Original subtitles

So we've discussed in incredible detail how to

pose the male and female form, we've talked

about face and eyes and hands and hips

and all the body parts, and also we've

discussed how to actually pose a couple together.

Now what do we do if we actually

add an extra person, a third person, four,

five, bridal party, family, kids, what do we

do then?

Well, it's not as difficult as you think.

In fact, the same principles apply.

So all you have to do is understand

that when we're posing the female form, there's

certain intricacies and certain little elements that and

finesse that we actually have to do.

Now, if you simply just add an extra

person, we just have to work out, well,

what are we trying to say with that

extra person?

For example, it's a different sensibility photographing a

family, different sensibility when we're photographing maybe bridesmaids

or groomsmen.

When you add all of these elements together,

you still have to understand that posing is

a form of communication and you have to

say something with that form of communication.

So right now, we're going to discuss posing

groups, okay, so not necessarily groups on a

wedding day, although a lot of examples that

we're discussing are on wedding days.

Of course, families, groomsmen together, so we've got

all the guys together, we've got the bridesmaids

together, we've got bridal parties, and of course,

we've got children as well.

So how do we do all these things?

What I want to do first is actually

show you a combination of different kind of

bridal party photographs and show you a safe

shot and then show you perhaps what has

a little bit more meaning and a bit

more finesse.

So we've all seen different bridal party photographs

over the years and there are some that

are more appealing than others.

Some just get the job done and then

some gives us a strong feeling.

So let's talk about bridal parties now.

So if you imagine a bridal party photograph

in your head, or it could even just

be a family photograph, it could be a

photograph, let's say a school photograph, anything, you

probably picture something like this.

Okay, so everyone's basically standing up in a

bit of a row, we've got guys all

on one side, girls on the other, but

although this photograph was taken recently, and I'm

not saying I never take these kind of

photographs anymore, it's less frequent.

This is quite a predictable way of photographing

a bridal party.

You can basically see how all the girls

are pointing their toes, bending their knees, shifting

their weight back, they've got their flowers just

below their bust, and you see the guys

all they've got their hands in their pockets,

they're slightly bending the front knee, and it's

a predictable photograph.

Nothing fancy about it, I'm not going to

win an award with this photograph, in fact

this was done of course in the snow,

only a few minutes to take this photograph,

it's just get it done and that's it,

move on.

But how do we actually make a bridal

party photograph look a little bit more interesting?

Well, certainly you've seen all the girls and

all the guys on one side, what about

the classic boy girl scenario?

Well, that straight away makes a bridal party

photograph look a little bit more interesting.

So as we can see, we've got the

three younger kids over here, they're having a

little bit of fun, we've got the four

smile on their faces, and you can see

how I've got say back, chest to back,

with the couple on the left hand side,

the next couple they're front to front, then

you've sort of got the best man sort

of on his own, and then you've got

these guys being a little bit taller on

this side.

So you'll notice that there's a lot of

intricacies when I'm talking about bridal parties, and

sometimes a bridal party's in front of me

and I'm like, well I'm just going to

get it done really quickly, so I might

sacrifice perfection just to get it done.

In this case, there was a methodology as

to where I placed everybody.

So if you can imagine, we've got a

very tall bridesmaid over here, because we've got

one, two, three, four guys, one, two, three,

four, so we've got four girls as well.

I like the idea of actually putting the

actual flower girl in front of the best

man.

I've just used this particular location with the

pillar there as well, it gives us a

bit of separation, a bit of finesse, and

I'm creating a bit some stories within a

story, like this is one story, this is

another, then of course we've the couple on

their own, then we've got the best man

with the flower girl, and then we've got

two couples over there as well.

Now watch what happens when we simply get

them to interact.

Now when they interact, you would say this

gives us a lot stronger feeling than just

looking in the camera smiling.

I'm not saying there is no place for

that looking in the camera smiling.

Yes, get that done, that is just like

vegetables.

Look at the camera, smile, done, thank you,

there's one for grandma, there's one for the

traditionalists out there, I say to you that

this particular shot says pretty much more about

who they are rather than just what they

look like.

So this exercise that we're going to do,

we're going to give you lots of comparatives

like this, and show you a photograph like

this, for example, you've got all the girls

looking into the camera, they're leaning forward, leaning

together, you can see the tall bridesmaid, she's

leaning forward, so we drop the height a

little bit, there's a bit of a tilt

of the head of the young flower girl,

that's quite cute, sort of endearing, but when

we crop horizontally and close, and then we

get them interacting, well now we have a

lot more fun.

Again, it gives us a stronger feeling.

So when it comes to an individual, let's

say for example you have a bride, and

we've discussed posing a bride on her own,

and again, don't forget, it doesn't matter whether

she's wearing a veil or not, all the

posing that we've discussed, all the posing that

we've talked about with a female form, she

could easily take the veil off, and all

of a sudden it's just a normal dress,

an evening dress, and that's the way you

are going to pose a female form, and

the same with a guy, it doesn't matter

whether he's wearing a suit, or as in

a tux, or whether he's just wearing a

normal suit, or jeans and a t-shirt,

the posing principles that we've discussed apply, we

simply, they just multiply when we're doing it

with the bridal party.

Now one thing that I like to do,

whether it's with a family, whether it's with

a bridal party, we want to emulate relationships

and connections, so it's very rare that I'm

going to have a gap between people.

I like the idea of all the posing

principles that we've discussed, basically we harmonise all

them together, but when there's more than one

person, we simply just connect them in a

certain way, so it could be a shoulder,

it could be a hand around a waist,

it could be on a shoulder, just something

that gives us a bit of harmony.

Now yes there'll be times where I have

a gap between people, but that'll be for

significant reason, and we'll show you many examples

about that later on, but just remember everything

has a place, that has a place, that

has a place, and then when I'm photographing

the groomsmen, they're just sort of sitting around

and talking and just having some fun, and

I'm like well that's worth a photograph as

well, excuse me.

So I'm not saying this is award-winning

by any stretch, but just remember guys that

you know, as you're photographing what you're photographing

and things evolve, don't just, don't be afraid

to just sort of look over your shoulder,

look left and right, always remember your peripheral

vision, if there's movement happening anywhere, just don't

be so single-minded and focus on the

camera that's on, that's on the couple or

the the people that you're photographing, always look

left and right, and it just might reveal

itself to be something like that.

Now this is the photograph that I was

actually doing, so remember we photograph the bridal

party in this location, now you can see

how everyone's got their hands in their pockets,

they're bending their knees slightly because that shifts

the weight back and it just adds a

little bit of, it's less static basically, and

you can see how we've got this little

boy, I wanted to put him on the

same level rather than put him down, so

there we go, the actual location gave us

an idea for that particular pose, nothing fancy,

but in the heat of the battle when

you're there on a wedding or you're doing

a family portrait, you might just forget to

think logically and laterally about these things, so

we get him on, we look at the

camera smiling, this is a forced photograph, but

then we bring attention to this cute little

charming kid and now all of a sudden

you compare that with that, there is no

comparison, so do that shot looking in the

camera, I don't care how amazing the family

is, how forward-thinking they are, modern, contemporary,

and they say we do not want lawns

looking in the camera, just do them, it's

just easy, it's safe, think of that as

your vegetable and then now you can have

your candy.

Good example as a comparison as well is

this one, so what you'll notice when it

comes to any kind of photograph, let alone

groups, what has been really popularized centuries ago

when it comes to sculpture, whether it comes

to paintings, is the idea that triangles are

actually very harmonious, any kind of triangle, triangles,

and if you see repeated triangles, then there's

harmony in repetition, so if we see inverted

triangles, it's very pleasing to the eye, so

you can basically see how we've got a

triangle there with the three girls over this

side, we've got a triangle here, we've got

a triangle here, and then it keeps on

going with their arms and so on, so

it gives you almost like a heartbeat, I

want you to almost think of it like

a synthesizer or a, you know, like an

audio file where you can see all these

little peaks and valleys, same with a histogram,

so you don't want just one block, that

is pretty much looking in the camera smiling,

yes that has a place as we've already

discussed, but when you add these little peaks

and valleys, it makes your family portraits or

group portraits a lot more interesting, and you

don't have to mirror them exactly, so say

for example, I'm here at this location, the

guys are having a drink, they're in the

bathroom, what do I do?

I do this photograph of the bridesmaids, well,

because I can't take the bridal party shot

yet, so I do this first, then the

guys come back, I take the guys, now

you can see how it's a little bit

stronger, the posing is a little bit more,

how do I say, it's sort of like,

I often say when you when you build

a house or a palace for a queen,

it's going to be soft and round, you

build a palace for a king, it's going

to be strong and straight, I'm dare not

saying that there are females that will not

adopt a powerful position or strength, but it

just depends on what you're trying to say

with that photograph, obviously posing a bride and

a corporate female CEO executive is going to

be two different things, so remember though, when

you look at this, you feel a bit

more intensity, it's a bit stronger, it's more

masculine than something like this, it's a bit

more soft, even the way they're turning their

faces and they're angling their faces and things

like that, now of course, when we put

all of them together in a bridal party

photograph, you can see that there are many,

many stories in one, now how did I

take this photograph?

Well, there's, it's pretty much, I set them

up and we talked about often the five

steps to a great photograph, so the number

one was lighting, we pick a beautiful lighting,

a little soft diffused light coming through this

translucent material up above and this open shade

giving us a beautiful light from the front,

location, well it doesn't take a rocket scientist

to work out, this would be a great

place to photograph, then I pose them, so

I put them in position, I do not

get in motion yet, I'm not ready yet,

so I put them in a position and

I think of this, what's the first thing

that comes to my mind?

Now, yes, you can be very methodical and

say I want to create triangles, but what

you want to do is start up with

a foundation and you say the foundation is

the bride and groom, now putting them in

perfectly centre is predictable, I'm not saying it's

incorrect, but I'm saying maybe bring them off

centre a little bit, maybe not make it

look so predictable, so get them off centre,

as well of course, if you're putting this

across a page in an album, like two

sides of an album, you may not want

the crease of the album to go into

the bride and groom's face, which I've done

before, but it's not a big deal, but

if you can bring them off centre, that

might save you afterwards, but I bring the

bride and groom off centre, then, and I

always say this, I think half the battle

with any successful, either businessman, woman, entrepreneur, creative,

especially creatives, is that we have so many

ideas, half the battle is just picking one,

you just pick frigging one and you just

execute and you pretend like it's the best

idea, so in this case, I sort of

looked at the girls on the bottom and

I said, well, that makes sense, you guys

look at each other, because they're at the

same eye level, okay, if he's looking too

close, he'll go cross-eyed, if he's looking

down here, that won't work, so he's going

to look at them laughing, great, so now

the two, the couple on the top left,

they could be sort of mingling into each

other and then the two guys are sort

of looking after the girl and the bride

and then this one could be looking this

way, so what I do is I play

an imaginary dot to dot, what sort of

makes sense here, there's no science behind what

I'm saying, I guess there is some mathematics

and physics that I'm talking about here in

terms of where you're directing, but just remember,

pick an idea and go with it and

in this case, this looks like a photograph

that is totally random in the sense that

they just had a laugh and I happened

to be there and I caught an amazing

moment where it couldn't be further from the

truth and that was very constructed, very posed,

but no one's going to remember that a

photographer designed that, they're going to remember, hey,

that's me with my best friends on my

wedding day, that's all that matters, so with

bridal party photographs, you can sort of see

how we've actually implemented a lot of the

things that we've talked about when it comes

to female posing, male posing and couples, but

now we're implementing it in a complete holistic

manner, we often said that the leg that's

closest to the camera is the one that

bends over, okay, unless we turn the hips

and make sense, we said often to actually

bring the arms off the body which actually

makes us, the arms look a little bit

slimmer, we talked about actually connecting the hands

and every hand, everyone's overlapping in a certain

way, so now we have a strength of

relationships happening here as well, now what happens

if we're doing something a little bit more

formal, well, there are shots like this where

I don't have much time, there's a lot

of bridal party members, there's stares, well, what

do we do, we just get it done,

could this have been done better, maybe, can

we see every face, maybe that girl on

the left-hand side, she's being covered a

little bit there, but maybe her a little

bit closer, now I probably would have put

the, let's call it the, for want of

a better word, the more petite girls a

little bit closer, but these are the sisters

of the bride, that's why that girl who's

just being hidden a little bit by her

cheek there, she would have been in the

front, as you can see that girl on

the bottom left, she's smaller, so therefore she

comes closer to the camera, now, of course,

when you're photographing group shots like this, remember

that you should be photographing, depending on the

lens that you're shooting with, you should be

shooting at something like f8, f11, even f16,

there's no point in trying to go for

a beautiful bokeh effect with this kind of

bridal party shot, remember, like this is probably

about three, four feet of depth of people,

remember focus is, see, people think if you

focus on the eyeball, everything from the eyeball,

the eye socket back and back is going

to be in focus, as in, if this

is my depth of field and you focus

on the eye, then that's going to be

in focus, depth of field doesn't work out

that way, depth of field is one third

in, two thirds back, in other words, this

camera that's on me right now, you're seeing

a bird's eye view of three people, so

there's three layers of people, you would not

shoot at f8 here and expect everyone to

be in focus this way, you will focus

on the front of that second layer and

what will happen is, that first person will

be in focus and the next two will

be in focus, assuming your depth of field

was that much, so don't play with fire

saying, well, I want incredible quality with high,

with low ISOs, I would rather you go

to 1600 ISO outdoors and shoot at f11,

than play with fire, because no one's going

to care about that, that ISO, which many

photographers overestimate anyway, as a huge problem, because

no one has ever come to you and

said, well, you know, a bride has come

to you and said, well, look, you know,

you must photograph with this particular camera, because

the ISO levels are crazy, we overthink it,

so just remember, when you're photographing something like

this, everyone should be in focus, nice and

clean, there should be harmony in what they're

doing, the way they're holding their flowers, the

way they've got their hands in their pockets,

if I went too far back and too

wide, I would have included too much of

the building, so all I want is a

clean space and a good direction that you

can give people here, when you're photographing them,

especially a lot more people and say, if

I can, if you can see the camera,

the camera can see you, that's a very,

very easy way to get them in a

rough position, then, because there's so many people

here, so many names that I may not

remember, I might say, hey, if I'm looking

at you, mirror me, so if I look

at this guy and he's too far back,

I might say, just lean in a bit,

lean forward, great, I've got him down and

keep on going, remember too, that by the

time you finish posing the last person, the

first person can go out of the way,

so you will say, hey guys, just to

let you know, by the time I finish

posing that last person, the first person may

have moved, this will save us a lot

of time, which means you guys can go

have a drink and have a break, make

sure that whatever position I'm giving you, just

stay put, relax, be cool and then we'll

move you later on, now, again, I take

this shot, there's one looking in the camera,

smiling, done, then I get them interacting and

you'll see many examples of me at actual

weddings, where I would say, hey guys, have

some fun, crack up, whatever, like I'll raise

my voice and have some fun, now, yes,

this guy's covered, yes, that guy's covered, but

I've got my safe shot, I get them

to interact and then I want something less

formal, what do I do?

I say, I might say, guys, pretend like

you're at a dance club and then, you

know when, you know, let's say you're at

a nightclub or you're at your own house

and you're having a party and someone brings

out an iPhone and then everyone just somehow

poses themselves perfectly, that's what I say, guys,

just get together, one big group hug, all

faces touching and then this happens and then

it's just a little bit less formal and

it gives you a choice, now, I've gone

from traditional, a little bit more interactive, then

I've gone for a bit more cuddly, this

is probably would mean more to the family

or to the couple and the bridal party

and then I'm like, let's not waste this,

let's keep the bridal party there, bring the

bride and groom in the foreground and let's

have some fun, now, I'm not caring about

perfection because it's not meant to be perfect

and then I'll get them interacting, like they

can have a bit of fun, the bride

and groom can kiss and that's basically it,

so just remember, it's always important that we

slow down, work out what we're trying to

do and the family shots, we're overestimating them

because we think that there's so many more

people now, therefore, it's going to be 10

times as hard to take this photograph, well,

no, what are you trying to say with

that photograph, I sacrifice perfection as we add

more people to a photograph, does that make

sense?

Because if you start adding people, one, you

have less lighting options, the more people that

you have, then as you add more people,

like I said, if you start adding, posing

that 20th person, that first person is going

to go out, you sort of have to

globally pose people and that's by simply with

me, I might say, hey, this half of

the room, I want everyone to turn your

bodies this way, everyone lean forward, chins up,

all right, this half of the room, turn

your bodies this way, lean forward, chin up,

now, I've posed 50 people and to be

honest, if you actually pose the way I've

taught you to and that's by getting people

to mirror you, it's the easiest way you

can pose anyone, let alone a big bunch

of people but don't strive for perfection when

it comes to too many people because then

you're going to be wasting too much time

and especially at a wedding and a bridal

party, it might be an issue, now, don't

get me wrong, I'm not saying settle for

mediocrity, yes, go for perfection and in my

mind, perfection means the execution of your desired

result, so if you desire a shot to

be a little bit less formal, they're sitting

down and we're using the steps because the

steps gave us an idea for a photograph

and we're photographed at f8 or at f11,

so they're all in focus, great but then,

so this is the way it happened, three

of the girls were already sitting down, why

would I waste that, I'm photographing the boys

independently, if the girls have practically posed themselves,

well, hey, there's an idea, hey girls, everyone

sit around the bride, then I finesse each

one, so I get, I can see all

their faces, I crop into them, then I

just say, have some fun, crack it up,

all together, so that happens and then I'm

like, well, I want to create a bit

of a story here, then I say to

myself, if anything could happen right now, if

only the bride looked this way, if only

the bride looked into a sister, in other

words, I say to myself, what if they

could react in any way that I wanted,

then what would that look like, I just,

the first thing that comes into my head

was this idea, these girls interact, these girls

interact, these girls interact and then she looks

at the bride interacting with her sister, you

would say that's a lot more meaningful than

that, I'm not saying it's, this one's bad,

the other one's good, I'm just saying for

me, this one gives me a stronger feeling

and that's what we're discussing in detail, posing

is not just about flattery, it's about what

are you trying to say with that pose

and posing in this particular manner, I love

it because it gives you that combination of

that, that finesse of a pose with the

natural nature of something candid and that's pretty

much the style that I've been teaching you

all along.

Now, we get to another location and it's

funny because, see, when you're photographing, I'll often,

and especially if we're talking about a wedding,

I'll talk about my seven do or die

photographs, my seven do or die photographs, number

one is going to be full length of

the bride and the groom, the second will

be a close-up of the bride and

the groom, then there'll be the bride on

her own, the groom on his own, the

girls on their own, as in groomsmen and

bridesmaid, then bridal party.

If I've done that in the can, looking

in the camera, smiling in a traditional fashion,

now I can do anything I want, when

it comes to groups and families, if I've

already taken a girl's shot, if I've already

taken a guy's shot or a bridal party,

I do it again, but in a different

way.

Now, you see how this shot is done

in a different way than before, this shot

of a bridal party is done in a

different way and I'm certainly not the first

person to do a walking shot with a

bridal party, it's certainly a cliche, but people

love it, so I do it.

Now, I've shown you many examples of the

bridesmaids so far, but why not use the

dress as a reflector, have some foreground background

actions that are going on here and I

don't mind the fact that two or three

girls have less light, that's just part of

the contrast of the photograph, which I think

creates depth and I even add a bit

of an angle there to create a bit

of energy and I love the fact that

there's not a perfect distance between each of

the girls, therefore it looks real and because

it looks real, perception is reality and therefore

it is real.

In other words, don't overthink what a family

shot should be in a sense that, well,

it either has to be candid or it

has to be posed, why can't it be

a combination of both?

I believe everyone wants to look good and

everyone usually wants to look natural doing it,

which is an oxymoron, so let's just give

people what they want, make them look good,

flatter them and let's say something.

Now, of course, I want to do a

shot of the boys having some fun as

well, so a bit of an angle and

I don't normally crop at the feet like

that, but as you'd appreciate, he moved down,

I had to lower my angle, I did

angle this to marry up to the photograph

I did of the bridesmaids, so it sort

of makes sense.

So, as we start to add a lot

of people into a photograph, you've got to

understand too that and if you have less

time, you have less options.

So, here I was confronted with a very

big bridal party, I don't have a ridiculous

amount of space to do this photograph, it

could be my lens, it could be just

the pure nature of the location, it could

be the pocket of light is not good

enough, so I need to actually constrict them

in a certain way.

In this case, this wedding wasn't done that

long ago, but this is like a classic

soccer photograph.

Now, this is as cliche as it gets,

but how am I going to do it?

I didn't have much room other than where

I was here to take this photograph.

Over my shoulder, behind me, left and right

was bad light, bad location, I'm running out

of time, so what do I do?

Well, an easy way to do a family

shot is to create layers rather than getting

these guys to sort of scooch down and

kneel on the ground and all that kind

of stuff and you always get some complainers,

I've got bad knees, I've got a bad

back and that's fair enough, and of course,

when guys feel uncomfortable, they'll usually hide their

crotch because that's what else do you do

in a situation like this.

I'm not saying this is bad, I'm saying

it's probably a little bit cliche and even

getting people to interact might be a little

bit better.

Then I thought to myself, well, wait a

second, there's a couple of cliche shots in

the can, great, we've got those, but then

what happens if you want to create something

a bit more interesting and a bit more

of a hierarchy?

Again, pick an idea, run with it and

pretend it was the best idea you came

up with and then we simply do this.

Now, these guys weren't a couple, so I

didn't get too intimate, usually I would probably

get the knee over, bring them a little

bit closer, maybe get them to hold hands,

you know, holding the arm is fine, it's

just a little bit more casual, somewhat of

what's been popularised by Annie Leibovitz on the

front cover of Vanity Fair, so certainly she

among many have popularised this kind of notion.

And again, you get them to interact, you

would see the difference between these photographs and

the original soccer line up or that school

photograph style, you can't really compare it because

it's apples and oranges, but which one do

you prefer?

Then the couple actually asked me, look, I

want to do a reveal, and for those

who don't know what a reveal is, it's

basically the bride and groom actually meet before

the bride walks down the aisle.

So basically we, you know, everyone gets to

witness, the bride and groom get to witness

each other and they get to sort of

soak each other in a little bit before

that, and usually that's done traditionally so that

the couple can take photographs before the wedding,

or maybe just get rid of some nerves

a little bit and soak each other in

without anyone watching and then get married.

In this case, the couple wanted the bridal

party to be privy to the reveal but

not too close, so I simply just got

them further away.

So there's a suggestion of the bridal party

in the background, but really the bride and

groom are the main focus, so we get

that part of the story as well.

And again, while we're already there, like we've

already got backlight, the bridal party already there,

we simply just have to, you know, come

back here and get them to link arms

and go for a walk, and now we

have a really cool saleable shot.

And again, this is not anything groundbreaking, but

if you're new to weddings or new to

groups, these are easy ways that you can

transition from that static looking in the camera

photograph to something a little bit more interesting.

Now, this next wedding, I was right there

photographing, I had a great time with the

groom's coverage, then it started to pour down

with rain for the brides.

Then we had some time with the bridal

party, I have no good light really anywhere

in the house, certainly I could have just

put a flash out and bombed away, but

there was too much distraction.

I was actually in under gazebo, and then

the bridal party I put underneath as well,

and I simply just put chairs in front

and created two layers.

Now, I am not going to win an

award with innovation with this photograph, this is

nothing fancy, and you can even see the

rain droplets, this is out of camera, there's

no retouching on this.

So this was my quick answer for a

group photograph.

But as we start to expand a little

bit, like I said, you get to the

point where, like if you are photographing a

wedding, and if you did this, you might

think to yourself, you know what, that bridal

party photograph was a little bit cliche, it's

in the can, if I did nothing else

with the bridal party, at least I've got

it.

But then during the reception, if you find

an opportunity to just get them in and

create a bit of a hierarchy, standing, sitting,

squatting, lying down, and bang, we've got this

beautiful shot that's a little bit different, that

says more about who these people are, rather

than just what they look like, well now

we're talking.

But it's so crazy how you can just

get, you know, a group behind the bride

and the groom, and then you've got this

different story.

There's obviously a whole story here, you've got

best friends, and then you've got the bride

and groom there, or you can just go

close up and then shift focus, and things

like that.

But I love the idea of how we

can create this harmony, and be able to

be a little bit different.

And like I said, that the more people

that you have, the less options you have

with lighting, and posing for that matter, unless

you have all the time in the world,

which if it's a wedding specifically, then you

know that that's going to be quite difficult.

Remember too, that even though that I'm showing

you a lot of wedding examples in posing,

this could be likened to any group at

all.

So just know that if you see girls

just who happen to be bridesmaids, doesn't mean

it's not relevant to you, if you don't

photograph weddings.

And same with groomsmen, and same with bridal

parties, this just happens to be best friends

hanging out, or cousins, or whatever it may

be.

So in this case, you know, we've got

something similar, we've got the bride and groom

in the foreground, bridal party out of focus

in the background.

And then we've got a bit of a

different way of photographing the groom in the

foreground, the guys in the background.

So I've actually lowered my camera angle, as

you can see, so we've got the groom

looking taller, larger than life.

And then we've got the girls, and I

didn't really pose them at all.

I just said, guys, just nice and close

together, hug the person in front of you,

chins up, and I don't worry about that

finesse, because it's not about that.

And yes, I can do, you know, champagne's

a great way of celebrating.

So the minute you add champagne to a

shot, everyone has a party, everyone's having a

lot of fun.

This is the classic boy girl scenario.

I've got the best man pouring the wine,

or the champagne, whatever it is.

But again, guys, you just, it's just about

choosing something.

And yes, there's going to be foundation shots.

And what I'm hoping of, of these videos

that we're sharing with you and all these

examples is that we use them as foundation

poses.

Here is an idea to start with, then

you can use the personalities in whom you're

photographing.

And what you're trying to say to actually

make that a little bit different.

But a foundation pose is, hey, I haven't

done a shot with the whole broader party

with champagne yet.

I haven't done a foreground background shot yet.

I haven't done this or that yet, and

so on.

So remember that apart from actually sharing these

principles, that you can actually use them to

expand your repertoire as well.

You'll notice that this one, even though it's

all bridesmaids, why did I pose the bridesmaid

second from the left that way?

Well, she's a slightly bigger girl.

I'm not saying she's big, but she's slightly

bigger, and I want to slim her down

a little bit.

So what I do is I get one

arm around one bridesmaid, one arm around the

other, and then we sandwich her in a

little bit, lean forward, chin up, and then

she looks just as slim as all the

rest of the girls.

And then we can get them interacting and

giggling and having fun.

And the minute you change your crop, as

in I'm going closer, and I'm changing my

orientation from vertical to horizontal, then now they

clearly both warrant being in that wedding album

or that portrait album or whatever it may

be.

Look at the guys here.

You'll see how all the legs of the

guys are all slightly bent.

It's exactly what we basically shared when we

talked about posing guys.

And you'll see how there's a bit of

a hierarchy, you know, left, right, like one's

on the backside, one's turning, one's on a

bit of an angle, one's a bit more

front, and then they can interact again with

the girls.

So remember, if you're photographing a sequence in

a similar location, similar lighting, whatever, and you've

got guys, you're photographing guys a certain way,

well, you've got to think to yourself, when

I'm actually putting this together in the album,

I can't shoot too many of the guys

without having someone to marry it up with

the girls.

So one, it'll feel unbalanced afterwards, but then

two, then people say, well, what the hell?

Why are you focusing on the girls more

than the guys and vice versa?

Even though it might not be your fault,

even though you've probably spent more time with

the guys than the girls or whatever it

may be, just try to make it balanced.

And the easy way to do it is

you might photograph, say, the groom on his

own.

Then you might add the groomsmen.

Then you might add the girls.

There's the bridal party.

Then take the guys away.

Then you photograph the girls.

Take the girls away.

Then you've got the bride.

While the bride's there, get the groom back,

full length, close up.

Bang, you've done your sequence.

Does that make sense?

So you've got to think of mathematically, how

do I leave someone there for as long

as they have to?

And yes, there's some part of that sequence

I just mentioned to you that you've got

to go forward and back.

But you try to, anyone that tries, anyone

that goes into that family photograph or that

group photograph, you try to leave them there

for as long as they need to be

and don't bring them back and forward as

much as you have to.

And again, we've done the bridal party shot,

looking in the camera smiling, but I've simply

been the bride and groom in the foreground,

and now I've got a different kind of

a shot.

So if you're running out of time, it's

a very easy way to do it.

So, and also as well, if you are

photographing a wedding, then don't forget that you

can do this kind of shot.

You can get the groom with the bride

and all the bridesmaids, and you can get

the bride with the groom and all the

groomsmen.

And yes, that shot in the top left

there could be without the bride, so it

could just be the groom and the bridesmaids.

And of course, the bottom left, it could

just be the bride and the groomsman without

the groom.

So these kind of combinations are an easy

way to add a bit of variety to

your photographs.

And of course, this one, they're just having

some fun, the wind blew the veil and

that was basically it.

So remember guys, what we're doing is setting

the foundation for group shots, and in this

case, namely, bridal party photographs to show you

where we start.

There's looking in the camera smiling, and we

crop it a certain way, and it's quite

balanced.

But then it could be that I was

photographing the bride and groom.

In fact, it was in fact, from memory,

I photographed the bride and groom on their

own.

Rather than waste that photograph, as in I've

already posed them, I've already put them in

nice light, then the bridal party, I didn't

even pose them.

Hey, bridal party, just sit right behind the

bride and the groom, and just have some

fun, just lounge around.

And then now we create this beautiful triangle.

Would there have been ones looking in the

camera smiling in this location, in this context?

Yes.

But these are the ones that actually end

up in the album more so than others.

How can we grab the bridesmaids from this

and make it look different?

Well, this is just changing my angle and

a bit more wider, looking up and it's

a bit more strong.

And as far as the groom and the

groomsman, again, he can be in the foreground

and the guys can be in the background.

We can be in the bar, and then

all of a sudden, we do something a

little bit different too.

And there's going to be bridal parties that

want that sort of static looking in the

camera, cool look.

And then there's some bridal parties that it

just will not suit.

So you just got to pick and choose

and find out what that means to you.

And then there'll be times where you're at

an incredible location like this, and you can

create different angles and say different things.

So as you can see, we've got many

different stories.

These guys are chatting away, they're having their

own little conversations and with them, the bride

and groom are kissing, the guy's looking on,

and we just happen to have that reflection

in there as well.

So don't forget that the environment will often

tell you what to do.

It's not just about doing what's obvious or

easy or cliche.

It's all right, get the shot, just get

it done.

If you have more time, finesse it.

If you have more time again, make it

different.

And if you have more time again, then

again, completely break it and do some different

shots.

Of course, don't forget that you can do

a really cool bird's eye view shot.

So if ever you see a staircase, often

we always picture the bridal party on the

stairs.

Why don't we go on the stairs and

look down, and then we can do a

bunch of shots like this that end up

being a lot of fun.

So remember, just don't try to make it

too perfect.

See, when you add multiple people and it's

perfect, it almost looks too manufactured.

When you lessen the amount of people, then

that finesse is possible.

Therefore, it's believable.

Does that make sense?

It wouldn't be possible for you to just

candidly go up to a bridal party and

see what you're seeing there.

But do you see how the girls aren't

perfectly posed the way I've taught you how

to pose women?

The guys are playing around.

If they were perfectly posed, and then the

guys were 20 feet behind, then you would

not believe this moment would have happened or

could have happened.

Even this one, I think I was standing

on something.

I forget what it was.

I was standing on something shooting down.

I had them looking in the camera.

But then I just said, hey, guys, go

for a hug.

Have a bit of a wrestle.

And then all of a sudden, you get

their personalities coming out.

And that's what it's all about is we're

not after perfection when it comes to this

many people.

We're just after perfect moments.

And it could just be bridal parties walking

down the street, which I think is really

fun.

You've got to take advantage of every single

moment.

Remember, too, this does not have to be

a bride.

It could just be you were high to

photograph a family.

And then you were going from this location,

from the grass to the rocks while they're

walking.

Take some photographs.

You could just get some more shots.

Of course, this shot on the left hand

side is one thing.

But then you've got, again, you've got a

different kind of bridal party shot where girls

are having fun and the guys are playing

behind.

Now, how did I do this shot?

Well, I photographed the girls on their own.

The guys started gathering up.

So rather than me just photographing in this

angle and cropping the guys out, that was

slightly getting in the way.

So I stood around this particular spot.

I said to the guys, keep on playing

around and staring each other.

I said, girls, you did the same.

And then that's how I got this photograph.

So think of it like a symphony that

one shot will go to the next, to

the next, the next, the next, rather than

waste any time.

That's the thing is that on a wedding

day, you've got time constraints.

And if you start to try to be

just so meticulous and everything, which I am,

and I try to be, I'm saying you're

going to miss those shots.

So you're going to pick and choose your

battles.

Look at the time you have left.

Say, all right, I've got 20 minutes.

I've taken all my couple shots.

I need bridal party photographs now.

And I've got some family photographs to do.

What do I do?

Well, you just measure it out.

If I did what I had to do,

and I've got five minutes left, well, okay,

then I've got five minutes to play with

the bridal party.

Well, then how do I do that quick

enough?

Take that shot, looking in the camera, smiling,

getting them to interact, getting them to walk.

It could be just guys, stay where you

are.

Girls come in the foreground.

Hey, guys, and then switch that role.

Get the bride and groom in the foreground.

All of a sudden, you've got all these

ideas with very little effort.

But remember, you've got all these kissing shots

and having some fun.

I've got the best man kissing the bride

in the cheek, and then that's why you've

got the groom sort of reacting that way.

And then you've sort of got girls sort

of interacting with guys.

So there are so many shots, guys, that

we can do with bridal party members.

So I kind of like that as well.

But remember, you're at a location.

You have some fun.

All right, there's some guys.

There's a bride with a dress, and then

the girls are holding it.

We've got that shot.

Now we need a really cool guy shot.

Well, let's just change it up a little

bit.

Maybe we get two or three of the

guys facing the camera.

One's leaning on part of the pillar, and

then you've got the groom over his shoulder.

So just break it up.

Don't think, well, I should be doing this.

I should be doing that.

I think too many of us, we try

to impress other photographers by being perfect.

When it comes to family especially, it's not

about you.

It's not about freaking photographers liking what you're

doing, and is every hand perfect.

Just remember, you're photographing real people, and often

when you're talking about groups, you're talking about

relationships.

So therefore, you have to tie that in.

And then there's some times where you'll do

something at a church, and it's quite traditional.

Boy, girl, boy, girl, boy, girl.

You've got the father who is a pastor.

You've got, obviously, you can't be too crazy

with it.

But then when I got the kiss, which

is sort of taboo, that's what we got

the reaction out of all these guys as

well.

But again, I did not have much time.

So I went from that traditional photograph looking

in the camera to this one.

How do I change up that look without

wasting too much time?

Get the couple in the foreground.

They do exactly what they're doing, but they

shift a little bit left and right.

I frame them in that particular environment, and

then we've got the shot.

Remember though, if you have more time and

you're at a location, I've often said that

your location will dictate and give you ideas

of what to do with your pose.

If you simply had a staircase going down,

well, there's a perfect opportunity to do a

beautiful triangular composition.

So what am I going to do?

I'm actually going to get the girl with

the exposed legs down here because I want

that little finesse.

And she's got nice legs, so I'm going

to put her there first.

Then I've got a couple on the bottom

left, the redheads.

Well, they're going to be all hooked up

together.

Then we've got the bride and the groom.

They're a couple, so I want to bring

them closer.

Now, they're a couple, but then he's right

behind.

So now we each have a story here,

here, and then here.

And the cool thing is that overall, it

creates an overall story as well.

So it just depends on what the environment,

what the family, what the group is basically

asking for non-verbally.

Well, they just want to look cool.

They want to look happy.

They want to have fun.

They want to show how close they are.

And then as you start to get to

know your families, and even asking the right

questions way before the wedding, like, hey, who

are you closest to?

How's your relationship with your sisters, your cousins?

Tell me about the dynamics of the bridal

party.

And then all of a sudden, you'll find

out, oh, the guys like to stir a

lot.

Oh, the girls like to have fun.

And they have this running joke of this

line in this TV show or whatever.

And all of a sudden, you find out

these things that will be that spark for

that beautiful, those moments happening as well.

Then you'll have some bridal parties where, you

know, or groups where you've got like two

couples and then one odd one out.

But again, this one, even though that they're

overlapping, like they're overlapping with the dress, she's

overlapping just with their body over the suit.

But there is a connection, whether it's physically

or whether it's just by the nature of

where the eyes are looking.

So remember, the relationships can be shown easily

by simply just dissecting body parts of people

or using an elbow, using a hand, crossing

over dress material and suits and things like

that, but can also simply be where you're

looking into and things like that.

Same with this one.

You know, it's basically a shot of, you

know, two couples and friends.

But then you look at this, this could

easily be a shot on its own, and

that could easily be shot on its own.

So when you're here, I've got easily I've

got three shots happening, as in, let me

take that overall, let me just say, you

know what, ignore that couple banged with a

bride and groom.

And then you've got that other couple shot

as well.

So don't forget that.

And it also shows that you're paying attention

to what you're photographing.

If I was photographing this in front of

10 families waiting for a photograph, and I

take that shot looking in the camera, then

I get them interacting.

Then I go bang, bang really quickly.

I'm like, you know what this guy knows

what he's doing.

Then you've got the kids playing around in

the background there and playing around.

And then you see them and then you

click click and then you come back to

what you're doing.

It's shows you're paying attention.

It builds confidence with your audience and who

you're photographing.

And it just works.

But I love the fact that we just

get intimate often when I'm lining up people

for a photograph, so I can see everybody,

I might even say hump in a little

bit, like just go a little bit closer.

And then you know, you'll hear the pitter

patter of little steps walking left and right.

Girls point your toe lean forward, lean forward,

lean forward, lean in, look at the bride

and groom, have some fun.

And again, this could be a non-wedding

day, this could be parents and this could

be all the children and grandchildren where you've

got all of them grouped together in different

ways.

So what I want to do now is

I'm going to show you again some more

examples of one family to show you how

we can evolve in different ways.

So for example, you've got three brothers, okay?

So I'm one of actually three brothers myself.

So I identify also being Greek, this is

photographing a Greek wedding.

I identify with the Greek culture a lot

and I know what it's all about.

And so I take a clean, even shot

looking in the camera, smiling at these guys,

then I get them interacting.

And then sometimes I press the pause button

and I just walk around, shoot on a

different angle and have some more fun.

If I'm feeling flat and I can't make

them laugh or I can't really get them

in the mood, I'll find someone who can,

and it's usually the best man.

So I might get the best man close

to me, I might get the father who

tells dad jokes, great.

And then we have some fun.

So you can see how I would have

taken a shot of all the groom and

the groomsmen in this context.

In fact, that was my shot before this

one.

But then I'm like, let's not waste that

moment.

I've already sort of posed all the groomsmen

anyway.

I keep the guys there, bring the groom

in the foreground.

I take that shot.

They're all stirring him up.

And then I'm like, you can see that

they're stirring him up.

And now we're having some fun here as

well.

And remember that family photographs, I've said this

many times already, that it's not just about

what you look like, it's about who you

are as a family, who you are as

a group and so on.

So with this particular moment, what had happened

was that I was going to take some

backlit shots of the boys just walking along.

All of a sudden, the best man breaks

out a portable Bluetooth speaker, and he plays

some Greek music.

And I'm like, well, you know, being Greek,

and I recognize the song.

And if you've ever been to a Greek

wedding, or you've seen my big fat Greek

wedding, which is somewhat true, and some some

not, but you get an idea of the

culture where we are allowed dramatic, crazy culture.

And there's a dance called the Zybekego.

Zybekego is the freestyle dance, you'll often see

people do this, okay, they're dancing like that,

dancing like that, okay.

When that happens, is that someone will be

paid homage to like you're dancing, someone sort

of standing up nice and straight, and you're

all either squatting or kneeling down.

And you're just clapping and you're celebrating them

beautifully.

So knowing the culture, I said, okay, mom,

come out, let's have some fun, boys, like

just, you know, like, you know what to

do.

And of course, they knew, or they went

down, they squatted down, I had the groomsmen

in the foreground.

So now I've got foreground, middle ground background.

And now we get a family photograph.

That is an absolutely beautiful legacy for this

family.

And in fact, that's the word that was

used.

I showed the boys and this, the brother

of the groom said, you've just created an

incredible legacy for our family.

And I'm like, I sort of forget some

sometimes it as much as I teach and

preach it.

Like when you're actually photographing, you're sort of

on autopilot, and you do what you do.

But sometimes it just takes someone to say,

you know what, like, thank you, you saw

us.

And, and again, I wished I had something

like this on my wedding.

And I somewhat do to want to be

honest, but there's, you know, different ways.

But I love the fact that they're interacting,

see how they're dissecting their arms.

See how we've got the actual, one of

the sons overlapping dad, you've got him overlapping

mom and overlapping and then joining and joining.

So it's not just a physical touch, it

can just simply be the overlay of how

they're interacting that brings harmony to that shot.

And of course, look at how many triangular

compositions we actually see in this photograph.

So that's why you might be looking at

this and say, look, it's fun, it's celebratory.

But I don't know why I'm feeling this

warm and fuzzy just aesthetically, just graphically.

Well, because you have so many dynamics and

so many beautiful triangles in that shot.

So this one, there would have been one

looking in the camera smiling.

And then again, just break them up, bring

the bride in the foreground, and then we

have an easy second shot.

Don't forget that kids want to have fun

too.

So if you are photographing a wedding, or

if you are photographing a family portrait independent

of a wedding, take the middle generation out.

Okay, so let's say for example, you've got,

you know, parents and children, well, that's pretty

obvious.

The grandparents are there.

Yes, you'll take all sorts of groups, but

get rid of that middle generation, get the

grandparents with all their grandkids.

And in this case, you've got the bride

with the nephews and nieces and things like

that.

And it's just really cute.

Now, yes, you would have had shots looking

in the camera smiling.

Well, that's freaking obvious, do that.

But then get them interacting.

This does not take more than five seconds

to have some fun with them.

And you create that precedent at the start

of a day, whether it's a shoot, a

family portrait, whether it's a wedding day, you

start that precedent of what that means.

Hey, guys, look at each other, have some

fun.

And you're just freaking out.

People know what that means.

And if they don't know what that means,

and they're looking at you like what, what's

this?

What's this photographer saying?

Like, what is he?

I'm like, hashtag smile, hashtag have a bit

of fun.

And then all of a these guys looking

in the camera smiling, but this says more

about who they are as as a group

of friends, rather than just what they look

like.

And again, there's going to be a shot

where you just have to do a broad,

big broader party shot like this.

But you can see with this many broader

party members, it's a lot nicer to see

that little harmony that that that audio player

that histogram that goes like this rather than

just flatlining.

In other words, you've got masculine, feminine, and

then you've got dark and light.

And then I'm trying to isolate this background

because I have not many places to shoot.

Remember, when we're photographing a group like this,

you've got less options with lighting.

So this is where I'll be shooting most

of my shots in overcast.

Now, I can bring the couple in the

foreground, you can see how there's more backlight

on them.

So the sun is hitting them, but not

so much the all of the broader party.

But again, it's a very easy way to

get a second shot here.

Now, could this be done at a normal

family photograph?

Of course, don't do not dismiss what I'm

telling you that this is only relevant to

brides and grooms and bridal parties and so

on.

Guys, this could be parents, this could be

the children.

And yes, you would have done those shots

where they're all sort of sitting together or

standing together.

Yes, you could have had walking together all

those kinds of shots.

But why not play with foreground background?

Why not go from focusing to the bride

and groom to the to the to the

children and forward and background?

You know, I love this kind of shot

where I deliberately cropped in nice and tight.

And I shot quite low, it makes him

look larger than life and quite heroic.

And it's split lighting, it's very masculine, it

works well.

And on the other hand, this is the

exact same wedding.

I look back on this one, and then

the girls are actually photographed in and around

a staircase.

And it's sort of it's somewhat traditional, somewhat,

you know, classic and everything like that.

Sorry, a mixture of you would say classic,

and a little bit more casual, just the

way the bride, the bride standing and all

that kind of stuff.

And again, if you're photographing girls like that,

don't waste that bring the bridal party involved

as well.

Because otherwise, you're wasting time reposing them.

And remember, like there's so many ways that

you can photograph families like you got the

bottom left there, but the groom is obsessed

with golf.

And I'm like, well, he says, we're getting

married in a golf course.

And I'm like, well, what do we do?

I don't know.

Let's pretend like the bride's really bad at

golf.

And she goes, well, she is.

I'm like, well, this is perfect, then it's

meaningful.

So we had her as if she's pretending

to putt and she's missing all the balls.

The top left there, we've got that beautiful

triangular composition.

You know, you've got bridesmaids who are very

cold on a wedding day.

And I'm like, there's an idea for a

photograph.

If they're cold, guys, take your jackets off,

put the jackets on the girls.

Then you've got the bride and groom on

one side.

And then you've got this nice little hierarchy

here.

These two people, they're a couple.

They're a couple on the left.

So therefore they can hug and the rest

don't have to.

But it doesn't matter what you are doing.

You are there to show relationships and fun

and celebration and everything like that.

And sometimes it could just be that the

bride and groom is in the foreground in

light, but you are suggesting the presence of

the bridal party in the background.

And I remember I was actually at a

wedding of a fellow photographer.

And I'm like, they were in and around

the actual, the mirror and the makeup area.

And I put my head in.

And I'm like, damn, I wish I could

photograph this but not be in the photograph.

And I'm like, well, I'm sort of part

of the story too.

I photographed the wedding.

Was I literally there on the wedding day?

Yes.

So you see Melissa in the foreground, you

see the filmmaker in there.

And I thought, well, isn't that fun to

actually do as well?

Now, I could easily have photoshopped myself out

of that.

And that'd be quite weird because you think,

well, how the hell that was taken.

But I love the fact that we can

do a shot like this.

And to be honest, I haven't done a

shot like this for a very long time.

And it sort of reminded me to say

that I think that we think too clinically

and like we can't be in the shot.

And yes, it's not about us.

But again, short of the filmmaker and my

wife, Melissa, being in the shot, if they

were out of the picture, I could take

this shot with the Bridal Party in the

foreground, take myself out of the reflection.

And now we've got a really beautiful, fun,

unique Bridal Party shot.

But remember to create stories within stories.

Remember to create beautiful little triangles.

Everything that we're doing, we're actually doing like

if you look at each person individually, I'm

going to use the same principles that I

discussed, whether it's a guy or a girl

or a couple.

The fact that I multiply the people, it

does not mean I just forgo all those

common denominators or rules, as you might call

them.

This was actually at a workshop where, so,

you know, there's Melissa and I, there's all

our students.

And we've got a couple of our models

there as well.

But you see how this could easily be

a shot at the beach.

It doesn't matter.

It could be anything.

The idea is that we get a chance

to actually see stories within stories, personalities, and

everything's just broken up and less predictable.

But I quite like the idea of that.

But remember, too, like this is taking a

long time ago.

And a lot of the shots that I'm

showing you here is a blend of old

stuff and new stuff that I just did

only a few weeks ago.

But I wanted to give you sort of

a bit of a journey of this kind

of shots in my career that I've popularized.

And I want to share with you to

give you some nice foundations to start from,

be it a family portrait, be it a

wedding or whatever it may be.

But again, when I was photographing this, I

deliberately in my mind said, well, if I

photograph this with the girls, then I need

to photograph that with the boys, knowing that

this is the way I'm going to show

up in the wedding album.

And again, this could be three brothers and

three sisters.

And this could be a spread in a

family portrait album as well.

This is what I love the most is

creating unique little relationships, little groups within groups,

beautiful triangular composition, triangles within triangles.

We isolate the background, we compress the background,

and it works.

But I love the fact that we can

do all of this stuff and have so

much fun, even the fact that I was

actually photographing the groom on his own.

Then I noticed mum photographing the girls.

So I just said, hey, groom, stay where

you are, just pause for a second.

I ran right around.

And I think I made a joke about

mum being the professional photographer.

I said something like, I can't remember.

It was something like, remember the person you're

paying.

And then they started laughing and giving the

hand, all that kind of stuff.

And then that becomes a nice little cute

little photograph.

So every family will have a different sensibility.

This one, for example, was photographed in Rome.

So we've got traditional portrait of the guys.

So he's got a top hat and tail.

So maybe the pose is a little bit

more traditional.

But then I still get them to lean

forward and their chins up.

I break the monotony of that with this

one.

And I get a group hug as well.

I enjoy this kind of stuff too.

How do I pose all the girls like

that?

Everyone, turn on a bit of an angle,

point your toe that's close to me towards

the camera, slide your heel back in, bend

the knee, shift your hip back, shoulders back,

lend the chest forward.

Now I'll pose all the girls the way

I want to do it.

Hey, bride, pick up a dress like you're

about to walk.

And then all of a sudden, we get

these different kinds of shots.

But the comparisons that we're showing is that,

yes, there would have been shots of this

group looking in the camera smiling.

But these are the ones that actually make

me feel a lot more than before.

And even though they're not as perfect, because

he put his hand out of his pocket,

he's gesturing a certain way, I wouldn't have

posed him like that.

But I believe, in fact, it is actually

the break of perfection is what really makes

the photograph.

Because if you try to make it look

too static and too perfect, you don't believe

it.

So it depends on the nature of the

photograph.

So when you have someone in front of

you, and you're thinking, all right, this is

just historical picture of a group of people.

Look at the camera smile.

Great.

Don't even smile at all.

Then I want to show relationships.

I'll get them interacting.

Then I want to show guys just being

guys and slapping each other around, all that

kind of stuff.

But you can see that in the photograph.

So therefore, this is the execution of my

desired result.

Therefore, perfect, so to speak.

These are the girls having fun there as

well, which I absolutely love.

So what we've done now, guys, is I've

given you quite a holistic view of a

bridal party, showing you sort of shots of

girls and then guys, then bridal party, showing

you traditional ways of photographing, showing you more

casual ways of photographing.

And now we're going to go a little

bit deeper into different things, including photographing children,

photographing sort of families, and then really diving

in a bit deeper with bridesmaids on their

own and groomsmen on their own.

So I hope you enjoyed that.

Next, we're going to talk about how we

should let children be children.