actually if you go down to your elbow there yes, right? And so now and then look out this way yeah, and then if I had that light right down on her right there that'd be beautiful and what you're trying to do is you're accentuating this area and you can see this hip so either it could be kind of behind or four but you want to see this and that's what that does and when you rule the leg over it's creating this this line here where it's narrow where here than her hips so it's accentuating her thank you and so that's why that pose works all the time every single time you don't know what to do with a woman on the ground that doesn't sound right either you can roller over okay? Okay, well whatever you could do this yes, that also goes in which you'd want to create space between the arm and the hip to expose that curve well just depends right what's working but for me I just want to create this shape here that's what? Whether it's behind or what? Sometimes if you lift it up too high then it's going to get in the car if you're just going to confuse this line so keep the arm away from me I will general yeah, and forward, right, well, anyway let's look at some pictures and see what I did actually so roll the hip over to create bring out shape knows hip uh, nose and hip towards the light area there. Okay, so this is the same thing but she's sitting down doing the exact same thing she's ruling over okay, I'm glad you brought that out, it's because even though I scarfed scored very high and competition, I'm looking again I don't like it why don't I like this picture? Yeah, because I'm not going to make a woman look like a woman I go, I didn't right there I'm like pissed off now so I would bring that in more so I could see that hip a little bit more right? I probably would've got higher score for what it did that uh but that's the same type of post look back so I had one flash over here that's it roll over looked back towards the light same thing here she's rolling over this but she didn't actually cross her legs all the way over because it was uncomfortable for her but she's just rolling over looking back towards the light and it's accentuating this curve right there you want to see that curve you want to bring it out same thing here she was a dancer she brought her ballet shoes so I go hey you know what let's we were in new york and let's go hey let's get on this truck and roll over I can see the shoes as using wide angle lands but you still feel that shape that she has there and it's very elegant she's looking back towards light same thing here where she's ruling over looking towards the light again I guess it looks okay because it's black here but um because even if she were to move her arm over maybe I would have had her arm come out a bit because I wouldn't like to see some space right in there and look at my photos right now I hate him was like okay but she's doing the post and if I could create a little bit more space there that would be better if I could see the hip but it's the same principle so she's leaning up and then looking back towards uh the light see what she did with her arm there she put it back um so you can see that it's a very simple pose but it works for a lot of things okay? So if she can't roll over and she's like sitting sheikhoun just definitely lean instead of doing the same thing so for example, if I were toe do it shoot like maybe this chair right here so I could definitely kind of let's say I want to kind of do that, but I couldn't I couldn't roll over for say for say, but I could just lean like this and I could look back right? So my hip is coming out this way I'm moving this arm out of the way so you could see this curve and then you're just looking back this way towards the camera and they don't have to actually ruled over they could just lean it looks good but it's probably better if there's something hard that she's leaning on and here's another thing it's the same poles, creating different emotion and then doing the same thing but varying it. Those photos all look different don't they it's the same pose it's the same thing she's ruling she's leaning up and putting making that hip higher on this left hand side and looking back uh this one she's closing her eyes looking back all the way this one she's just looking at me the lights coming this way you see that nice shadow right there in her face and then I just reversed it. I have her do something. I reversed the light but I had to do the same post and I but it looks completely different it's one posts it's the same thing just leaning it's basically just leaning up on something, right? Okay, due to this chair so it's just basically leaning up on something and looking back and then maybe putting this our forward like this so you could see that area there that shape identical poles changed the motion change the light direction make sure the arm doesn't cover the hip. That's a very important to see how I brought her arm all the way forward it's not natural to do that it doesn't feel right but you make her pull that arm through so you can see this curve there. Okay, look at this. This is to post that this is the curvy and the diagonal into one where she's rolling she's making this hip higher she's see how she's leaning this way and her head is more that way. So it's creating this curve here and then she is doing the diagonal where the hip away is from the camera looking back at the camera and it has so one has a little bit more, uh classic modern feel and this has a little bit more modern feel to it

Class Materials

bonus material with purchase

Master Flash Guide.pdf
Day 1 Segment 1 Best Job in the World.pdf
Day 1 Segment 2 Headshot & Posing the Groom.pdf
Day 1 Segment 3 Posing the Bride.pdf
Day 1 Segment 4 Posing the Bride & Groom.pdf
Day 2 Segment 1 Crazy Stupid Wedding Light.pdf
Day 2 Segment 2 Lighting Review Group & Dancefloor.pdf
Day 2 Segment 3 Wedding Workflow & Money Shots.pdf
Day 2 Segment 4 Starting from Scratch.pdf
Day 3 Segment 1 From 0 to 5K.pdf
Day 3 Segment 2 5K and Beyond.pdf
Day 3 Segment 3 Creating a Luxury Brand.pdf
Day 3 Segment 4 Seventeen Ideas to Change Your life.pdf

bonus material with enrollment

10 Percent Discount.pdf

Ratings and Reviews


There are a few courses in CL that just keep giving - they exceed expectations - on numerous levels. This is one of those courses. For context: I am not a wedding photographer; i do not aspire to be a wedding photographer, but i saw a re-broadcast of this course and thought i have got to put the pennies together to order this as someone aspiring to be a better photographer. Here's why: The title: think like... In a lot of business and coaching approaches, the way to get better we're told is to be around people who are further ahead than we are - who are as close to where we aspire to be as we can get. Think Like a 10k wedding photographer is an invitation to get insight into how i'm already thinking in this headspace or where i'm not. is this course for you: If you're not already a 10k/wedding (or gig) photographer, there is likely something of value here for you. THE COURSE the course is v.grounded - from the ttitle again - that this is a course about photography as a business - and how to get to a place where one is thriving in that business. It's clear there are steps to getting up the ladder towards 10k, and Scott Robert puts all the milestones in to understand when to up prices, how to pace gigs, how to schedule weddings, how to start. But this course also excels at covering off what's included in creating an excellent wedding photography experience for a particular type of shoot: luxury, glamour, style. This is not documentary wedding photography - though the skills learned here can be applied in that space. Here - just take a look at the photos - people who want what Scott Robert Delivers want to be glamourous, exciting. And Scott makes the point - that looks "natural" but it's constructed, and so we have to know how to engage with people in order to construct these results. Thus the course offers Posing and Shooting techniques for photography - using natural and flash light using flash and video light posing men; posint women; posing groups how to get the checklist of wedding shots from dress to cake. And how to get the business. This course is worth the money just to get the tips for posing - you'll use them right away whether you're doing corporate shoots or what in the us is "seniors" portraits. THE KIT A particularly inspiring element of Scott's work is how minimalist the kit seems to be. No strobes; just speedlights. Lightstands and umbrellas. And small video light(s). Considering the shots he gets that seem so constructed, it's fantastic to see that they are constructed fundamentally with a set of modelling principles about the human form that work work and work. The BUSINESS As said the progressions for the business side to move from a starting photographer to a 10k photographer are clear. The detail is good. The motivation, unflagging. Participants who want to get there need to do the hours of practice. There are a couple people who have used Scott's methods to get from starter to 10k shooter so it's possible to see their path. - One who was a videographer mayn't be as inspiring because already pro etc, but it is cool to see a pro in video testify to the value even for him of scott's approach. LESSON the best advertisement is word of mouth you have to have the work to get that endorsement. Scott is the one person on CL where you'll hear him say he's not working on his social network particularly, but on the quality of his portfolio and referals within jobs to get the jobs - it's plainly working for him. For him, it's clear he wants to be regarded as the best photographer - not the best customer service that trumps adequate photography. THE INSTRUCTOR As other reviewers have commented, scott's attitude is amazing. He has a burning entrepreneurial spirit and a drive to be successful to support his family - which means getting to a point where he's shooting fewer weddings for more money in order to have more time with his people. Nice. No matter what area of photography you're in, there are insights to be gained from this course. Related Courses There are a lot of wedding photography courses on CL. The others i've seen are Wedding Cinematography, Doug Gordon Wedding Project, Master the Business of Photography (which turns out to be based in a wedding business) and Start and Grow your Photography Business (also based around weddings). These all have good things to teach. The biggest contrast to Scott's is Sal Cincotta's Business of Photography - in that course while there is a goal for his teams / shooters to be professional and get all their shots at the wedding and deal with the unexpected well - and there are great tips for how to cover your butt if there's conflict about being able to take a shot or who wants what shot - the focus seems to be way way WAY more on the sale in the studio and selling all kinds of prints. This is v.much the flip side of Scott's work where the focus is on getting the wedding (and why he actually likes 5k weddings more than 10k weddings - fascinating). For scott, it seems the 10k is about figuring out what the package is in terms of what's the difference between 10k vs 5k - and what you promise to deliver in that experience vs SC's focus on what are the materials produced that are worth that charge. And how the wedding can be used to hook people in for life - for portraits, baby photos, seniors etc. Kevin Kebota's class similarly has some nice stuff around bonuses vs discounts. I can see a very interesting panel discussion on pricing btwn sal, scott and kevin... For scott, it's not about shooting the lifecycle and getting money off prints: he does weddings - some engagement and boud. around that, but it's the Wedding that is the star - the quality and amazingness of the images - not the number and size of prints. Perhaps this is a weakness in the course not to go into that part of the deal - but i didn't find it so. What's great is that he has a dropdead line in the sand too: if you're doing X and you're not getting to Y by Z, do something else! fantastic. he even has a part time shooter plan. COol. He also knows how and what to outsource: so will you. He's also cool about how long it will to take to start making a real income. (and what's the difference between a 3k and 5k wedding?? you'll learn). Why would you buy this course? If you're a WEDDING photographer, shooting under 10k /wedding then this will be interesting - lots to learn about what's possible in a wedding context, and seeing examples about how "natural" can be constructed. If you're just considering weddings and want to understand what it would take to make a living or part time living as a photographer here IF YOU WANT TO LEARN ABOUT POSING -- there are lots of CL classes involving posing and philosophies of posing so why this one? 1: Robert is v.good. that simple: the way he's translated everything he's learned about posing into heuristics - in other words rather than memorising poses, you learn heuristics about what to set up for any shot to get more from it. Fantastic. 2. Posing in the context of a live wedding under pressure is a litle different than in studio 3. We see posing for different lighting conditions/contexts for an event - in this case a wedding. Powerful stuff. What's also cool in the demos is that you don't have him doing tethered shooting, but focusing on teaching posing and having the class learn it. That's cool too. IF YOU WANT TO LEARN LIGHTING - and not spend much on lighting kit and get great results this course is inspiring. INSTRUCTOR - v.engaging - doesn't suffer fools, i'm betting; expects committment to do the work to get to aspirations. EXCELLENT. heck i watched most of this with a friend who just found Scott so compelling, in particular how the posing section worked, it was just that engaging. hope that helps. good luck on your mission.

Kerry Sleeman

This is the best Creative Live Course I have purchased, well worth the Money! Scott is fantastic and has a lot of great advice! Even though I am not a wedding photographer I am a Boudoir Photographer and has given me a lot of ideas to help my business. ! Thanks Creative Live Amazing!

Student Work