All language subtitles for 4. Natural Kissing and Dipping

Okay guys, it's really important to work out

what nuances the couple have on their own

without posing anything.

And also you want to work out what

kind of couple are you dealing with and

you're working with.

They could be, you know when you photograph

some people and they're a little bit awkward,

a little bit clumsy, they could be beautiful,

they could be sexy, whatever, gorgeous figures, whatever,

but they've sort of just got that awkward

touch about them.

So what I try to almost the start

of almost every shoot is I will get

a couple together to pose themselves, as in

not pose them at all.

And I'll show you what this looks like

in a moment.

Also, I think it's important too that when

I talk about posing as a form of

communication, how it's purposeful and meaningful, there are

going to be some things that a guy

or a girl does individually or a couple,

or it could be two guys, two girls,

of course, doesn't matter.

It's we want to work out what little

things are just simply them.

I'll give you an example.

So my wife Melissa and I, we walk

down the street a certain way.

If we were captured the way we walk,

and I think we developed the walk after

we got married, so it's a bit of

a shame, but we have this thing that

when we walk, so if you just do

that, I basically, and if you can see

my hand, Melissa and I walk this way.

Why?

Because I don't want to waste a hand

not touching her, because I just love it.

So for me, if I was captured on

my wedding day doing that, I'll grow up

and really appreciate those photographs were taken.

What I'm getting at is if you pose

every single finger, the issue is that I'm

never going to really learn those beautiful little

subtleties of what makes the couple, the couple,

how maybe Dylan holds Lisa's face, maybe there's

a little way that maybe Lisa touches Dylan's

lips before she kisses him.

I don't really know that's what I'm going

to work out in Bali because I've photographed

Lisa for so many years.

A lot of it's been demonstration, things like

that.

So for example, on their wedding day, I'm

not going to be posing every little finger.

I'm going to let them go a little

bit, have some fun.

Where I need to, I'm going to tweak.

I'm not photographing a model, I'm photographing a

couple in love, and that's what you have

to work out too.

You can practice all day long with models.

You can practice with your sister or your

best friend, whatever.

But when you're photographing a couple, you can't

ignore the fact that they're a real couple.

They're a human being and you want to

bring out the best in them, but you

want to see their personalities too.

So although what we're doing is really delving

into the, I guess, somewhat the science of

posing and the architecture of posing, just don't

forget that the personalities have to come out

as well.

And that's of course, if you follow my

five-step process, if we talk about light,

location, pose, technique, emotion, see, we're talking about

posing right now.

If you get the posing right, then add

the emotion, and the emotion breaks the perfection

of the pose.

It's in fact that break of perfection that

makes that shot look real.

Otherwise, everything's mechanical and too perfect.

We don't want that.

And sometimes we do, but if we can

make it look glamorous and natural, which is

what I'm teaching you in this entire course,

well now we're talking and that's also really

cool because not many people know how to

do that well.

Get the beauty of a pose and the

natural nature of something candid.

Know when to shut the hell up and

know when to get involved.

So now we've got this beautiful girl here.

We've got her handsome fiance just waiting to

be photographed and he'd be much rather be

doing something else right now.

I can just tell that he loves you,

so he'll do anything for you and me

because we're mates, but I want to show

you what I do.

Usually one of the first poses I'll do

with a bride and a groom is something

like this.

So let's stand you in the middle again.

So Dylan, without thinking about it, I want

you to walk up to Lisa and just

give her a hug from behind.

Don't pose to me.

How would you hold her from behind?

And Lisa, don't pose.

There you go.

Perfect.

All right.

So looking at this particular shot right now,

first of all, don't change a thing because

it's perfect.

Looking at this shot, it actually looks like

Dylan is giving Lisa the Heimlich maneuver.

Like she's just choked on a piece of

sushi or something.

I wish I had a maneuver named after

me.

Isn't that really cool?

Like, can you imagine Mr. Heimlich right now?

Like, oh my God, all these people have

been saved because of my maneuver.

All right, maybe we can create a Jerry

maneuver by the time this course ends.

So what we talk about here right now,

guys, is they have built their own house.

That's the way I like to think of

posing before we add emotion to it.

It's architecture.

Now right now, I can't hardly see Dylan.

Basically, Lisa looks like she's just waiting for

something to do or she's unemotional because her

hands are draping.

She's very, very flat footed.

She's just standing with her hips just straight

and there's not much going on.

Just for the sake of the argument, put

your face on the other side there for

me, Dylan.

And then now face this camera.

Yep.

So this needs renovating.

So your job as a photographer, in my

humble opinion, is why don't you give the

couple something to do on their own to

see who you're dealing with?

As in, are they an emotional couple?

Are they soft?

Have they got a beautiful, fun energy?

You'll just know which way to go.

If these guys all of a sudden get

into a cute little playful mentality and having

some fun and giggling away a little bit,

I'm not going to overpose them.

I might put them in good light.

I might give them a foundation to work

from and then let them go.

So it really depends on the actual couple.

In this case, if we're just talking about

a classical, traditional, beautiful portrait and I want

to see what they're capable of, well, how

would we renovate this?

So many of you at home watching this

right now arguably have built a house and

then realized, or renovated a house, pardon me,

and then realized that halfway through the renovation,

it would have been cheaper and easier on

your brain and your physicality to just tear

that freaking house right down and rebuild from

scratch because that's easier.

As far as posing is concerned, they've built

their own house.

It's my job to work out now, do

we renovate this, as in refine it, or

do we tear it down and rebuild from

scratch?

Let me show you how I would renovate

this.

So now looking at this particular camera, so

first of all, these hands, sometimes when the

hands are right on the belly, it can

look like she's pregnant or we're covering up

the belly, that might be okay because she's

plus size, that might be fine.

Personally, I like it when the guy will

hold the hips of the bride, so do

that.

Now this hand on his hand is basically

saying, I love you, okay, I love where

that hand is.

Now this is a softer energy, I would

much rather that than maybe the guy's hands

on top.

I feel it's a bit softer and more

delicate when it's like that.

So we're going to relax that shoulder, we're

going to turn on a bit of an

angle right now, turn, turn, beautiful.

So now what I'd like you to do,

we're going to go back to that foundation

pose, Lisa, that we did earlier.

Point the toe towards the camera, slide the

heel back in, bend the knee, shift your

butt away, perfect.

Now a little bit of dust happened in

there, no big deal.

I'm going to get you to shuffle your

feet right in there, mate, and let me

just see what we're looking at from this

perspective, so from my camera perspective.

For want of a better word, and I

would normally say this, is hump in a

little bit, Dylan, there we go.

Bring your knee in a little bit this

way, this way, that's it, good.

Now, and Dylan, the lower part of your

body, bring it a bit closer to hers,

perfect.

Now, what we can see here on this

part of their body, the hand's just dangling

down, nothing's going on.

So we need to do something with her

hand, because if we get a glimpse of

her hand from this perspective, that's going to

be an issue.

So either we just get rid of it

completely, or we do something with it.

Now, we could actually bring the hands over

here.

For me, if we bring the hands on

this side, and perhaps if we just turn

towards this camera angle over here, we're actually

covering up the thinnest part of her waist,

and that is a waste of a waste.

So either, again, we get rid of it,

or we do something with it.

It could just simply be that she's just

bringing her hand back in, and then he's

got his hand on her hip, even though

that we can't see it, he's got his

hand on her hip, because we just, he

just wants to feel that warmth.

It'll affect his face the way he's holding

his beautiful bride.

So in this case, now here's another problem

that's going on in the upper part of

the body.

You never want a piece of hair to

actually ruin the moment.

In other words, dissect the moment.

So what you need to do, mate, is

I want you to lean forward and bring

your temple just beyond her, so that your

skin's touching right there.

So come closer.

Good.

Perfect.

All right, so now guys, now this again

is a bit posey, so we might just

bring it right back and get rid of

it.

This hand's looking really good.

Relax that shoulder a little bit.

There we go.

Now, I often will go up to a

bride and a groom and get them to

look at my hands.

So rather than just mirroring me, they're going

to actually mirror what I'm doing with my

hands.

Just point them down.

Perfect.

Do you see how they created a beautiful

little V there?

Very feminine for the bride.

We basically said that we bring the chin

to the outer shoulder there, and then either

eyes back or eyes down.

That works.

But you see that beautiful V, that little

triangle.

Triangles are very, very pleasing to the eye,

and there is a soft sort of sensibility

about that as well.

Last minute now, you can sort of see

how she softened that pushing of the hip.

So I'm going to get them both and

then lean towards me.

Beautiful.

That will also help if you are, again,

a more down-to-earth photographer, a shorter

photographer.

You're getting them to engage you more.

So rather than if you're short here and

they're tall up here, they're leaning towards you,

so their faces are parallel.

Remember, if you want to emphasize something, you

push it towards the camera and towards the

light for that matter.

And if you want to de-emphasize it,

you push it away from the camera and

away from the light.

Does that make sense?

So what we want to do is just

let them go a little bit and then

let's see what happens and see if it

needs renovating.

So we haven't rehearsed this at all, so

just relax a little bit.

So just totally relax.

I want you to face each other.

Do you have a particular hug that you

guys do?

Is there any way that you embrace?

Is there something that you guys do?

Okay, perfect.

Stop there.

Stop there.

Pause that button.

All right, again.

Now, why is this an issue?

First of all, Lisa, you look ripped right

there.

Good or bad, depending on what you want.

But this looks like he's basically strangling her,

which we don't want.

And this arm is looking a little bit

flat and it's just looking a little bit

awkward.

Now, that being said, we don't pose in

real life.

But when we're being photographed, like hair and

makeup, like I said, the bride will get

hair and makeup done.

She'll wear a beautiful dress.

She does not do that, in my humble

opinion, just to look like she does every

other day of the week.

So what we want to do is bring

out the best in her, just the way

the makeup artist did, just the way the

hair artist did and so on.

So if I had to renovate this, I

would basically do a few things.

First of all, I would bring the arm

up like this, bring this arm a little

bit lower.

This is a problem.

Remember, we do not want to cover up

the thinnest part of the waist.

So he's going to bring his hand to

a point where the fingers are just, just

miss, we basically get that silhouette of her

body.

This hand can go up a little bit

higher.

We can relax that shoulders a little bit.

So what we're doing right now, it's almost

suggestive of that we're actually, that the chin

is on the shoulder or about to whisper

in the ear or something like that.

In fact, see, even though that you can't

see his head, you can, you see that

he looks unemotional.

We don't see his face.

We don't see the expression, but he looks

unemotional.

If he simply just brought his chin down

here and chin forward, that's it.

Bury your head right in properly.

Okay.

So now we see a little bit of

a sliver of his head.

If you push him too much and I

see no part of his head at all,

even if it's a sliver, if we don't

see his head, it's just going to look

like he's headless.

He's done.

So chin up a little bit and turn

the face this way.

That hand there, make sure the ring is

looking beautiful.

Now, this is a really important point guys.

Watch the legs.

It's amazing what a simple direction will do.

I'm all I'm going to say right now

is this.

So Lisa, if I just said to you,

embrace his leg with your leg, as cheesy

as that will look, what would that look

like?

Yep.

So it looks a bit cheesy, right?

It's a bit humpy for a better, for

one of a better word.

All right.

So come back.

If I said with your leg, now watch

how I say it right now.

If I said, I want you to embrace

his leg with your leg, but make sure

your toe touches the ground.

Beautiful.

And bend the knee a little bit.

Good.

Shift your butt away from the camera.

Perfect.

Now guys, look at the difference.

Let's just turn a little bit this way.

Stop there.

Perfect.

Good.

Let's go back.

Guys, look at the difference.

That's crazy.

So now I said to her, I want

you to embrace his leg with your leg,

but make sure your toe touches the ground.

Did you see how she kicked her foot

out?

Then she laid it down and then I

just needed her to bend it a little

bit more, but naturally she's going to put

all her weight on her back leg.

Now with his hand, Dylan, your right hand,

bring it down a little bit there, mate.

And a little bit closer towards you.

Good.

Now this pose is great for maybe a

plus-sized girl because she's hiding her arm

and a lot of her body underneath.

Now the hand is looking a bit awkward.

He's probably too buff.

So what I might do is bring your

arm underneath her armpit.

So switch arms.

So yep, bring it right underneath.

Now your hand, just bring it on his

chest or his shoulder.

Let's have a look.

Okay.

Perfect.

Beautiful.

Now her right hand is popping out of

nowhere.

There's two things I'll either do.

Either, guys, turntable, turn this way.

Stop.

Now do you see how now I can

see her right hand?

The problem is that I can hardly see

her because his shoulder's covering.

First of all, I can just get him

to just sink a little bit there for

me, Dylan.

Just sink a bit.

It's like, well, not so much squat, just

sort of like let the air out of

that pose a little bit.

There we go.

Now both of you, upper bodies towards me.

Beautiful.

Chin up there for me, Lisa.

Gorgeous.

So now I get that shot.

If I find that that right hand's still

a bother, either I turn his body or

your right hand, Lisa, bring it right out,

excuse me, and then hold the back of

his head.

Bring it up a little bit higher.

Beautiful.

Gorgeous.

Okay.

So here's another problem, child, that we may

have.

Sometimes girls do this.

Straight, flat, doesn't really look that nice.

So we would just relax the hand, bring

it down, and then slide it down.

Beautiful.

And then arch your back, booty out a

little bit.

Nice, beautiful curve there.

Bending the knees is actually really, really good

too.

Okay.

Now here's where this comes unstuck a little

bit.

So just relax a little bit, unravel.

Most of the time, guys, is that when

a couple are being posed, we may know,

hey, I want that beautiful S-curve of

the bride.

We've got the S-shape.

But then the groom stands straight.

When the groom stands straight, literally body weight

distributed on his two feet, it just doesn't

look right.

That's why we always put his body weight

away from the camera as well.

We don't pose like this.

We simply just bend that front knee and

put that weight on.

Usually bring the heel in a little bit.

What happens is that energy, so him bending

his knee right there, that is almost like

an arrow pointing to the girl that he

loves.

So let's just get into a nice little

pose there.

Nothing fancy.

We'll come to these in a moment.

Yep.

Bring that knee out a little bit there

for me.

Beautiful.

So watch what happens.

Turn a little bit this way.

Watch what happens, guys, when...

Okay.

So you see how he's slightly bending his

knee?

That's a nice, beautiful, traditional pose.

Now bring your legs both straight there for

me, Dylan.

So, and even bring your feet together like

this, sort of straight.

Yep.

Do you see how that is just straight

and there's a bit of breathing space now

between the lower part of their bodies?

I personally don't like that.

I think it's unemotional.

We're emotional with the faces, we're emotional with

the hands, but the legs are doing nothing.

The legs, both legs now are doing nothing.

So what we want to do now is

slightly put your weight on your back leg

there, mate, and bend that front knee.

Good.

And now put your knee over his there,

Dylan.

Gorgeous.

Perfect.

And then arch that back.

Look at the difference.

Now, do you see his left hand popping

out of the back there?

I don't know if you can see that.

His left hand, let's just bring it back.

Let's bring it back again so we can

see.

So in fact, put your both hands on

the waist.

Good.

Let's show it on this camera now.

So turn this way.

Do you see how he's got both hands

on the waist?

That's quite a natural thing for a guy

to do or want to do.

He's just draw a partner in.

I'm saying his right hand is fine, but

the left hand is hiding the silhouette.

So let's bring the left hand right back.

Booty out, last shape.

Gorgeous.

Both lean towards me.

Chins up a little bit.

Perfect.

So, and it's funny because when we look

from this angle, you can sort of see

what she's doing.

It might feel a little bit awkward, but

when you turn them around this way, perfect.

Look at the beautiful shape.

That's what we want.

I've never met a woman who said to

me, make me look square and boxy and

no shape at all.

I mean, that's ridiculous.

With this pose, what you want to be

careful of is the arm being pressed up

against the body.

Now it's not, and here's the reason why.

It's a good way of remembering it.

If this hand is too low, that is

going to make the arm go nice and

close.

Well, no, not nice and close.

It's going to make it go close to

the body, therefore making that arm look flat.

We don't want that.

So two things, he can bring his hand

a bit lower, but you remember to relax

the shoulder and bring the arm off the

body.

Now she might look like she has a

chicken wing there.

So we just lean there, and this looks

less awkward.

Now let's go back though.

If he does bring, organically, he brought his

hand right here.

This gives this arm nowhere to go.

Now we have breathing space between her arm

and her body.

So it's not squished there.

Let's talk about hands now.

Let's just face this camera now.

This is an important one, guys.

Hands, if they're flat, so go perfectly flat

and fingers together.

There is no motion at all with this.

Let's come back a little bit more this

way.

A bit more.

Keep going.

Don't be shy.

Don't be shy.

A little more forward.

A bit more.

There we go.

So the hand like that, it just doesn't

look right.

It's flat, even though that might be organically

natural and everything, but this doesn't feel right.

So what we want to do now is

I'll actually even show her.

See how your hand's like that?

Just a bit of air between them and

a little bit up.

Beautiful.

So in other words, here's a way of

remembering it.

I know this sounds really weird, but just

follow along with me.

Pretend like a little caterpillar can just go

in and out of these fingers.

When that can happen, you know it's going

to look tender.

When it's flat, there's no emotion.

So just relax it, a little caterpillar.

In Greek, we call it a awesome word

in Greek, and that's really tender.

Remember what we said that when we did

this and this, now this hand will never

be straight on an arm.

It will be nice and curved.

It will never just be straight like this.

There'll be a little bit of a curve.

Beautiful.

Just relax a little bit.

Beautiful.

It could go like this.

I just think there you don't see many

fingers.

I just like to see a little bit

of a curve because it's more emotional.

If the hand's on the face, just relax

that hand, the hand's on the face, it

would look a lot nicer if there was

a little caressing there.

Now here's another thing with hands.

You see how our hands were created.

We've got the thumb here and got a

bit of a gap.

That's perfect for the ear.

So this hand, the fingers go behind because

what you're doing is we're drawing our partner

close in for a kiss.

So these fingers can do it.

When you're like this, it doesn't feel right.

And fingers sort of going in ears and

stuff like that is a bit awkward.

So relax the hand, guide it, and then

slide it.

Beautiful.

Perfect.

And that's the way we want to do

it.

As far as the guy's concerned, don't overpose

the guy.

He's going to want to hold the waist

and everything like that.

If he wants his hand on the back,

we can do that, but at least do

not cover up the thinnest part of the

waist.

So if we turn, turn, turn, turn.

Let's have a look at from this position.

So from the camera's position, so turn a

bit more this way.

Keep turning.

Good.

Perfect.

So you sort of see now how that

his left hand on her back actually sort

of makes sense.

But if he puts it down and covers

up the thinnest part of her waist, so

just sort of hold it just there, you

sort of see how we're missing that waist.

We're missing that beautiful curve.

Why would we do that?

Now, in this case, now, do you see

how her left hand is being hidden?

We can't see your hand at all.

So it almost looks like amputated.

So we want to be careful with that.

So what we'll do now is bring the

hand down on the chest.

So Lisa, that left hand.

And now bring it up a little bit.

Actually, this is a good example or a

good example of a bad example.

Let me explain.

Do you see what the problem with that

is?

Do you see how her hand is coming

out of her elbow?

We said that was called for shortening.

So we don't want to do that.

We want to bring in a hand up

nice and soft, nice and delicate, beautiful, a

little bit of air between the fingers and

body parts.

Or we want to bring the hand over

here.

We turn and nice and relaxed over here,

nice and soft, nice and delicate.

Beautiful.

Cool.

Cool.

All right.

Fantastic.

Sort of unravel a little bit there.

Let's come right nice in the middle there

as well.

Guys, I want to talk to you now

about posing and what I call my phone

number technique.

So let's talk about a phone number.

Phone number is a series of digits combined

together that gives everybody a unique number.

And of course, you know, there's millions and

millions of combinations.

I feel like actually talking like Dr. Evil

there for a second.

But whenever I say that word, I feel

like so good.

So now what I want to do is

I want to show you how a simple

change of digit can change the destiny of

a pose.

Let's do this right now.

So let's think of the very, very first

pose ever invented.

And that is hands.

So arms, hold the hands together like actually

just like this.

Actually, arms are each other's waist.

We'll do that first.

Yep.

And let's do this.

So you're holding each other looking in the

camera right there like that.

So your shoulders are together.

So just cuddle up.

Same thing we did.

Let's ignore the feet for the moment.

But let's just assume that this was the

very first pose ever invented.

Now, this is phone number 1-2-3

-4-5-6-7, the very first lucky

person to get that phone number.

That's awesome.

Fantastic.

But what's the problem here?

There's no problem.

We just need to change the direction of

that pose by simply changing a digit.

So whenever you're in front of a couple,

a guy or a girl or couple, whatever

it may be, and you want to change

the destiny of the pose, I want you

to think about it.

Just change a digit.

So what's this?

They are looking in the camera.

All I'm going to do is just change

one digit being her hand.

So this is phone number 1-2-3

-4-5-6-7, 2-3-4-5

-6-7, 3-4-5-6-7, and

so on and so on.

And holding your earring, holding your hair, holding

the veil, singing, singing.

Go.

All right.

So now we have, let's say, seven or

eight poses.

Now, all we have to do now is,

if he brings his forehead into hers, so

just, that's it, look into her.

So she stays the same way.

Guess what we do?

We go here, we go here, and here,

and here, and here, and here, and here,

and here, and here again.

So now we've got, you know, 20 poses.

If we bring her forehead in, and they

look into each other's lips, we can do

the exact same thing.

Make sense?

So now, it's endless.

What you're doing at home, and what you're

doing on that wedding that you photographed last

weekend, was photograph the exact same phone number,

so to speak.

You did the exact same pose, not knowing

that one simple digit would change the destiny

of how that pose looks and feels.

So always remember that.

And it's amazing how just some little subtleties

can mean all the difference.

Also, don't forget, we've often talked about the

turntable, and how picturing your couple on a

turntable will make a huge difference, and make

everyone look and feel beautiful, and give you

a different perspective.

See, often you will have a second photographer

on your wedding day, and they will get

a better shot than you, because they're simply,

with no pressure, walking around the couple and

looking great.

Now, here's the issue with that, though.

If we have a direction of light coming

this way, the light's falling on the couple

beautifully, and then you've got this perfect angle.

You take that shot, but the other person's

going to be in bad light.

So what you want to do is take

that first shot, press the pause button, turn

them around and keep that pose, and then

it's going to look amazing.

So let me give you an example of

this.

So how about we get, I want Lisa,

you to pretend like you're whispering in his

ear, on the other side.

Perfect.

Now hold his face, do what you do

naturally, like in that position.

If you were whispering in his ear, you're

going to, there we go, perfect.

All right.

So let's now refine it.

Let's renovate a little bit.

I'm going to bring that hand on the

back of his head.

I'm going to bring that elbow down a

little bit.

Beautiful.

I'm going to get you down to actually

embrace his leg with your leg, but make

sure your toes are just the ground.

He's in a slightly bent, he's already done

it.

It's funny because Dylan, I've photographed him once

before, but it's been a long time.

So he just got straight into it.

If you guys come a little bit this

way.

All right.

Fantastic.

So now we're looking beautiful.

He's about to whisper in the ear.

So now I take that shot.

Great.

Fantastic.

The thing is that when I photograph and

when I pose, I actually want to pose

and photograph for the wedding album.

It does not make me less of an

artist.

I actually want to sell what I shoot.

So I could overshoot this or take a

couple of shots, full length, three quarter closeup,

whatever it is.

But now I need a shot to go

with it.

So now pretend I just press the pause

button.

So I want the pose to be exactly

the same.

I'm going to turn you around 180 degrees

like a turntable.

Ready?

Keep the pose.

Keep turning, turn, turn, turn.

Beautiful.

Just like that.

Stunning.

Now let's go back.

So they have not changed their pose.

I've simply changed the angle.

And why wouldn't we maybe get the groom

whispering in her ear?

All I've got to do now is shift

the weight.

So Lisa, I want you to point your

right toe towards me now.

Embrace his leg with your leg, but make

sure you touch the ground.

Look at that beautiful shape there again.

He slightly bends his left knee, so puts

all his weight in his back leg.

And now he's whispering in the ear.

And if we wanted to just change it,

because maybe her hair's in the way and

the ear's not visible, he could just simply

just give her a cute little kiss on

the temple.

So just do that.

There we go.

It's making a smile.

Beautiful.

Now we can't see that anymore.

So what we're going to do is we're

going to turn them a bit more towards

us.

Perfect.

Perfect.

Makes sense?

All right, relax.

Shake it out a little bit.

Very good, guys.

Fantastic.

So guys, do you see how that phone

number technique can actually help you really, really

well?

It's just simply slowing down, taking your time,

observing what's going on.

And sometimes all I do is I just

walk around the couple and I see something

really different.

Now what I want to do, guys, is

I want to show you perhaps a traditional

portrait that I will do with pretty much

every couple.

So let's assume the couple just got married.

Doesn't really matter what culture, religion, ethnicity.

Very much if she's wearing some kind of

traditional garb, a dress, or anything else that

represents a bride on her wedding day, and

she's got flowers, this is pretty much one

of the first portraits I'll do with a

bride and a groom.

So I want you to hold that for

a second.

So let's talk about a couple of little

nuances here, guys.

Traditionally, the groom will wear some kind of,

I think, boutonniere, you guys call them in

the US.

We call them a buttonhole in Australia, which

doesn't make sense.

You guys win that one.

But there's normally a flower or some description

here.

Here's the issue.

If you have a flower here, you might

be squishing it depending on the posing that

you're doing, and therefore, you might be tempted

to get the groom on this side.

If you have the groom on this side,

it's okay and have the bride turn towards

him.

The problem is that according to this particular

camera angle now, or any camera angle for

that matter, see our eyes read from top

left to bottom right.

Because our eyes read from top left to

bottom right, and certainly in most cultures in

terms of reading books and language and stories

and things like that and words on a

page, we are used to seeing things like

that.

But even in art, top left to bottom

right, there's a beautiful flow.

There's a beautiful aesthetic.

It's aesthetically beautiful.

We love that look and feel.

So because the groom is usually taller and

the bride's usually shorter and usually we have

the hair coming down and the hair sort

of flowing, then that's when I will usually

put the groom on that side, even though

there might be a risk that he might

be squishing his boutonniere or his flower on

his lapel.

I personally don't like the flower on the

lapel.

It's a feminine sensibility and I get the

fact that we might have some flowers here

and have the same flower there.

I prefer the guy to look cool, sharp,

nothing breaking the attention away from that black

blue suit or whatever basically he's wearing.

But again, that's just a personal opinion.

So if we look at this now, if

you look at Lisa's hair, I want you,

this is a really important one.

So if you look at that camera right

there, now it's funny, I actually don't know

this about you because both sides are really

beautiful, but before you disclose to me what

your best side is, I'm going to guess.

Now, if you look at Lisa, her hair

is parted slightly on a part this way.

That usually, and there might be an anomaly

and it may happen right now, who knows,

but that tells me that she prefers this

side of her face.

Is that true?

Okay, great.

Thanks.

That's a great answer.

So now what I'm getting at is that

there's two things.

This is an anomaly.

You have to understand the nuances of what

I'm about to say.

If I want to get her to turn

her face into her man, so to speak,

and then get her to look at me

in the camera.

So let's do that.

Do you see how it's sort of obvious

that where the hair is parted out opens

up her face?

She's telling me by her hair parted here

that she prefers this part of her face.

Great.

Now your instinct will sort of tell you

the opposite because if you turn your face

more towards me, this hair is interrupting the

moment.

It just means that you've got to be

wary of bringing her hair back and bringing

his face beyond her hair so that there's

no interruption.

But I know that because I'm going to

get my couple to just often turn their

faces in, this actually makes more sense where

your mind will tell you the opposite.

Remember, it's not so much, well, her hair's

all bushy right here, therefore I'll get the

groom over here.

But no, if you turn, if the bride

turns her face this way, yes, her hair

can frame her face on this side but

she's often going to turn to a point

where the side that she prefers is the

other way.

I will have no shame, by the way,

in asking the bride, hey, do you prefer

a side of your face?

She'll often tell me what my gut is

telling me that she likes that side.

But there's always an anomaly.

There's always a girl that may not really

be recognisant of it and say, why, what's

wrong with my side of my face?

What's wrong with it?

So you've got to be careful.

Okay, let's just go back to the traditional

full-length portrait.

So I'm going to direct it from here,

actually.

So let's say your bride and groom are

just like that, they're waiting for some direction.

I might say, hey guys, just go for

a hug.

Just go for a hug there, beautiful.

All right, now bring your hands down, guys.

We're going to do a traditional shot.

I want you to guys come a little

bit closer.

So look at me, guys, for a second.

Do you see that little, yep, perfect, and

a couple of little steps this way.

Perfect, just there.

Now, guys, what you'll actually feel here is

that you may want to do exactly what

they're doing.

She holds her flowers naturally.

He's holding his hands along the waist.

There's a problem here.

Now you might say, well, no one's going

to know the difference.

Well, it doesn't matter if no one knows

the difference.

A bride will not know the nuances that

we're teaching you during this course, but she

will know how she feels if we actually

bring out the best in her and we

make her look and feel beautiful.

The problem with this as a traditional pose

is that the flowers are unemotional, but that's

okay.

We're shooting a traditional portrait.

We're covering up completely his arm.

She's quite flat-footed.

We've got a slight bend there.

We're covering up the thinnest part of the

waist.

This being a traditional photograph, one for grandma,

we're not trying to save the world.

We're not trying to win an award.

This is just for grandma, all right, or

this is basically what I look like.

We're not trying to show the audience of

this photograph who they are.

This is just a clean shot of the

dress, the suit, and so on.

So what we do is this.

Point the toe towards the camera, Lisa, slide

the heel back in, bend the knee, shift

the butt back.

I want to see the detail of the

dress.

And so this hand, although emotional, it's not

the time to basically hold the bride.

So she brings her flowers just off the

dress.

He puts the hand in the pocket.

Relax that shoulder.

There we go.

And relax a little bit more.

Beautiful.

Just nice and bending there.

Beautiful.

Let's come back and let's see if we

like that.

Guys, that's exactly what I would do.

We're showing the bride and the groom full

length.

We've got a beautiful curve.

Do you notice how the flowers are below

the thinnest part of her waist?

He's got his hand in his pocket.

We take that traditional portrait.

Bang, bang, bang.

Fantastic.

Now, when you're there taking a traditional full

-length portrait of the bride and the groom,

you can take that.

Then you can get them to look off

into the distance.

Now, here's the thing.

What I used to do is say, guys,

just look that way.

The problem is even though that they're generally

looking in the same area, that what will

happen is that they might be looking about

three feet apart.

There's a disconnect.

So now what I do is I'll say,

look at my hand.

Okay, I want you to look there.

Then I look in a direction.

I'll say, look at the top of the

top left corner of that of that curtain,

for example.

Great.

So now they're looking in the exact same

position and I've got that shot.

Beautiful.

Once I take a traditional full-length portrait

of my bride and the groom, then I

take a close-up.

Now I get his hand out of his

pocket.

So I take that hand out of the

pocket, relax the jacket a little bit in

the back.

Now both hold the flowers.

And just now, this is another thing.

Do you see how now they've naturally brought

those flowers up, but it's covering up the

curvature of her bust.

We just bring it below her bust.

Good.

Too much.

Back.

Beautiful.

Bring it close to you guys.

And a bit lower.

Gorgeous.

Now both of you lean towards me.

Chin up.

Perfect.

So now I take a traditional close-up

of them.

So let's go to this camera.

Beautiful.

And there it is.

Nothing fancy.

Click.

I take that shot.

Now that is pretty much your do or

die when it comes to the full length

of the couple.

So we basically are looking at a full

-length portrait of them and a close-up

of them.

Looking in the camera, smiling.

Yes, you can turn this into a kissing

on the cheek or the temple or having

some fun, whatever.

But you're going to have fun later on.

This is just what you need.

And this is what I call my two

of my seven do or die shots.

So what are my do or die shots

at a bridal party?

Well, we just did two of them.

Full length of the bride and the groom.

Close-up of the bride and groom.

So that's this one.

The bride on her own, which we did

fictitiously before.

The groom on his own, which we did.

We do the girls on their own, all

the bridesmaids.

The boys on their own, all the groomsmen.

And then all the bridal party.

All looking in the camera, smiling.

You might get interactive shots, but do those

seven do or die.

And now, if you have more time, you

do them over and over again in a

different way.

In this example.

So let's say, for example, she spent an

exorbitant amount of money on her dress and

all you did was photograph the front of

it.

She will scratch your eyes out for very

good reason.

So you want to also do a different

kind of a shot of maybe from behind.

So all I simply do with you guys

now is, in fact, I want you to

stay there.

I want you to turn your body.

So turn that shoulder into here.

Yeah.

And I want your face out as well.

So I want to see your face.

Good.

Beautiful.

And just relax a little bit there.

Perfect.

And that hand now, I want you to

point the toe, bend the knee and shift

the weight back.

And now you're slightly out there for me.

Perfect.

And turn your face this way.

Turn your face now left in towards her.

Good.

And then turn your shoulders a bit more

this way.

Perfect.

Good.

So now, guys, let's have a look at

that.

Now, both of you lean your shoulders, your

upper bodies towards that camera.

Perfect.

Now, do you see how we've got a

traditional full length of them?

But of course, the back of the suit

is going to look boring.

It's just a black or blue suit.

In this case, now, we've got a beautiful

curvature of the butt.

The waist is being hidden by his left

hand.

So let's just bring that hand out of

the way.

Beautiful.

And then chin up a bit there for

me, Lisa, and just relax the shoulder a

little bit.

There we go.

Just relax.

Nice and easy.

And now we've got a back shot.

Fantastic.

That's really, really important, too.

OK, so relax that for a second.

Now, if you wanted a different kind of

a shot with the flowers, and again, I'm

not a huge fan of the flowers, like

I told you, because there are a couple

now.

She's holding the flowers.

We've done those traditional shots.

I want it to be more emotive.

But if you wanted to, this is a

couple of a couple of variations.

I want you to hold your arms over

his shoulders.

Yeah, and just hold her around the waist

and give me the point the toe, bend

the knee, shift the weight back and slide

there.

See, once the couple get it, they get

it.

Do me a favour, come back a few

little shuffles to me with your feet.

Perfect.

So now I've got the flowers over here.

Now, here's a couple of issues with this

kind of a shot.

Well, this is OK, but it might be

a little bit heavy visually.

So I'll let you be the judge of

that.

This case, I want you to bring her

body close.

Leave no room for Jesus.

OK, lean upper bodies towards the camera.

Good.

Now, let's have a look at this shot

from this perspective.

OK, so there's a couple of issues that

we may have in this particular position.

First of all, you can see her right

arm interrupt that moment between the bride and

the groom.

That is just something that you either have

to live with or you simply get rid

of.

So, Liz, if I told you, hold the

flowers with your left hand only and then

point them back towards me.

So over the shoulder again, though.

So bring it right over your shoulder.

That's it.

So what I want is this.

And this hand, just bring it down where

I can't see it.

So right down.

There we go.

Perfect.

So you see how now I do not

have that right arm interrupt that moment.

Now, let's say I didn't really care about

that because they were kissing or doing whatever.

Let's bring your hand back around.

So your right hand over the shoulder and

let's turn towards this camera so we can

see it a bit clearer.

Beautiful.

So again, now upper bodies more towards me.

Perfect.

Now, do you see how they're practically a

profile, but I can't really see their faces.

So now I'm going to get their foreheads

touching.

Turn your faces outwards towards me a little

bit.

Perfect.

Now, do you see a bit more what's

going on?

Guys, do me a favor.

Turn table.

Turn more this way.

Stop.

Beautiful.

Now, we don't want those flowers just interrupting

his ear.

So they either cover up his ear or

not, or you just don't shoot with them.

Now, this is where you could easily just

turn her face towards me.

Turn, turn, turn, turn, turn.

So it could be one where he's looking

into her body.

She's looking in the camera or she's just

looking off over there, giggling a little bit,

having some fun.

Beautiful.

All right, relax.

You've often probably seen photographs where the groom

holds the flowers.

I'm not a big fan of that.

That's a personal bias.

So I can't tell you not to do

that.

I'm just suggesting that it looks a bit

feminine for a guy to hold the flowers.

I get that he might be helping her

out and holding the flowers where she's adjusting

her dress.

Let that happen organically.

If that happens and it looks good, shoot

it.

If it doesn't, then don't.

Now, a couple in love, you would say,

kiss, right?

Kissing is a pretty obvious thing to do

for a wedding.

What I'm suggesting to you guys is that

there is a good way and a bad

way to do this.

So we're going to focus on this one.

So come a bit more this way.

So here's what happens.

If you guys, obviously, if that was the

camera angle and I was behind that camera,

you'd be facing each other, right?

And then if I basically said, guys, go

for a kiss, what would that look like?

Okay, stop there.

So when they kiss, I can't really see

the kiss that well.

So I feel that the kiss really is

feminine energy.

So you can un-kiss.

I believe the kiss is a feminine energy.

I think it's a very beautiful thing.

So I really feel that the bride's face

should be on the outside.

When people kiss and don't know how to

kiss, it's usually when their noses are squishing

together.

A nose should be either one way or

the other.

They never should squish right together.

So here's what my recommendation is.

A good kissing shot is done slightly over

the shoulder of the groom.

And what happens is, it's funny how you

do this naturally.

When I asked you to kiss, you actually

put your nose on the outside and you

hid the kiss.

It's almost an animal instinct for a guy

to protect what's his and let me hide

the kiss.

I don't know what it is.

But nine out of 10 times, go back

to your folio.

If you've already photographed weddings, go back to

your folio and you'll be amazed on how

many times you've said to the couple, go

for a kiss, and the guy's nose on

the outside.

If you tilt your...

So you kiss fairly straight on with a

slight angle.

But if you kiss passionately, if you turn

your face this way, and then you kiss

that way, so just go for a kiss

again.

Do you see how we can't even see

the kiss, right?

That's important to know.

We want to see the kiss.

It's very beautiful.

Okay, un-kiss.

There's a word.

I believe that it looks more beautiful when

we see the girl's face on the outside.

So, Lisa, you're going to tilt this way

and that way.

Now, even if you do that, so go

for a kiss again, I still can't see

the kiss.

So here's what you do.

Okay, relax again.

We're going to start over the shoulder of

the groom.

We're going to turn this way.

Good.

Slightly over the shoulder.

Now we're going to embrace his leg with

your leg.

Make sure your toe touches the ground.

Perfect.

And both of you lean towards me.

Why?

Because he's taller and we're going to be

kissing and we do not want the shoulder

to interrupt the kiss.

He turns his face a bit more left.

That's it.

And now go for a kiss.

That's it.

Tilt your face more left there, mate.

Other left.

There you go.

Beautiful.

So now we actually see the actual kiss.

Beautiful.

Now, what's also really beautiful with this kind

of thing, guys, is getting them to almost

kiss.

So go nice and close like you're about

to kiss, but don't quite get there.

Then what I love to do, and let's

just get that right, even though we're not

photographing and I sort of feel a bit

guilty not posing their hands and all that

kind of stuff, I want you to go

a little bit further away.

Here's an important thing.

When they are about, give me a few

more inches away, guys, when you're that far

apart, look at each other's eyes.

It looks creepy.

You get a bit cross-eyed.

So just know that when you're a bit

further apart, that's okay.

When you go to about six inches or

closer, you naturally would be looking at your

partner's lips before you kiss them.

So always have your partner look at the

partner's, look at each other's lips.

So look at the lips and there's a

few shots you can do here.

You can either just almost kiss and then

start kissing a little bit.

You find something funny and you're smiling and

touching lips at the same time.

Beautiful.

And then you can kiss and all that

kind of stuff as well.

So that's a really good idea.

So remember, a good kissing shot is done,

starts slightly over the shoulder of the groom.

Okay.

Now let's now talk about another good old

favorite when it comes to posing and that

is dipping.

Dipping.

What does dipping mean?

You know, when you dance and you dip

someone, let's, I want to get behind the

camera and I'm going to direct this because

this is where we normally get it wrong.

I will often say, so see how the

bride and groom are just waiting for your

direction.

They're just sitting there waiting.

And then I basically say, and we haven't

rehearsed this.

Dylan has no idea what we're doing right

now.

But if I just said to you, dip

the bride, what would that look like?

Okay, great.

Great because it was bad.

Okay.

First of all, the good thing is you

knew to put your left leg beyond her

so you could dip her and she doesn't

die, right?

So that was good.

But when you dipped her, you dipped her

away from the and then all I saw

was a lower part of her body towards

the camera.

Now, luckily she trusts you and you've, you

know, you've probably just, you'd have giggled around,

had a bit of fun together.

So she knows that you wouldn't drop her.

But normally what will happen, I want you

to be more awkward now.

This is what will happen with the groom.

As in bring, turn your feet towards her,

hold her around the waist.

Don't put your feet, so bring her body

close there.

Come a little bit this way, a bit

more this way.

Right on that line and a bit more

this way.

Perfect.

Okay.

I want you to sort of dip her

but without putting your foot down.

Yeah.

So it's weird, right?

She feels not protected.

He's just flat footed.

There's no energy shifting to the girl that

he loves.

It's like, well, this just looks awkward.

So we have to know that the same

way that a good kissing shot starts over

the shoulder of the groom, a good dipping

shot starts over the shoulder of the bride.

Do you mind if I, can I dip

her?

It'll be quicker.

Okay.

So now if we, again, if I was

to dip her, she's like, it's a bit

awkward, whatever.

I'll do it from this side actually.

It'll be easier.

If I go here, if we start over

the shoulder of the bride, okay, like this,

I bring my right leg beyond hers.

She puts her arm around here.

Then when I dip her, she becomes parallel

to the camera.

Does that make sense?

So she will naturally go.

So now also a dipping shot is good

when you do it a little bit.

So come around here again, over the shoulder

of the bride, we start there and now

just dip back.

So now she becomes parallel rather than dipping

right back.

Also don't go overly avert and then she's

just dangling down and she's seen dancing with

the stars and she's getting overly dramatic on

you.

That just doesn't look right.

So just make sure that you know that

that's going to happen.

Make sure, do it so that his face

is close to her face.

So he's got something to do.

Let's do it together now.

So Lisa, turn your body that way.

Good.

All right.

So let me direct this from back there

to show you how it's possible.

So now you're going to bring your right

leg beyond hers even more.

Perfect.

So do you see how now what she's

just basically, I'm shooting the back of her

shoulders and look that great.

Now her left arm can look a little

bit awkward above there like that.

She's doing that because she wants to feel

protected and not dropped.

So Lisa, your left arm, I want you

to bring it underneath his armpit around his

back.

Good.

So he's not going to drop you.

Now what I want you to do is

bend your right leg and bring it off

the ground.

That's it.

And then bring your heel back into your

body.

That's it.

And a little bit less.

It's not too overt.

Just there.

Beautiful.

And now, so Dylan, you're like this right

now.

You're going to just open up and then

there you go.

Perfect.

Now lean towards me.

Both perfect.

Now look into each other.

Forehead's touching.

Face is out towards me.

Stop.

Eyes down into each other.

Your right hand on his face.

Gorgeous.

So now they're dipping parallel to me and

that's going to work beautifully.

Okay, relax.

If she was a plus size bride, let

me show you.

I'll just make it easier.

So if she was a plus size bride,

so right now we're basically saying we start

over the shoulder of the bride and then

we end up dipping parallel, right?

This time, if she was plus size, I

will bring my leg on this side.

She will bring her arm underneath.

I hide a little bit of the weight

here and then she just dips, turns her

face, and then I can kiss the cheek,

the shoulder, whatever, leaning in, and that's how

you would do it.

Okay?

Really, really important.

All right.

So how about we do some walking shots?

This is a really important one because walking

shots is a great way to relax a

couple.

Everyone feels good doing it.

It's just really cool.

It's fun and it's sweet.

Now what mistakes do we have when we

actually walk?

Here's the issue.

When you guys start walking, so get into

a walking pose and then come a little

bit closer.

So we're just going to make sure you're

in focus with the camera here as well.

So if you guys start walking, what will

normally happen?

Walking shots, most photographers will do with a

long lens and you'll normally yell out your

direction because you're so far away.

So, hey guys, go for a walk.

Now, if you go for a walk and

if I said, hey guys, go for a

walk, what would you do?

You start walking fast, right?

Okay, go back.

So naturally, just your energy and the way

you say it, it's going to be that

they're going to walk fast.

Now, yes, you can focus, recompose and shoot

and hope for the best.

You can use eye focus and tracking and

stuff like that, but sometimes that might be

an issue.

So what we're going to do now is

give them a direction that will solve a

few of our problems and issues.

And that is going to be, hey, what

I want you guys to do is when

you walk, walk this pace, okay?

When you walk this pace, when girls walk

that pace, you would naturally put one foot

in front of the other, would you not?

So what we want to do is tell

the couples what we're doing.

We want to walk slowly and beautifully.

And also, you'll notice something here.

I want you to bring this right foot

forward, that right foot forward.

Stop.

Now, let me come back.

Now, do you see with Dylan, even though

that it's quite, how do I say, cliche

for a model or a girl to walk

with one foot in front of the other,

I find for a guy, it's the same

thing, but just not so overt.

See how he's walking.

Even though we've pressed the pause button, the

fact that I can see a gap between

his legs, it just looks a bit clumsy.

Something doesn't look right.

So if he brought his foot over a

bit more and then put that back heel

up.

So in other words, if you wanted to

do a, there you go.

If you wanted to do a pose that

was stationary, but you wanted to look like

he was walking, I would put the weight

on his front leg and then bend that

leg backwards.

Now, so that's a, that's an important point

just generally.

Okay.

Let's come back for a second.

So unravel.

When we put both legs forward, so bring

both left feet forward.

So if I was to ask you guys,

where is her energy shifting?

You would say, okay, it's to the guy

that you love, right?

Great.

In other words, you're walking this way.

My energy is shifting that way to Dylan.

Now, when his energy is shifting that way,

that means we have an unemotional shot.

I'm not saying this can't look emotional.

I'm just saying is that it feels nicer

when there is harmony with what they're doing.

Now, ironically, you might say there is harmony

because they're both doing the exact same thing,

but not to each other.

So if I was to get their both

feet forward like that, for example, I might

do an editorial sort of kind of pose.

And when I say editorial kind of a

pose, I'm saying unemotional, not really telling a

story, just cool.

So it could be that your hands in

your pocket, which it is, hold your dress

like that.

And now, in fact, pretend like you're on

a turntable and I turn you this way.

A bit more.

Stop.

Perfect.

Now look over your shoulders this way.

Do you see how there's harmony and repetition?

Both their left feet are forward and they're

both looking off to their left.

He could actually look into her.

Perfect.

She could be chin up, tilt her face,

looking at me, giggling.

There you go.

So now the legs don't bother me because

really it wasn't really about the emotion or

the energy between them.

So I find that this looks a lot

nicer when their front legs are forward, especially

from this angle.

Watch what happens.

In fact, before I say this, remember how

we said that if you're going to bend

a leg, bend the leg that's close to

the camera.

Same for a guy or a girl.

This is the same with this particular pose.

Watch what happens when they put their left

foot back and their right foot forward in

this pose.

It just looks awkward.

Her dress now has gone wider.

There's a gap between his legs.

It just doesn't look right.

So just know that one leg has to

be in front of the other, especially for

this kind of an angle.

Switch it back so we can see it

again.

Beautiful.

Lean forward a little bit so it gives

me the feeling that you're walking.

Perfect.

Okay, great.

Now, so let's finalise that conversation that we're

alluding to before.

This time I want that right leg, that

left leg forward.

Give her your escort arm, mate.

So you can hold hands or you can

do that.

Beautiful.

Hold your dress up.

So now if you look at it, he's

got his right foot forward, left foot forward.

She's pointing to the man she loves.

He's pointing to the girl that he loves

because now our energy is shifting beautifully towards

each other.

Love that.

So now let me have a look and

see if it works.

Now his legs are looking a little bit

awkward there.

I just feel like he's too far away.

So just come closer together, guys.

Good.

Bring that right foot more forward, mate, and

that left foot, just bring it off the

back there and bring it closer towards you.

So right now you're sort of doing this,

just do like this and just relax the

knees and bring your bodies closer together.

Yeah, perfect.

Good.

Now, so if you were walking, let's try

this walking now.

Okay, well, so just come back a few

little shuffles.

Okay, come right back to the tip of

the other black sort of tile there, a

bit further back, right back.

Keep going, keep going, all the way back.

Okay, great.

So unravel.

So basically, you could basically, yep, hold the

escort arm, come a touch this way.

Beautiful.

So what I want you to do now,

this is what I would do on a

wedding day.

I'd basically say, guys, I want you to

walk at this pace, okay, really slowly, and

you're going to start with your outer legs

first.

Does that make sense?

That leg and that leg.

So we're going to go one, two, three,

step.

As you step, I want one foot in

front of the other and make sure you're

in unison.

Now, let's say, for example, guys, that the

light was this way.

And we'll talk about lighting and how it

affects posing soon.

But if the light was this way, I

might want Lisa to look off to the

light.

So I'll tell her, look at that tree.

Great.

She looks at the tree.

You're going to basically just talk into here

and have a laugh.

Perfect.

And now I don't want this arm straight,

I want this bent.

So we need to pick up that dress

and relax that a little bit.

So remember, we're going to count to three.

One, two, three, step.

And slow.

Ready?

One, two, three.

Click.

Go.

Go again.

That's right.

You're a bit tentative.

Do it again.

So you can walk at a decent pace,

but don't stress too much about it, okay?

So remember, one foot in front of the

other, nice and slow, outer feet first.

And one foot in front of the other.

Ready?

One, two, three.

Click.

Go.

Click.

That's when you click the camera.

Go back again.

Where you click the camera, let's emulate it,

but be stationary.

Let's come right over here again.

Keep going.

Stop there.

You are going to take the photograph when

you put that front foot forward just off

the ground.

So switch legs.

Dylan, that's it.

Yep.

So again, it's a bit awkward because we're

stationary, but you are going to click the

camera there, off, and then you keep on

going.

Why like this?

No different than in sports.

Let's say when a sports photographer is photographing

football or, you know, American football, they are

not just going to get the actual couple

to...

The couple.

They are not going to get that player

always holding the ball.

It will basically be where the ball is

just about to be caught.

So you get the series of...

You get almost the illusion of motion and

that feeling.

So remember, it's click, click, and so on.

And that's how we do it.

So remember guys, all of the stuff that

we're doing right now requires practice.

It's not something that you'll just pick up

straight away.

The cool thing is that with the way

I'm teaching you, I'm trying to teach you

the street smart of what we're doing, is

you might forget everything that I'm saying.

When you look at your photographs again though,

you can self-teach.

It's no different than being able to...

The classic parable is basically giving you fish

to eat or teaching you how to fish.

I'm teaching you how to fish.

I want to be able to use the

principles behind what I'm actually showing you to

make you understand that all of these things,

there's no...

I can't possibly tell you every scenario, but

once you understand the nuances of the foundation

of the male pose, the female pose, how

we interact, how we kiss, how we walk,

all these different things, you can apply it

in many different ways.

But just don't forget to look back at

your work and critique yourself.

And that's the only way you'll get better,

of course.

And also, you need to practice not only

on a paying gig.

You need to practice always before that paying

gig, because then it becomes muscle memory.

And then on the day, you're totally fine.