Original subtitles

Hey everyone, I hope things are well, I

hope things are getting back to normal where

you are.

I hope you've had an opportunity to enjoy

the summer.

I know for me this is probably the

first time in 17 years that I've been

able to just be outside and not have

to worry about work.

I don't know if that's a good thing,

a forced holiday or a forced summer off,

I don't know if that's better than a

chosen one.

I feel like if I was given the

opportunity I probably wouldn't choose it, which I

haven't, so it's been nice.

But you know, I think I'm ready to

get back to work.

So the last wedding I shot was in

December in Costa Rica, right before Christmas of

last year.

I just shot my first wedding since then

about a week and a half ago.

It was great, it was great shooting again.

I felt really tired afterwards for sure, not

having the wedding hangover I guess as we

call it, but I hadn't really run around

and shot that hard in what, eight months?

But it was great, it was fantastic, it

was so good to be back.

I know the next month or so is

going to be quite busy for me with

a lot of elopements and what not.

Travels pretty much disappeared for me off the

map this year.

I had some stuff in Iceland, had some

stuff in New York and the Oregon coast

and California that has all been postponed.

My couples have been great, I knock on

wood and thank God that everyone's been fantastic.

But anyway, I hope you guys are doing

well.

So I'm going to get into it.

So this video had a session with a

couple, Harris and Mary, who because of everything,

some stuff, dates have moved around and that,

and they had reached out to me for

an engagement session or a connection session.

We, it was kind of like, everything kind

of came together really quick.

I think from the time emailed to the

time we shot was about two weeks, 10

days.

We had decided on Moraine Lake, you know,

the iconic Moraine Lake, the place that is

chaotic in the summer.

Uh, it's, it is, I've been out there

so many times, but every time it's absolutely

breathtaking.

It is a beautiful location.

You know, the crowds are still really apparent,

which is wild to me.

I feel like, you know, I'm sure it's

the same where you guys are, but everybody

locally is now doing everything locally as opposed

to traveling.

So the crowds are still the same.

They're just not as many outside tourists, I

guess, you know, there's not as many, you

know, Europeans or people from Asia.

It's just a lot of locals now converging

on these spots.

So, but you know, it is what it

is.

The area is still as gorgeous.

Um, so yeah, so we went out there,

uh, in the evening, I started around 6

PM, uh, with sunset times here.

This time of year, it's sunsets usually around

930, 945, but because of the mountains, we

have to factor in that the sun's going

to set behind the mountain peaks much sooner

than it actually sets behind the horizon.

So I try to shoot these sessions about

two to three hours or try to start

them about say two hours, uh, prior to

sunsets, just so I can still get some

of that direct, you know, backlit light that

I love to shoot in.

Um, so it gives me the opportunity to

shoot that as well as, you know, the

soft glowing evening light that we also love

to shoot in.

So anyway, so we went out, we started,

uh, with Moraine Lake because the, the shot,

you know, the iconic Moraine Lake photo is

up on the rock pile overlooking the, you

know, the lake with the 10 peaks in

behind.

Um, I try to keep that at the

end of my session.

Um, one of the reasons I do that

is, as I think a lot of us

know, or a lot of us have experienced

is when you first start shooting, the energy

is a little different.

It's not as carefree and laid back, um,

as what the end of a session is.

It's, as we know, couples tend to, they're

nervous at the start, right?

They are anxious, excited, you know, they don't

know how this is going to play out.

So for me, I don't ever want to

use, you know, I don't want to shoot

in the best location when they're feeling at

their most awkward and vulnerable, if that makes

sense, right?

It's one of the reasons, to be honest,

why I don't shoot a lot of sunrise

sessions and I shoot mostly sunset.

Uh, for me, a sunrise session, A, it's

super early, right?

To be honest, that's crazy.

If I got to be at a place,

you know, it's three hours away from here

and I got to be there for sunrise.

You know, I got to be up at

two in the morning and out there.

Um, but besides more importantly than that, what

I find is the sunrise sessions, you know,

if you think about it, you're shooting in

the best light when they're the most awkward

and then as they get more comfortable, the

light gets harsher and harsher.

So for me, that's almost backwards and counterproductive.

So I would rather shoot in the best

light when they're feeling their best, um, as

opposed to the best light when they're feeling

their most awkward.

Uh, plus I find that a lot of

these locations stuff tends to die out in

terms of crowds as the light starts to

drop.

Whereas for me, you know, my thought is

if I'm shooting in the sunrise, you know,

I get there, the light's incredible, but they

feel awkward.

Plus as they tend to get more comfortable,

the crowds increase plus the light gets worse.

So I don't know.

That's a personal thing for me.

I always shoot at sunset just because I

find it works to what it works best

to what I'm after, right?

You know, incredible connection and beautiful light, um,

which I find timing wise, just makes sense

with the way a sunset shoot, uh, timeline

plays out.

So anyway, so we, Harris and Mary, we

headed out there, we headed into the trees

first.

Uh, for me, like I said, the iconic

shot at Marine Lake is the rock pile,

but I want to get onto that rock

pile after we've kind of shot together for

like 45 minutes or so, or an hour,

just so when we get out there now,

I'm just, it's good light with, there's a

lot of comfort.

There's a lot of trust.

There's a lot of connection.

They already know what to expect.

Um, and we can just shoot that iconic

epic photo.

So, you know, we started in the trees,

you know, and I start all my sessions

with kind of the breakdown of how the

session is going to go, what I'm looking

for.

You know, I lay out, you know, that

we're going to be looking down, we're going

to be constantly moving.

There's no kissing, um, you know, all these

little things, you know, to embrace the awkward

when I put you guys in positions.

So I want you guys to start there,

but I want you to move with it.

Okay.

So remember you were saying, it's like, I'll

say, you know, I want you to touch

your hand, but I want you to like

move from that.

Cause if you just stand there, it's super

mannequin-y, you know what I mean?

So it feels weird.

Okay.

You know, it is something that I feel,

especially, you know, if we talk about the

embracing the awkward, it's, you know, again, giving

people permission to feel the way they feel.

Right.

So they are in that moment, you know,

for Harris and Mary, they've driven two hours.

They've probably talked about the session.

They've been, you know, kind of thinking about

how this is going to work, what it's

going to look like.

You know, they're feeling there's all your couples,

my couples, everyone's couples feel a lot of

energy and nervousness and awkwardness.

So again, for me, when I explained to

them, just be awkward, just don't fight it.

Just roll with it.

Because if you roll with that awkwardness, it

will, it will allow them or they'll get

over it quicker.

Right.

So don't fight it.

I think the biggest thing is just to

just feel awkward.

Like just let it feel awkward.

Okay.

The reason being is everybody feels awkward.

Okay.

So what I find is a lot of

people try to fight it.

And when you fight it, it takes you

a really long time to get over it.

Right.

So if you just let it be weird,

cause it is weird.

Like we're in the forest dressed up.

We just met and I'm taking your picture

and I'm going to say, pretend I'm not

here.

Right.

Like it is a weird feeling.

Okay.

So just let it be weird.

Okay.

So again, I start all my sessions this

way.

I explained to them, you know, all the

things I'm looking for, you know, what it

is, because I feel a lot of the

times as photographers, we know what we're looking

for.

And if we don't articulate that to our

couples, then we need to think, well, how

are they going to know what we're looking

for?

When you guys are with each other, like

facing each other, no talking.

Okay.

Because I find if you're talking, you're not

really concentrating on just being with each other.

You're going to be talking about, oh, this

feels weird.

The weather's nice.

Imagine, you know, that drive, that type of

thing.

Okay.

So all communication, if you want to communicate,

communicate through touch.

Like the way you touch them, you know,

the way you touch her hand, the palm

of her hand, her wrist, that type of

thing.

Okay.

For me, if I articulate it to them,

they know exactly what it is I'm after.

So everyone's on the same page.

It's managing your client's expectations and explaining to

them what it is we're after.

So that's how I start my sessions.

You know, we get into the trees, you

know, again, saving the epic stuff for the

end.

And we just start to shoot and work

on their connection with each other.

No kissing.

Okay.

And lastly, keep your eyes at each other

or down.

Okay.

Because if you're holding her and she's like

this, she's gone, disappeared out of the frame.

You know what I mean?

Like she just, it's not, she's lost the

connection.

Okay.

And really, if this isn't like a test,

you don't need to memorize this.

I'll cue you guys as we're going.

Okay.

So just come together, face each other and

just hold hands.

Just kind of low.

Yes.

Yeah.

Trying to build that trust, that rapport, that

comfort, and really massage that connection and start

from there.

What do we do?

Do we run?

Should we waltz?

Or no, no.

So yeah, just get close, play with each

other's hands, grab his, you know what I

mean?

I don't need you to like spin and

dance and you know what I mean?

You can squeeze her in, pull her out,

you know, hold her hands, look at hands.

Yeah.

Yeah.

So as we kind of, you know, start

off, you know, holding hands, just explaining little

things like, you know, the looking at, you

know, or closing your eyes, because if you

look at your hands, you're concentrating a lot

on if you're doing it right.

You know what I find?

The reason why I do the no kissing

is I find kissings like something that people

do when they don't know what to do.

You know what I mean?

Like, I don't know what to do.

I'm just going to kiss.

Okay.

So if you like take that energy and

like maybe kiss her temple, her chin, her

cheek, you know, maybe grab her hand and

pull it.

You know what I mean?

Like just not on the lips.

That's it.

The little things that I'm always looking for

in my work is, you know, one example,

you'll see Harris puts her, his hand on

her stomach.

Now it's something that I see probably 90

% of my sessions, my couples is he'll

like put his arms around her and his

hands go right to her stomach because it's

not going to go around their neck.

It's not going to go on her chest,

you know, and just on the side kind

of feels weird.

So they put them on her stomach.

So I always explain to my couples, don't

put your hands on your stomach, because then

it turns into a maternity shoot, which more

often than not, that's not what we're going

for here.

Right?

So we're going for a connection.

So turn your body right towards me now.

Yeah, there.

So don't put your hands on her stomach.

Okay.

Just maternity photo.

Let's just move in together first and then

we'll do the, then we'll go on the

maternity.

There.

Yes.

That's incredible.

It's always, you know, put your hands on

her shoulders, you know, tickle her arms, hold

her, play with fingertips, you know, when they're

facing each other, you know, squeeze her in

behind, you know, on her back.

It's just those little things that, you know,

you might see in a photo when you're

going through work or your own work or

someone else's work where, you know, you don't

really pay attention to it.

It's not something that you're consciously seeing and

just like, oh, that's just the way they

hold each other.

But when you remove it, if you can

consciously think about this as you're shooting guys,

you know, and take, you know, take hands

off and put them up here.

And instead of, you know, I call them,

you know, dead hands where you'll see like

he'll put his hands kind of down on

her hips and they're kind of facing down

like this.

If you just get him to turn his

hands up and on her back, visually it

changes everything about the photo.

And again, it's not something that maybe a

viewer, you know, a new potential client looking

at your work consciously notices, but there's subconsciously

those little things that make people think, huh,

there's a really deep connection here as opposed

to just blah.

It's like, wow, he's really holding her.

He's really squeezing her in.

You know, again, it's these little things when

we start to really focus and concentrate on

where hands are, you know, for both her

and him, what it looks like visually and

what it represents consciously or subconsciously to couples

when they're looking at your work.

So again, you know, hands off stomach.

This isn't a maternity photo.

We're not putting little hearts on stomachs, you

know, just remove those hands and get them

on other parts, you know, for him on

other parts of her body, like shoulders, arms,

you know, tickle hands, that type of thing.

Just always be aware of where hand placement

and what it does and what it means

in the photo visually.

Okay.

That's incredible.

Drop your chin towards me.

Yes.

Can you reach and touch your hand on

this side?

Yes.

So really gently.

So instead of like bear huggy, you know

what I mean?

Like really soft.

So as I'm shooting, what I'm always looking

for, especially when I have like those, you

know, like I said, when I go into

the forest and why I started in the

forest and why I start my sessions when

I start them, so I can have those

beams of light come through the trees.

So I can play with directional light.

Before it sets behind the mountain tops.

One of the things I'm looking for is

these little pockets of light and how I

can use them to create a specific mood

in my work.

So as we were walking through the forest,

you know, we kind of started doing what,

you know, the beginning and just getting them

comfortable with the picture taking and the direction

and hands off the stomach and embrace the

awkwardness and all that stuff.

As we're kind of shooting and as we're

walking from say this tree to this tree,

I am always looking for light.

I'm looking for something that maybe visually is

interesting.

And as we walked, what I noticed was

there was this like line, this beam of

light that came through the trees as the

sun was setting.

It's just kind of this section, almost like

a hallway.

One of the things that I'm always doing

when I'm shooting is, you know, I do

the posing and, you know, we kind of

do that.

But I like the moments in between the

poses.

So the walking photos, right?

Like the walking away or walking towards.

So I just asked Harris and Mary to,

you know, start here and just walk into

that beam of light.

You know, hold hands, separate a little, just

because a lot of times if a couple

walks one in front of the other, you're

just going to get the back of one

of them.

So I always ask them to kind of

side by side and just walk towards this

beam of light.

And what that does is, A, gives them

an opportunity just to move, right?

It's movement is key.

To me, movement creates relaxation in your couples.

So it gives them a break from just

the static pose and move hands here and

slide and all that stuff.

And just get some kind of this way,

you know, walking, fluidity, moving, that type of

thing.

So again, just constantly looking for these little

pockets of light, interesting pockets of light, interesting

things visually.

And in this moment, it was this line

of light that I noticed coming through the

trees.

And it was just, hey, guys, can you

just walk towards that line of light?

So you guys are going to walk from

here that way, hand in hand.

See this beam of light that comes right

through here?

Just kind of let that go in the

middle of you.

Do you know what I mean?

So your hands are going to kind of

be in that light and just walk that

way.

And I'll tell you when.

Good, right there.

Stay right there.

Face each other.

Come together.

Mine is the tree branch.

So another thing when I'm shooting is, you

know, as I mentioned earlier with hands, you

know, touching, I find if I'm not letting

my couples communicate vocally, how I want them

to communicate is through touch.

So, you know, the softness of the way

he or she touches his face or grabs

the lapel on his coat or the way

he, you know, tickles her shoulders, squeezes her

back or plays the fingertips of the palm

of her hand.

One of the things I always explain to

couples is when we're doing that is, you

know, close your eyes.

If you close your eyes when you're when

you're doing it, it kind of takes away

the thought of like consciously doing it and

just doing it by touch.

OK, because if you're looking at your hands

doing it, you're thinking, am I doing it

right?

Whereas if you just close your eyes and

let it happen, it just happens more naturally.

OK, because what happens when you close your

eyes is all your other senses are heightened,

right?

Like it's you hear about people who say

are they've lost their sight.

You know, they're blind.

And when they're blind, everything else is kind

of on hyperdrive, right?

Their sense of smell is increased, touch, hearing,

all the same, because they're making up for

that one sense, a very important sense of

sight, of visual.

So if you can get your couples to

close their eyes while they're touching each other,

what happens is now they're not staring at

each other, staring at their hands as they're

touching.

They are just concentrating on the touch, right?

They're concentrating on the feeling of the touch.

They're not concentrating.

Am I doing this right?

Am I touching her hand correctly?

Is he, you know, am I touching him

too hard?

Or is my hand look good this way

or whatever it is.

If you get them to take away that

ability to see what they're doing and just

let them feel what they're doing, it creates

so much more connection visually between them as

you're shooting.

So for me, again, it's if we're touching

fingertips, if I'm explaining, you know, if I'm

telling Harris and Mary, you know, just slowly

touch each other's palm, you know, just play

with each other's fingertips.

And then I ask them to close their

eyes.

It takes away the thought of what they're

doing and they can just concentrate and feel

what they're doing.

And it changes the mood between them in

terms of what it looks like in the

image.

It'll change the mood and the feeling between

your couples when you get them to do

that.

Harris, turn your head towards your left just

a little.

Turn it left.

Yes.

And down, down, down.

Mary, down, head, down, head.

Yes.

Mary, come back this way.

There.

Stay there.

Come into her this way.

Yeah.

Turn your body a little towards.

Yes.

There.

That's incredible.

Another, I guess, prompt that I use is

the sniff.

It is something super simple.

It's something that is easy to explain in

a sense because everyone knows what sniff means,

right?

Like sniff, right?

But what it does is when you do

it, it brings up, you know, if you

get her to sniff him, it brings, you

know, it accentuates her jawline, her chin.

It brings her lips closer to his if

she's a little shorter.

It adds a sense of romanticism, I think.

It looks romantic.

I don't know.

But what it can also do is it

can create laughter.

It can create, it's such a funny thing.

So every time I ask my couples to

do this, the initial reaction is, uh, what

did you just ask?

And they're not really, you know, and then

you just kind of sniff.

But it almost breaks the ice in a

sense, right?

Okay.

So everything's like unreal.

From here, though, when you're in that position,

you're here.

For a second, you're going to bring your

head this way.

Your eyes are going to close.

Mary, you're going to almost sniff him.

Okay.

So what's going to happen is when you

do that, it's going to be like, okay.

So it's just going to lift your chin

a little.

You're going to keep your head.

Don't sniff with her because then you guys

both go up.

Okay.

And then it's just like, I don't know

what's going on.

Okay.

Because it's so funny.

It can be a sense of comedic relief.

I guess, you know, it makes them relax.

They're laughing.

You know, it allows you to create these

moments where it's like, you can create this

funny moment where they're laughing when you ask

them to sniff.

But then after those few funny moments, you

know, once they kind of ease into it,

it really allows you to create this really

romantic, intimate, connected photo when, you know, he's

there and she just sniffs up.

And it's like when the light shines and

it comes through between them and her chin's

up and their eyes are closed and he's

squeezing her in and you shoot it visually.

It's like, wow, that is a beautiful image.

And it all comes from that simple sniff.

When it happens though, Harris, I want you

to, you're going to slowly squeeze her.

And so you're going to control the speed

at which she lifts her chin.

So when you squeeze her in slowly, she'll

slowly start to lift.

Okay.

So now we finished in the trees.

We've, you know, kind of built that rapport.

There's some comfort there.

They're relaxed into it.

You know, I kind of know how they

move, what makes them laugh, you know, what's

the best angle to shoot them at.

You know, we've done all that.

And now we head over to Moraine, the

actual lake.

So as I was over there, we were

walking up the path.

We were coming over the hill and I

kind of had a walk down through the

rocks.

Again, another walking, shooting photo.

Just again, when you can kind of capture

these moments in between, say locations or poses,

it just adds a variety to what you

can deliver to them.

And B, it just, it's easy for them.

It's an easy shot because they're not really

posing.

They're just walking.

So really all they have to concentrate on

for them is just holding each other's hand

as they walk, which is super simple.

And sometimes they can get some, for me,

some of my favorite photos are those little

in-between moments, those walking pictures.

So we came up, we're walking, I get

them to, you know, walk over the hill,

down the rocks, and I just shoot them

coming in.

And then what I saw on this, as

we came through the trees was just this

side light, this beam of light, this patch

of light that kind of came from the

right side of the frame into them.

And what I had, you know, Mary do

was, you know, she faced me flat and

then just kind of turned her head into

the light, okay?

And then I had Harris stand behind her

and then just kind of have his head

looking at her.

And what that did is it allowed the

light to hit her straight on as she

looked at the sun.

And then as he looked at her, it

allowed the light to kind of run down

the side of his face and just side

profile on him.

No, I just want the light.

So see how the light's hitting your face

right there, Mary?

You can feel it?

Yeah.

So Harris, you're gonna, yes.

So the light's gonna hit the front of

your face, Mary?

Yeah.

Harris' light's gonna hit the side of your

face.

You can actually hear in the video, she,

you know, he makes a mention of, what

should I move here?

And, you know, I explain why, what I'm

looking for.

But again, just explaining to your couples, this

is what I'm looking for.

So I say, you know, I want the

light to hit here.

I want the light to line your side

of your face, Harris.

And just looking for, A, looking for those

little pockets of light, that beam of light

that's coming through.

And what that allows me to do when

I edit is I can underexpose.

I can just get the highlights on her

face and the side of his face.

It can create some drama and intimacy in

it, but it just separates.

For me, it just looks different than, you

know, like all flat light on the front,

back, foreground, right side, left side.

Just, it gives to me, for me, it

just gives some definition in what it is

I'm after.

It gives intensity in the photo.

It gives some drama.

Yeah.

And again, explaining to your couples what it

is you're seeing, why you're doing it.

It can build trust.

It makes them feel more confident in what's

happening in the moment.

And, you know, when they have that trust

and confidence, that's where you can see them

really just like, take that breath and just

relax into each other.

And again, connect and let you guys create

the work that you want to create.

Somebody turn your head.

Yeah.

Yes.

Yep.

Now we've gone from that beam of light

and I've taken them around to the traditional

marine lake shot, the epic shot, the, you

know, big peaks, you know, the lake in

the background, you know, the wide shot that

everyone wants in marine.

So I've put them onto a rock and,

you know, got them to connect and, you

know, do their pose and that.

But one of the things I personally love

in photos is movement.

I love when hair moves in a photo.

I love when a dress moves, a veil.

And sometimes the wind just doesn't cooperate.

So sometimes what I'll do is I'll get

couples to, you know, remove the veil.

She didn't have a veil.

She had like this scarf, almost a shawl.

I don't know if that's the correct term.

Anyway, she had a veil looking thing.

And I just asked her to kind of

throw it up and then tuck her arm

down.

And it's something that I've done numerous times

at weddings is to just throw up the

veil and then drop your arms, you know,

throw up the scarf and then tuck your

arm really quickly in.

Or I'll get him, you know, she'll be

holding the pose and his hand will be

behind her.

And I'm like, just whip it out and

then squeeze her in.

So Mary, can you, okay.

So take the shawl, the scarf right off.

You're going to hold it with your left

hand there.

Okay.

So what I want you guys to do

is you're going to set yourself up in

a pose here.

Okay.

You're going to flick it out like that,

but pull your arm back in really quick.

Just so it doesn't look like you're at,

yes.

Okay.

Yeah.

But you can't laugh about it.

And what, one of the things we have

to remember if you guys are going to

do this is to get them to, everything

has to be in position.

So head has to be where it needs

to be.

Hands have to be where it needs to

be.

Eyes are either closed or where you need

them to be, you know, body position.

And the only thing that's going to move

on them is that whoever is going to

throw or move or shake out the veil

or the scarf, right?

Because it has to be really quick and

then drop down.

And as you do it, you know, for

me, it's going to take, it takes on

average, probably three, four or five times to

get what I want.

But again, it just adds, you know, if

I'm looking for light and getting the connection,

I can pose them in a way that

visually looks connected.

But now I want to add another element

and that's movement and something maybe that isn't

moving.

Maybe we're not, maybe it's not windy enough

to get it or the veil isn't moving

as I want.

So again, just working with your couples.

To me, I don't, I actually love doing

this because it also creates, it's a collaborative

photo where as opposed to, you know, when

we find a cool pocket of light and

we just tell our couple, okay, go over

there, you're going to do this, do this,

do this.

And then they just kind of tickle each

other and play with hands and eyes down

and eyes closed and all that.

Those are beautiful moments and those really have

and capture connection and intimacy.

But when they're part of the process now,

like they are, how they flick that veil

or how they, you know, shake out that

scarf and creates movement.

Now they're part of the process, which definitely

engages them.

It makes them part of the image as

opposed to the image.

It makes them part of the creative process

as opposed to it all being on you.

So it's almost like a teamwork effort, which

can definitely, you know, depending on the couple

can add so much.

It's fun.

It's enjoyable.

It's something different for them.

So for me, again, that's what I had

them do is just shake out the veil.

I just wanted that movement.

I wanted to add movement to that epic,

epic, you know, moraine like 10 peak scene.

So just shaking it out, dropping the hand

and then taking the photo as it drops.

So it just looks like the wind has

caught the veil.

And that really, you know, for this session

with Harris and Mary, it was this incredible,

you know, we started in the trees.

We started, you know, with those little backlit

pockets of light, creating rapport, creating comfort, you

know, building the connection, getting them used to

what it is I'm after.

You know, for me, it was seeing how

they connected.

You know, we laughed, you know, all these

things, you know, as you progress through a

session, create trust, comfort, you know, clients who

will talk about the experience, you know, getting

them to throw the veil, being a part

of the creative process, you know, and then

at the very end of this shoot, it

was the epic marine photo.

Down low, peaks all around, crystal blue glacier

water, you know, Mary's leaning back into Harris.

He's squeezing her.

And it was just this beautiful way to

end the session.

It was everything that they wanted.

It was everything I wanted, you know, in

terms of starting with light and finishing that

wide epic photo for them.

All the walking photos in between the laughter,

building rapport, you know, all these things.

It was an incredible shoot.

You know, it's their incredible couple.

You know, things obviously with COVID didn't work

out exactly how they wanted, but I hope

that for me giving them this experience at

Marine Lake, you know, creating these images for

them.

It's something that they can look back on

and enjoy and laugh and cherish and really

look at their connection in this beautiful environment,

this incredible environment, you know, but again, it's

having the plan, looking for it, working with

your couples, you know, explaining what you're after,

making a part of the process, you know,

and kind of having an idea of everything

when it all comes together.

It's magic.

It's magic for them, we hope.

But to me, it's also it's magic that

I got the opportunity to create this work,

so.

Anyway, guys, I hope that kind of gives

you an idea, like a breakdown, you know,

of a session of mine.

From start to finish, this was probably about

an hour and a half, hour and 45

minutes with all the walking and you'll notice

an outfit change or two, actually, or three.

I think she changed outfits three times.

But again, guys, I hope this helps.

I'm going to work on after this a

follow up on editing and editing video from

some of the images that are shared here.

And yeah, I hope you guys are doing

well.

I hope you guys are shooting.

I hope you're staying safe.

I hope next year looks incredible.

I think a lot of people are going

to be slammed next year, which is great

and scary.

But again, I can't thank you guys enough

for being here.

I can't thank you enough for, you know,

trusting me and sharing in this learning process.

And again, if there's anything you guys want

to know, leave it in the comments.

And I always do my best to answer.

Again, I'm an open book.

So whatever you guys want to know, I'm

here for you.

So again, stay safe, guys.

Stay healthy.

And yeah, we will talk soon.

Thank you so much again.

Bye, guys.