The Beginner Photography Podcast

497: Todd Laffler: Create Natural, Playful Photo Sessions for Genuine Moments

• Raymond Hatfield

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In this episode of the podcast, I chat with Todd Laffler, an experienced wedding photographer who shifted his focus from technical perfection to capturing authentic, candid moments. Todd shares his journey, evolving from prioritizing creative techniques to cherishing genuine connections between couples. 

THE BIG IDEAS

  • Cherish Authentic Moments: Capturing genuine emotions over staged shots creates more meaningful images that resonate with your subjects and audience.
  • Develop Observation Skills: Being attentive to people's emotions and relationships allows you to seize candid, heartfelt moments in your photography.
  • Prioritize Simplicity: Simple compositions with clean backgrounds and even lighting enhance the couple's connection without overcomplicating the scene.
  • Focus on Genuine Connections: Emphasize the couple's bond by directing positive body language and authentic interactions, creating more natural and timeless photos.

PHOTOGRAPHY ACTION PLAN

  1. Observe and Read Emotions: Spend time watching body language and facial expressions in everyday settings to hone your observational skills. During photo shoots, take a step back and let moments unfold naturally, capturing genuine interactions.
  2. Simplify Your Compositions: Focus on clean backgrounds and even light to minimize distractions and emphasize your subjects. Use a longer lens to capture candid moments from a distance, ensuring a more authentic capture.
  3. Encourage Authentic Interactions: Prompt couples with fun activities like thumb wrestling or simple games to elicit genuine emotions. Allow enough time for couples to relax and connect, adding movement if they seem stiff.
  4. Embrace Spontaneity: Go beyond planned shots and seek different perspectives and angles to maximize each moment's potential. Trust your instincts and experience to capture unexpected, authentic moments without over-relying on creative setups.
  5. Focus on Genuine Images Over Techniques: Avoid overcomplicating shots with excessive techniques and prioritize the couple's connection. Reflect on each shot's meaning to your subjects, focusing less on impressing others and more on authentic storytelling.

RESOURCES:
Visit Todd Laffler's Website - https://lafflerphotography.com/
Follow Todd Laffler on Instagram - https://www.instagram.com/toddlaffler

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Thanks for listening & keep shooting!

Todd Laffler:

Sometimes just shooting what's in front of you is all you need to do. That's it. That's the photo, don't overcomplicate it. But if you have that and nothing's happening, you might as well try to get a different perspective. What is the best angle? What's the best focal length? Where should I stand? So that's where, having a plan and sort of filling your frame with intention and not just going, Oh, I'm just shooting and you're zooming around Slow down. And then from there, it's just, like I said, executing and you know what to do.

Raymond Hatfield:

Hey, welcome to the beginner photography podcast. I'm your host, Raymond Hatfield. And each week I interview one of the world's most interesting photographers to learn what it really takes to capture beautiful images so that you can start to do the same. In today's rewind episode, we're chatting with one of the world's best wedding photographers, Todd Laffler, about what goes into creating world class wedding photos. But first the beginner photography podcast is brought to you by Cloudspot. Simplify your business with studio management. Cloudspot. Organize clients, send professional contracts, automate invoices and payments, and more. Keeping track of everything in your growing photography business just got a whole lot easier. Grab your free forever account over at deliverphotos. com and only upgrade when you and your business are ready. So Todd has this ability to capture some of the most inventive and energetic and honestly unique wedding images that I've ever seen. And today Todd is going to share how we got to that point, evolving from prioritizing overly creative techniques to cherishing the genuine connection between his couples. So you'll learn how Todd is able to observe and read people's emotions, how to focus on the simplicity of your compositions, and value the authenticity of each and every shot. You'll also hear Todd's thoughts as he struggles with burnout and repetition and finding that he has less and less in common with his couples as time goes on. This conversation is really an open look at what is going on through a seasoned photographer's eyes. And in fact, this episode starts once Todd joins the zoom call. So, honestly the, conversation just. Kind of organically started and we were talking about photography and the struggles and how he sees the world And it would have screwed up the entire flow to have stopped the conversation just to start the conversation over You know what? I mean, but if you want to learn how to make authentic and unique images of your family your friends or clients I encourage you to hang tight during this Questionable intro so with that let's go ahead and get on into today's interview with Todd Laffler Todd. Can you hear me? Yes, I can. Can you hear me? Okay. I can. Yeah. Awesome. Right on. It looks like you are in a dungeon right now. Is this a basement? Is this just a dark office?

Todd Laffler:

Hiding all the junk in my office. If you want me to turn some lights on, I can. I don't think you'll like, no, no, no,

Raymond Hatfield:

no, no, no. It's fine. I think it's awesome. It looks pretty cool, actually.

Todd Laffler:

Yeah,

Raymond Hatfield:

just typically it's funny. I found that when it comes to podcast episodes, there's like a wide range of people who either do or don't get ready for the video side of it. Either they'll show up. I mean, they got like the full, DSLR, they're ready to go. This is like a professional interview, but then the other people I've had people do interviews just sitting on their bed with like a big window directly behind them and they're just totally silhouetted. You can't see them at all.

Todd Laffler:

I'm keeping it real.

Raymond Hatfield:

Yeah, this is the exact opposite of that where everything behind you is black, but you're perfectly lit. So this is wonderful. Awesome.

Todd Laffler:

didn't do anything fancy. I just have a blank screen on my second monitor here. I got to adjust the color temperature and

Raymond Hatfield:

perfect. Yeah. I got a lot of questions for you today. I'm excited to get into this, but before we do, do you have any questions for me?

Todd Laffler:

I don't think so. I mean, are we recording now? Is this off the record?

Raymond Hatfield:

Yeah, no, technically it's recording, but this won't be in the interview at all.

Todd Laffler:

Okay, cool. I'll be perfectly upfront with you. Like I'm kind of like burnt out on weddings. So, I'm going to be as helpful as I can be, but just know, in the back of my mind, I'm kind of burning out on it. So I don't know what you're expecting, but you know, I

Raymond Hatfield:

love that. I love that honesty, honestly. it's one of those things that I don't know how long you've been doing it, but, I kind of feel the same way, and I don't want to be a 60 year old guy at weddings, working with like, 22 year olds.

Todd Laffler:

I'm starting to find I have more in common with the parents of the bride and the groom now than I do with the actual bride and groom. Really? Oh my gosh. Yeah. I mean, it's okay. I don't, you know, I put so much pressure on myself to perform and it's the wedding days are just so incredibly stressful. I've just kind of had enough.

Raymond Hatfield:

Yeah. So what does that mean for you? What's next?

Todd Laffler:

I wish I knew. I don't really know. Yeah. I'm always so envious. I see other photographers, like, yeah, I'm closing up shop and they figured out what they're going to do next. I feel a little stuck, unfortunately, but, really, you know, it's not, to say I don't show up to a wedding and I'm like, you know, like, and I'm like, all. Oh, of course it sucks. I put on a happy face, and a lot of times it just comes down to the couple. Some couples, unfortunately don't have a great chemistry and it's like hard to muster up the enthusiasm to be like, yeah, we're getting great stuff You guys are awesome And it's just like yeah, you know, but on the flip side I have couples too It's oh my god, I love these people I can feel the love and the energy and I'll give them a 120 percent no doubt, but overall, um, you know, Peter.

Raymond Hatfield:

Oh, that is so great to hear. Sometimes I feel like i'm kind of like the only one in that camp.

Todd Laffler:

You're definitely not. I think what you see online is everybody's happy about everything because it doesn't look good on you if you're like, I hate weddings Hey, you guys should hire me to shoot your wedding. I hate weddings, you know, like yeah, They don't go together you kind of have to put up the facade or people I feel are disingenuous sometimes with how much they love their clients. It's like, really? Maybe they do. I don't know. But I just feel there's an overwhelming sort of, everything's awesome all the time. Yeah. I feel like there's not a lot of reality. Like, yeah, guys, this is kind of really, draining and hard. And not everything's fun. The food sucks and, you know, like you're sitting on the floor. If you eat food, you're on a floor like a second class citizen. You're lucky if you get utensils and it's just like, what do I do? I feel like a third class citizen, in steerage, like, treated just like crap sometimes. All right, so you can feel free to steer me like if I start getting a little too, I don't want to be that guy. That disgruntled guy. I'm 50 and I've been doing this a long time it's a natural progression. I think just to, I

Raymond Hatfield:

get it. But this interview we're not talking about like how great weddings are. I promise you that this is, none of that. One thing that I found so interesting about you and your photography is that it's very clear that, have a great ability to be able to previsualize what it is that you want and then capture that. So that is something that there's a huge disconnect with new photographers and that's kind of really where I want to

Todd Laffler:

focus this.

Raymond Hatfield:

So,

Todd Laffler:

so often, it just drives me bananas when I see. People, stroking each other's egos about using mag mods and, Oh, look how cool this looks. But the couple, do they even like each other? It's what is this for? That stuff drives me nuts. I drive that home when I used to do more workshops, it was just like the heavy lifting of the photo should be the couple's connection and they should look happy or in love or whatever you're going for and all that other stuff you add on top not the other way around you don't start with Look how cool and look at how many mirrors and six flashes and looks like it's all concentrated on How it was lit or what the couple is standing in front of or their environment, but it's almost like an afterthought is, do these people like each other? Like,

Raymond Hatfield:

right.

Todd Laffler:

Some people get it. And when you can bring, I have no problem doing all that, but I think that needs to be the starting point is the connection between the couple. Then you add on not the other way around. And I find that that's seems to be prevalent these days.

Raymond Hatfield:

Yeah, there's this term, and I don't remember where I heard it from, but it's a, term that comedians use called I think it's playing to the back of the room, where it's like, as a comedian, you make jokes, Knowing that there's a bunch of comedians in the back of the room and like you're trying to impress them, but you're totally missing out on the audience that's right in front of you, who's, ultimately the people who are going to become fans of yours and do whatever. And it seems like there is a lot of that in the photography industry where people are playing to other photographers like you said let's see how many flashes I can use. Let's see how many crazy gels I can use or smoke bombs or mirrors.

Todd Laffler:

And it just becomes like a circus, a dog and pony show. And honestly, I'm not judging that. I think that's just part of where a lot of people are. And a lot of the people that have moved on to something else, maybe you just don't see their work as much cause they don't need to do that, but it's there, you know what I'm saying? Like we're only seeing what we see and the people who just do regular good old fashioned. Good work. Don't feel the need like, Hey, look what I did this weekend. Look how cool that is you know, it's like, look what I can do. So you're not seeing it. it may be like a perception of what's happening, but it may not be reality.

Raymond Hatfield:

I had never even considered that. That's really interesting to think about, but. I mean, you have to be right. I feel like the working photographers have to be busy enough. You don't

Todd Laffler:

even know they're there and they're doing, fine work and their, couples are happy and they're making money. And it's like, doesn't need to be that complicated.

Raymond Hatfield:

Yeah. I feel like

Todd Laffler:

sometimes, you know, and like I said, I'm not judging anyone for doing any of that because if you go back 13, 14, 15 years on my work, I had a similar phase it wasn't with, necessarily what's happening today and it doesn't matter. The parallel is I was focused on making work that I wanted to see or that I impressed me and it was more about me and my couple was just a prop and ends to a mean to get there and knowing and growing from that and realizing Some of the stuff I made i'm just like it's embarrassing to me, but it's fine But like back in the day it was like wow, look what he's doing. It's so quirky yeah, but now no one's running into a burning building to get some of this stuff like it's like where you know, It's no heads and they're just you know, it looks whatever I said I think it's a progression and I think a lot of people who are currently in about right now into about how many flashes and smoke bombs and gear and all that stuff, that's fine. And I think eventually they will probably move away from that stuff.

Raymond Hatfield:

That's the goal. You hope that they do. And it doesn't just turn into, you know, I think

Todd Laffler:

they will eventually. and so, I don't know, maybe I can plant that seed for someone to get there faster. Maybe. and again, it's not a race. It's not about you need to get here or you didn't make it. I think it's just something about, just reprioritizing what's important with what you're doing, and trying not to make it as much about yourself or trying to impress other photographers and honestly, That's a game that you know, if you get into it, you'll just never be satisfied There's always going to be someone who's doing it better or do whatever that is Or that these fleeting likes and comments are you know, it's like a little hit of dopamine and it's like, you never get your fix, you're on to the next one. You have a short term memory. It's like, okay, now I need the next one. What's the next one? yeah. And that's the awards that's getting, the likes and the comments and the followers and all that stuff. Again, totally fine. nothing, necessarily wrong with it. It's just, I feel like eventually, I think you probably grow as, as, a human or as a photographer and, kind of move beyond that stuff.

Raymond Hatfield:

Yeah. I think that goes back to what I was saying. It's like, that's the hope. Hopefully it just doesn't turn into. If there's another photographer who's doing something better than me, like, I'm just going to go chase that rather than figure out like your own voice, you know what I mean? So yeah,

Todd Laffler:

I totally get what you're saying there. And I feel like that isn't the only avenue. So in other words, you can find your own voice and still be on that treadmill because I feel like back in the day I had my own voice, but I never felt like I was chasing some, what someone else was doing, but in the end I still felt like I was still on that, treadmill of well, what am I going to do this week that's going to outdo what I did last week. How am I going to get people to, really wow over what I've done. So I don't know that it's always about chasing what someone else is doing. it's about, I think, figuring out what you are doing and, hold on, pump the brakes. Is this genuine? What is reason behind doing this? What is my purpose in creating this type of imagery? Any day I would take a heartfelt moment that you don't see all the time. You can't reproduce I've come to like, cherish those images over the most creative thing I've ever done, pales in comparison to a genuine moment between, it could be anybody, but like, you know, it's a grandma's embrace. and this sounds morbid maybe, but I start fast forwarding, like grandma's gonna die, and how much this photo will mean the people involved versus, a photo where the couple's this big and, they're backlit and there's smoke going on. Like, it's just my priorities have totally shifted from, searching out real genuine moments, and just kind of really focusing and honing in on that and, It's interesting because I find that, a lot of times when you're hunting for these, great, genuine moments, you're actually, I call it kind of photographing with your ears more than your eyes. Because it's a lot of times I can be, whatever I'm focused on, I can also hear it's like tuning in with your ears as well. Not just your eye, not just seeing what's in front of you, but hearing what's going on around you and sort of trying to make connections and observations between, Oh, I see this person, it's like reading people this person is important to that person and these two don't get along and just sort of like reading the room and figuring out because then that's going to increase your chances later, of course, of, getting that great moment because you've already figured out who's who. Who means what to who and that type of thing.

Raymond Hatfield:

How does that develop though? Like for you, is that just like, did you realize that like from the beginning or does that grow just with experience?

Todd Laffler:

I think it grows if you want it to. So you, have to consciously try to, if you're not already doing that, I think to, hone into that aspect of, not always having, the camera blocking, cause you're only seeing this, little rectangle. Right. But there's so much more happening. sometimes it's, I think it's good to just go in a room and don't even pick up your camera, just kind of like, look around, see what's happening. And you can even just observe, where the light's coming from something simple. Right. Like before you just start shooting at the wedding, it's like, slow down. Let me figure out okay. Light's coming from that way. Mom's over there. She's doesn't seem to be that interested. There's something going on. just trying to read the room and just get a feel for things before you just start, you know, you know, just shooting at the wedding. but back to your question, I think, A lot of people see my work and they see kind of like fun imagery, people quirky moments or, in between moments or people, a lot of dance floor stuff, just people having a lot of fun. And they, make the assumption that that's how I am. That's my personality. So, back in the day, I'm sure it was a lot of, People's like, don't meet your hero. Cause I'm like, I'm shy and reserved. I'm like, I'm not like my work. I feel like I use that as sort of like my voice to try to be more outgoing perhaps, what have you. But as a kid, I've always been very shy. And I think with that comes a lot of observation. it's like not being, shy and, Passive. But being shy and being like, involved with what's happening, just not verbally. Right. So, it's paying attention to people and being able to read people. I think, and some of the, I think comes naturally from that, just from being shy and that's something that I do. You know, encourage people to do sometimes is just, instead of go out and photograph, go out and sit on a park bench and just view relationships and see, not creepily, believe me. Leave the trench coat at home. Just like, from a distance and you can sort of read people's faces and I can almost tell sometimes like when someone's going to laugh or the cadence of a conversation and sort of read that. And those are like little tells that will help you. Get those photographs and also just not quitting on a photograph. okay, that's the moment I got it. Check it out. that whole shooting through the moment of the whole process, like don't give up on the moment. because once you think you've got it, sometimes something better happens or something different happens that you weren't expecting. So just sticking with the moments I think is important too. And that can be difficult for a lot of newer photographers. I feel like because Especially at a wedding, there's so much to cover. there's so many things that you need to photograph. So to slow down is seems counterintuitive to stay with a moment and. see it through, like have conviction in what you're photographing and go, you know what, I think there's something developing here. I'm going to stick with this. I'm not going to give up and go start photographing the shoes or, whatever else is going on. Yeah. And sometimes it pans out and you get a great shot. And sometimes, you know what, nothing really happened, but you've got to take that chance.

Raymond Hatfield:

Like how often does something better come along? If let's say that you're, right here. Mom's putting, on a necklace, you get that mom's putting on the necklace. You get the smile or whatever. This looks great. Okay. Dress is buttoned. Seems like the moment's done. Do you walk away and do something else? Or do you wait and you, let the tension build for something else to happen?

Todd Laffler:

so I guess in your example, like I could say, well, okay, mom, Did the necklace, right? Got it. Okay. And instead of moving on, just paying attention Like maybe the next thing that happens is it's like too tight and the bride makes a face like, ah You know, you're killing me and that turns into another moment then they both start laughing and that's the moment the putting on the necklace is just the impetus to lead to the you know, the really meaty stuff

Raymond Hatfield:

Mm Yeah, you never know until you just shoot through it. Yeah So one of the reasons why I reached out to you and I said this earlier, it's just like, you have this ability, I feel to pre visualize something, and then capture it, which many new photographers don't have. But in that example, there, you have plenty of photos that aren't just you standing in front of a bride with the mom doing the necklace, camera's eye level, you're doing something different. There's a reflection. There's a mirror. there's a window. There's a way that the light hits. you talk to me about that, visualization process for you? And when you go from taking the safe shot to doing something a little bit different.

Todd Laffler:

Yeah. you get the safe shot, right? And then, you can move on from there and say, well, what else can I do? And there is some previsualization. Like for example, if, a bride's getting her shoes on or something like that. And she's being helped by a couple of people. I'll get the shot, right. The normal shot. And then I'll automatically think, well, how would this look from a bird's eye view? How would this look from a worm's eye perspective? and then, sort of make a decision like, or, you know, things happen very quickly. So, sometimes you just have to shoot what's in front of you and there's nothing wrong with that. So sometimes that safe shot is all you need. Right. So I think that's important, to know that you don't always have to be like Joe creative all day long. sometimes like just shooting what's in front of you normally is all you need to do. That's it. That's the photo, don't overcomplicate it. And then, but if you have that and nothing's happening, you might as well try to get a different perspective or, I think. I definitely do have some pre visualization. So like I said, before I lift the camera up to my face, I'm looking at what's in front of me and saying, well, how do I want to capture this? What is the best way? What is the best angle? What's the best focal length? Where should I stand? where is the best position I want to maximize, I want to squeeze that photo, right, to as much as I can get out of it. So that's where, having a plan and sort of filling your frame with intention and not just going, Oh, I'm just shooting and you're zooming around and you're getting stuff, but you don't really know what. so it's like kind of a little bit of a slowing down and just figuring out, okay, here's the scene in front of me. What's the best way I can photograph this. And so like you formulate a plan and then you execute, right? instead of trying to be like, I don't know what's going on, you're fumbling and you, I don't, yeah, I don't know. I'm just grab this lens and it's like, okay, slow down. All right. Here's my idea and it may not work out, but at least you have an idea. And then from there, it's just, like I said, executing and you know what to do.

Raymond Hatfield:

Hold on. Let's talk about the it may not work out thing because obviously, weddings can be high stress. And there's one photo that you have in particular that I'm thinking of, I believe it's the bride's father is having a first look with his daughter, the bride, and it's him sitting on a couch. And then above him is a mirror. And the bride is walking down the stairs, which you can see the reflection in the mirror. Right?

Todd Laffler:

Right.

Raymond Hatfield:

do you know what photo

Todd Laffler:

I'm talking about

Raymond Hatfield:

here?

Todd Laffler:

I think I do. and, full disclosure, I didn't come up with that shot. I'm not going to take credit for that. So that's part of hiring, and having good people with you, because yeah, some days I'm just like, I'm stressed out with whatever's going on. So that photo came about by. My girlfriend, Annette, who's also great photographer because she was in more of a supportive assisting role, she could slow down even more and go, Oh, I see, I see, she's upstairs, there's a bench here, I see a mirror, she could slow down even more than I could, and sort of said, Okay, what if we do it this way?

Raymond Hatfield:

In that moment, with your girlfriend taking that shot with the mirror above the bed,

Todd Laffler:

where were you at? No, no, no, so I took the shot, she wasn't shooting. Oh, I see. She was like, hey, here's what I see. I'm like, yeah, that's good, that, phew, thank you. You know, like, you saved me there, you know. Gotcha, gotcha. And, to be honest, I probably could have shot it, A different way that wasn't as creative, right? And at the end of the day, we don't know cause I didn't do that, but I have a feeling like if I shot it less creatively that the moment wouldn't mean any less or more to the bride or the father. Do you know what I mean? Like you're responding to that photo as a photographer and as somebody who is not personally involved. and that's why. I feel like you are reacting to that because maybe, you're seeing some creativity or seeing like, Oh wow, why didn't I think of that? Right. Or something along those lines. But what I've come to realize is like, honestly. and I tell this to my girlfriend because we shoot together a lot and sometimes when I'm in that assisting role and I'm like, she's like over complicating something, at least from my perspective, I kind of fall back on that. Like, if you set up a hair light or something or, set up some other thing, is that gonna make the client like that photo any more or less? And nine times out of 10, it's like, no, it's not going to make any difference. and I'm not advocating don't do your job and don't try 110 percent at all.

Raymond Hatfield:

But

Todd Laffler:

I'm saying like, conserve your resources, when you can do that. And, when you're maybe over complicating it for no reason. and I find it helpful to just go like, well, the client. Is going to see their dad reacting to them coming down the steps, like either way, if it's in a mirror coming down the step, the dad's going to have the same reaction. The dad's reaction is not affected by how I shot it. Right. So I can shoot it another way. That's not as creative. And he's still going to feel the same things. And when I show the photo the other way, that's not so creative. They're still going to love that photo. You know what I'm saying?

Raymond Hatfield:

I do. I do. So then why, I guess not why, but like in that same situation there, there's almost no chance for a safe shot. You know what I mean? Like if you were to blow that shot, I guess, how do you weigh those pros and cons of getting something creative and something that you're going to love and that you know that your clients are going to love versus missing the moment almost entirely? Does that question make sense?

Todd Laffler:

yeah, I think I know where you're going with that. And a lot of that is, your conviction in the shot, right? So. Knowing like, okay, I can see where the light's coming from. I can see that, I tested out with my girlfriend, like go stand up on the fourth step from the top. And I'll know, like, that's, it's going to work. Right. and then just from experience of yeah, I think I can get this shot. it's a little bit of a calculated risk. And at the same time, like if I did blow it, there's Still going to come down the stairs. There still will be a moment. it's kind of like if the client didn't get that photograph. Not that it didn't happen, but like, they still have it, but they may not go, Oh, but you didn't get that one that five seconds earlier when my dad's tear was like, you know what I'm saying? Like, sure. So it's a bit of a calculated risk. And, sometimes you just, you go for it.

Raymond Hatfield:

Yeah. Have you ever had, a moment where you're like, this shot is going to be a banger. This shot is going to be so great. And then it just falls totally flat. And yeah, how does that work for you? I guess, let me reass that question. Yes. Does that happen more often than not? because I know that oftentimes I will have an idea for a photo and I will try to make it work and it will fall flat and I will hate it. but going after that photo in the first place taught me something, I guess, for the future, or, sometimes the failures that I have when trying to get a photo will help me moving forward. So I don't hate those failures and that I'm okay with making mistakes quite often, as long as, do get the safe shot there. so I guess for you, I guess what I'm trying to figure out here is, Do you do more or less creative photos in the hopes that they turn out? I guess that's the question. Does that make sense?

Todd Laffler:

So, so I guess after, you know, years of experience will sort of help you get to the probability of something working out or not. so yeah, just with experience, you're going to know from those failures of, Hey, this is a lower probability. I'm not going to go for it. But to answer your question, honestly, I will take a lot more risks when I have a second photographer and they are getting those safe shots. and I have full, faith in my second photographer to get those safe shots for me. And that just frees me up entirely. So that would be like the, what I would recommend if you want to start taking more risks is hire a good second photographer to do the safe stuff. And then you're free.

Raymond Hatfield:

Has it always been that way for you? when you first got started in photography, was there like an ego thing involved where you're like, no, this all has to be me or?

Todd Laffler:

no, not at all. I think I was super happy to offload some of the more straightforward stuff to the second photographer. and honestly, sometimes they got better shots than I did. You know, that's just how it goes. It's just that. That's the nature of the beast and that's fine. I'm thankful they got the shot. So it's totally fine. I hadn't,

Raymond Hatfield:

I I realize now that we're 32 minutes in, like this is just the interview. there's not gonna be a formal introduction, so sorry you get started in photography.

Todd Laffler:

No worries. so when I was 17, my mother was, is still, I guess to. this day, like very creative person. She was always doing, watercolor paintings and calligraphy and she did photography. So she set up a dark room in our basement and she showed me how to, shoot and develop film in the basement. And when I saw that, like, the negatives there and I'm like, wait a minute, I can just do this in the basement, like sign me up. Like, I thought it was just next level wizardry. I was like, how can you do this in the basement? so I got a camera and basically just started photographing what I knew and at the time was skateboarding So this is going back. geez probably 1980s and so I just started photographing skateboarding and that actually sort of developed a little bit of my style with where I do shoot with a little wider angle lens. probably than most people would be comfortable, and from low camera angles. So a lot of the time when I'm shooting those low angle, wide, wide angle stuff, I'm not really looking at through the camera. I know nowadays they have the, I'm old school, but like they have the flip screen and you can look and that's great. That's so much easier, but I just became so comfortable just knowing if I put my camera on the ground. Yeah. At what millimeter at 16 or whatever it is, how to tilt it and just kind of shoot. and that's also how I shoot a lot of the dance photos too. It's just over my head like this, and I just kind of know how much to tilt the camera. I know what my frame looks like pretty much. and I think that helps being a better photographer because you're not like. You're photographing, but I'm like looking at you. I'm making eye contact. I can see exactly what's happening and I can see what's happening over here. That's outside of the frame. And so I think that frees you up to be, more agile. so that's how skateboarding back then was probably still now very wide angle lens is very close to the subject. a lot of low. From the ground type shots or above. so that I think definitely influenced me when I started photographing weddings. so I actually went to college for photography and went to the Maryland Institute college of art. And then I think it's like in 1995 or so, I started second shooting for another, wedding photographer. I did that for two years and then, quickly realized like I can make a lot more money if I did it myself. Yeah. So yeah, in 2007, that's when I started my own business. And I've been doing it since then.

Raymond Hatfield:

How did you go from skateboarding to the weddings though? you went to college, did you want to continue with sports or was weddings the goal?

Todd Laffler:

No, I didn't know. Anything. I just knew skateboarding. Like I was hardcore into skateboarding before it was cool. I even had a skateboard magazine I made. My dad, fortunately, had a printing company at the time. So a friend of mine, we made our own little magazine. That is awesome. Yeah, it was pretty cool. I still have like boxes of them in the basement. Tons of them because he was a big commercial printer. So like, yeah, he wouldn't print like 10. It was like 10, 000. It's like, So yeah, when I went to college, it was a very fine art college, which, I learned a lot in college, but I kind of learned. Not to like fine art photography. I always seem drawn and more interested in very simplistic images, very graphic images. each image could stand on its own as a photograph. And in, at the time, anyway, at my college, it was a lot more about your concept of. You're going to put a group of photos up on the wall and what's your concept? What are you trying to say? And I was never really trying to say, I didn't care. I wasn't trying to say anything. I just wanted to make cool images or, you know, and so I didn't quite fit in, in that arena, which, was fine. but after I graduated in 93, then I went to work for my dad at the printing company. And I basically, I think my camera had broken. I just threw it in the closet and I never touched it, actually, until my dad's, printing company went outta business like in 2003. I picked up a Sony, I don't know which one it was, but it was like a prosumer, I forget what they call it, consumer, prosumer, whatever. It was a pretty decent digital camera and that was my first digital camera and I I was collecting unemployment and, I took 30 days and drove cross country and I sort of like fell back in love with photography. I was like, ah, this is kind of fun. But then, quickly realized, to pay the bills, you need to do something more substantial than try to sell at like, a street fair or something. So I think I just answered an ad on Craigslist for a wedding photographer. They needed a second shooter and So I'm like, all right, I'll try that.

Raymond Hatfield:

So what was it about weddings that drew you in? because obviously action sports, it's high adrenaline. There's always something going on. What's going to be the next trick that happens? And weddings, while they are kind of stressful, kind of follow the same timeline throughout the day. So what was it about them that you enjoyed most?

Todd Laffler:

Well, there was that aspect of like, drawing parallels with skateboarding photography of, you know, things happen quickly. You have kind of one chance sort of to get this amazing trick added Zenith at the best point. I got used to picking out the moment, got it. Instead of, you of, you know, it wasn't like, all right, I'll figure it out later what the moment was. so there was kind of that, But at that time, when I got into shooting weddings, I really wasn't doing any sports, any skateboarding photography at that time. I really was doing more like landscapes and, just that type of stuff. So, honestly, my drive. What led me to weddings is just, making more money, with using the camera.

Raymond Hatfield:

Sure. So at some point though, because today, I mean, you've been named one of the top 10 wedding photographers in the world. You're one of the most celebrated, fearless photographers that doesn't just happen. that wasn't an accident. You didn't just stumble upon that. So something had to have happened within you to like, want to, either compete and get the best photo Or you see the world slightly different in a way that people find very compelling. So let's explore that route right there. I suppose, what are the elements for you that goes into a portfolio worthy Todd Laffler photo?

Todd Laffler:

I mean, it's different today than it was back then for sure. to the point where, I had to rebrand my website. within the last two years or so to sort of try to migrate to more candid real moments rather than anything that I was setting up. so back then, I think it was an interesting sort of time where wedding photography was starting to Kind of explode into this, like, well, wait a minute. Wedding photography doesn't have to look like wedding photography. That was kind of like what was, happening at the time. so I'm kind of going back to like 2008, 2009, somewhere around there. It started becoming more sort of. Acceptable. And with the advent of blogs and things like you were able to see what other people were doing. and I think that's what sparked where we are even today. I think, I feel like that was sort of the beginning of creative wedding photography that doesn't have to look like traditional wedding photography.

Raymond Hatfield:

Yeah.

Todd Laffler:

so I really feel like that was a crossroads. For where we are today. So I was kind of, I guess if you look back kind of getting in on the, ground ish floor of that movement of trying to push wedding photography into something else. And quite honestly, it was kind of like a light bulb moment for me. I don't know if you're familiar with Ben Chrisman or not yet. So I stumbled across his blog. Like I said, I don't know. It was like 2008, somewhere in there. I was blown away. I was like, you can make images like this and you can get paid. And like, this is signed me up. yeah. And so from there, I think, I did do some emulation, to a point of trying to be, a little more like Ben, well, how does this actually work? How do you do this? Right. So just kind of getting my, footing into straying away from the standard, the bride looking behind the bouquet and, that type of thing. And then I feel like I did eventually migrate into sort of my own voice into shooting what I felt was authentic or what I was coming up with. I didn't feel like I was copying anybody. and a lot of that motivation I think just came from that time period of Who's sort of creating work that's like different and that seemed to be my drive the more different the better The more quirky the more unusual that was like the flavor of the day, so that was a big drive, being a young photographer in terms of wedding photography being a young wedding photographer that was a big drive for me to try to almost like prove yourself. Like, Hey, I can, hang with the big boys or, I can do some cool stuff I think that was my drive. And then, when fearless came along, I just started entering. And again, it's the same thing. It's like this crossroads time where you've got not as many good photographers. Yeah. At that point in time, just because I feel like the advent of social media and YouTubes and, Facebook and all that stuff has accelerated the speed or the entry point is much easier to sort of get to a, good level with photography. Whereas back then it was like, some trial and error, you kind of figured things out and, maybe it worked, maybe it didn't. I just think it was a little more difficult to, advance your skills than it is today. So keeping that in mind, you have a smaller pool of good photographers doing creative stuff. So I have a tendency to downplay my ability. I was going to say you're being like super modest right now. It's just what I do. I cannot help it. it's a problem. But, You're like, there was only 12 photographers. It was like four or five of us. it wasn't that hard. It was just like, yeah, whatever, you win 10 awards in one round. but then, like I said earlier, I think the danger of pursuing awards and likes and followers and getting accolades from your fellow photographers is, it's just a never ending treadmill of constantly having to do that. And if you're sort of relying on that for your self esteem and your validation all the time, you'll never be satisfied. You'll just constantly be on this treadmill, just constantly churning out stuff And then feeling oh no one liked that one, oh boy, I suck, whatever, and then if someone does like it and they're like, wow this is great, and then it's like, that's gone, now what? it's just hollow. again, nothing wrong with all that stuff and I think it is sort of a natural thing. Progression for some photographers. and like we talked about earlier, I'm sure there's plenty of great photographers that we don't even know about just because they're not on social media, they don't feel like they need to be. So, again, we're only seeing, a sliver of what's out there.

Raymond Hatfield:

Again, it might have been before we were recording, but you were talking about, chasing the likes and all these things. but at the same time, like making sure now that we capture photos that the couple is actually going to want, And I think about that as well sometimes because, what you were just talking about there when it comes to, you were trying to get crazier and you're trying to get more creative and you're trying to get more unique, was there a turning point in which you realized like, Hey, wait a second, what am I doing this for? was there a couple that didn't like a photo that, push you in this direction?

Todd Laffler:

No, I don't, I can't think of like a turning point per se. I think it was a gradual waning of. A, realizing it's like putting undue pressure on yourself to come up with something amazing at every wedding. And sometimes, you just don't feel like, yeah, pushing yourself to the limits of what can be done, which is fine. If you're, young and hungry, and that's what you're into, that's totally fine. But at a certain point, you do it enough. And it's just you're always trying to outdo yourself. it just doesn't. feel right. and then just looking back at some of the earlier work that sort of was so well received. And I look at it now and I'm just like, that's not, like I said, it's not something that a couple is going to run into a burning building to save. It's just not, it was more about me than it was about them I don't want to make it sound like I did that all day long. It was just like a couple sections of the wedding. I'm like, all right, now this is my time. I'm going to do that. And I don't do that really much anymore. I'm just like, let me just be observant and photograph what's in front of me and do a faithful job and document the wedding as best I can. well, I think it's,

Raymond Hatfield:

hard because I know with, when it comes to, the photographers who I've interviewed, and the lessons that I try to teach to new photographers is that one of the traps that they always get stuck in is when they just get the call like, Hey, will you photograph our wedding? And they're like, yes. Now I have to go on Pinterest and figure out what do wedding photos look like? And then. They want to emulate those and then a year later they realized, wait, I don't like any of these photos, but now my entire portfolio was this. So I advocate like shoot or show what it is that you want to shoot. Right. But at the same time, so, you have another photo, which I love personally. And I think it's a, couple, they're standing in front of like, I think it's like some sort of downtown art buildings, like a brick wall. But then there's a guy riding his bike through the frame. And this guy is like, No shirt on beach mode, shorts. And that's the kind of photo to where I personally love that sort of thing. the dichotomy of perfectly dressed best day of our lives. Here we go. And then here's this. Guy, belly out, hairy, riding through totally oblivious to this, but when it comes to the photos that the couples are going to want, do you show them that like, Hey, look, wedding photography can be different. And then you help guide them into the direction of maybe you do want these types of photos. Maybe you do want something different, or is that just the photo that you capture for yourself?

Todd Laffler:

I'd say That's the photo that, yeah, I captured for myself and the old me would sort of operate under the guise that clients are hiring me to do that. So it's okay that I do that. I was kind of justifying doing it. Whereas, honestly, now if it popped up like, and I saw something cool developing, you know, I'd be like, yeah, sure, I'm going to do it. Right. But I don't feel like. It's necessary. Whereas before I felt like I need to create something unusual. That's why they're hiring me. I've moved away from that. Like I said, hopefully, I'm getting clients that are responding more to genuine moments that are not, I don't have a hand in necessarily. Right. Like I have a hand in the sense that I, paid attention, I was diligent and cleaned up my frame and got the right moment and the right angle. But I'm not crafting, so to speak,

Raymond Hatfield:

now that I think about it, there's really two types of photos. there's the creative pre visualization, like the photo of the father and the bride walking down the stairs with the mirror. You pre visualize that. But then there's this photo with this guy riding his bike through the frame, which you can't pre visualize. Because you can't plan that guy to come through the photo. You just have to wait for that moment. you saying that you're leaning more towards one than the other here? did I get that

Todd Laffler:

right? I'd say I'm not leaning towards Either of those, to me, both of those seem like too constructed, not they're not too constructed. so the guy in the bicycle, that type of stuff, I have other photos similar, right? So it's kind of like, I've seen this work in the past and it's sort of, a formula. Like, get the couple across the street, so to speak, and I get far away. So, we're so far apart that any pedestrians don't. Stop and go, Oh, sorry, sorry. Like you just keep things moving and it's just sort of like, telling a couple Oh, if you see someone, coming, from either direction, don't assume I'm not photographing. that's probably a good time for you guys to ramp up the energy actually. So you kind of, you get to know, like you're coaching a little bit, And then I can just kind of, keep an eye on what's happening either way and wait for something interesting to happen. Those photos are fun, more for like an engagement session, I feel like, because you have time, you don't have the pressure of, we have to get to the whatever the venue or whatever. So you can take some, afford some time to just kind of play and see what happens. And a lot of photos come out that way, where you don't know what's going to happen. And that's the fun part. And you're surprised because it's something you couldn't have even thought of and sometimes I feel like that's the beauty of Letting your couple sort of sometimes, I call it, just freestyling, right? So, if I have a couple in front of a wall with even light, I'll do the regular shot, holding hands, looking at each other, they're happy, they're fun, whatever. And then I'll give them some space where they can freestyle. And because, all right, honestly, a lot of, couples will be like, we don't know what to do. Or they'll hug and just be like, wow, that's crazy. You guys just hug. That's total wacky freestyle. And it's fine. Whatever. If they don't do it, then I'll have some prompts to help them. Whatever. But some couples will do something that I could just never dreamed of. And it's so much better than anything I could have thought of. And on top of that, they thought of it. So it's their photo, you know, like that's the win, win, win. is the really cool and fun stuff to capture. And then they're having fun. it's just like the perfect scenario. I didn't have to do much. I just found a good wall with good light and let them do the work. They had fun doing it. They created a photo that's uniquely theirs. And it's better than anything I can come up with. that's pretty easy. Yeah.

Raymond Hatfield:

Yeah. No, I love that. Do you find that you typically do that when you're further back and you can say use a longer lens and kind of give them that space to do whatever they want? Or is that more of a I'm gonna get close to your

Todd Laffler:

If I have the ability? Yeah, I'm almost always As far back as I can be, because I, feel like the further away I am, the more natural

Raymond Hatfield:

they can be with each other.

Todd Laffler:

Yeah. Just so you know, like I'm not within earshot and listening to what they're saying. And they might think Oh, he's judging us or whatever. I'm not like, I'm trying to be as far like removed as possible. If I can, I'll still yell over, if I need them to like, Hey guys, I don't know, pretend you're robots or, karate kick, you know, whatever. Like if I can still be in within earshot, but I'm not like on top of them.

Raymond Hatfield:

Yeah. I love that. And sometimes it doesn't

Todd Laffler:

work. Like they'll just look at each other and be like, confused. we don't know what to do. And that's totally fine. You don't judge them for it. You just kind of then you need to reach in your back pocket and give them, you know Try this and a lot of times that yeah, whatever whatever it is, right? I don't know tickle fight or whatever just get them moving And then a lot of times that sort of progresses into something else So it's just like giving the prompt and then let them run with it.

Raymond Hatfield:

What's your favorite part of a wedding day? is it the portraits where you put in the work and all eyes are on you to create something here? Or is it earlier in the day, later in the day where you're there to, you know,

Todd Laffler:

I'm usually more at home on the dance floor, not personally dancing cause I don't dance, but, just photographing the dancing. just because, you're on the dance floor and you're doing something crazy or whatever, yeah, it's like the walls have already been, like, I don't have to do any work. they have already expecting like, yeah, of course the photographer is going to photograph you if you're doing something. so the dance floor is always fun to me because people are less inhibited and maybe alcohol is involved and, that's just much easier to photograph and more interesting and fun again, because it's not the potential to deviate from the typical wedding stuff is more rich in that environment, where people feel it's a dance floor. people are going to do what they're going to do. And it's not like, Oh, we need to be quiet at this moment in the wedding, because honestly, most weddings, there are formulaic and that's just how they go. So

Raymond Hatfield:

Yeah, you don't normally find a cousin jumping up on a pew and popping open a bottle of champagne. Very, very rare. Much more. I would

Todd Laffler:

say, yeah, the dance floor. I, enjoy doing that. And then believe it or not, kind of like the ceremony, just because I feel like it's such a, an emotionally rich environment that. there's opportunity and there's no moving targets. I can move around and sort of like, really observe, take a moment to how is mom doing, how is, dad doing and, move around and get some different angles and that type of imagery to me is more interesting than anything that I shouldn't say more interesting than anything that would happen during prep. most likely, um, it's usually pretty mind numbing. and I, and I don't mind, doing the, portraits. but it's, not my favorite because I am sort of in control, which I don't mind, but it's not something I like, I feel like, Oh yeah, this is going to be great. And, a lot of times I feel like it's a bit of an education process to my clients. because sometimes, other wedding photographers out there will probably get this too, where the couple will request, Oh, can we get a photo in front of the gazebo or the fountain or the piano or the stairs or whatever it is. I usually come back at them and I say, Oh, okay. Is there something, sentimental or significant about that? Cause Debo for you guys, tell me what's the backstory. And nine times out of 10, it's like, I don't know. I just thought it would look cool. Or that's where everybody gets their photo taken. So it's kind of like breaking them down a little bit, why do you want to be photographed in front of a gazebo? what does that mean for you guys? And trying to like, get them at well, maybe it's not so much about what you're standing in front of. It's more about your connection with each other. And I tell my couples, if I see red flags of we want to go here, we want to photograph there. Cause nine times out of 10, you'll show up there and it's like half in sun, half in shade, and it just looks terrible. And I don't want to spend time forcing a photo that doesn't look good. If it doesn't mean anything to them, like if it means something, I'm going to, try to make it happen. But most of the time they're just like, I don't know, just thought it was cool. So I'm constantly telling couples for me, my priority is find a clean background doesn't have to be anything crazy, even light. And you guys are connected, and having fun, or you look like, you like each other. that's the photo to me, is your relationship, not what you're standing in front of. and I feel like when I explain it that way, a light bulb goes off for a lot of people, like, Oh yeah, I guess it doesn't matter what we're standing in front of, that's not important. So trying to like refocus their attention on I want to capture your relationship more than I want to have something cool behind you or light it super cool. it's fine. But like I said, I don't know that any of that stuff makes a client like that photo any more or less. So I always, you start from the ground up, meaning clean background and even light usually, and their connection with each other. that's the photo. To me, once I have those three things. I'm good to go. I don't need to overcomplicate it.

Raymond Hatfield:

Man, don't think I could say it any better. You know, like you said, I don't need to overcomplicate it. that's so perfect because I think oftentimes there is that propensity to want to overcomplicate things In a world where everybody has a cell phone and everybody can capture like a pretty decent photo. It seems like clean background, moment. It's like, wait, we can just capture these things on a cell phone. Why would we not go all in? And as we were talking earlier, use the six flashes, use the smoke bombs, use all these other tools at our disposal. Of course, that has to make a better photo. But I mean, I looked through your Instagram feed, on your website. And there is this, feeling of, wow. Everything is, very visually interesting to look at. It's also very clean. And I, don't think that I would have described it that way. Without hearing you walk through that

Todd Laffler:

huge fan of just. Keep it simple like the heavy lifting of the photo. I feel is the couple's connection with each other.

Raymond Hatfield:

Mm hmm

Todd Laffler:

Not how cool the lighting is or what and again, there's nothing wrong with that stuff What bugs me is when people do all that cool stuff, but they miss on the connection with the couple

Raymond Hatfield:

Yeah, you

Todd Laffler:

can do all that cool stuff and have this great connection with the couple score a banger. that's awesome I personally just don't feel like it's not something I want to pursue because I don't It's more than I think is necessary personally. Right. Like I said, have nothing against anybody trying extra hard and doing creative things, just make sure that the couple, is connected. always. That's your photo. no dangling arms. they, just kind of like, just sitting there staring at each other. they should be into each other and tight and body language and, everything needs to connect.

Raymond Hatfield:

So when you do find a couple who isn't naturally that way, in what ways do you kind of push them towards that?

Todd Laffler:

So, I mean, I can direct them physically to, Make sure that they have good positive body language. by pulling their torsos in, by having the hands, not just limply, the guy just limply, holding her waist. you gotta sell it. Right. So there are times where I do need to direct some of that stuff, but I can't, direct like smile better, smile more, laugh more, I can't physically do that. so I can, make sure that their body language looks Positive if they're not doing it naturally. and then the last step is, getting that, the emotion out of them. And that may be, if it's not happening naturally. Sometimes I'll just pull back and just wait. And they just get, they forget that they're being photographed. I'll just, I'll take forever. And they just might start talking and something funny will come up or I'll just yell over, hey in your sexiest voice whisper the word sausage in her ear or something like that, right? Yeah So it's not that it's like what comes after that which is the photo So you kind of have to Massage things a little bit once in a while and I do find if I have a couple that is not that that at ease a I try to get a lot of time with my couples So I tell them I do like to have the time with them because I don't want to feel stressed. I don't want to feel like I need to rush through this. I would rather craft five or six really great images that are clean and nice. Rather than make 10 to 15 mediocre ones where there's no connection and nothing happening and I tell my couples Let's say I'm gonna get an hour with them like you guys I want you guys to look at this time as pseudo alone time For you guys to connect with each other on your wedding day because the whole day everybody's coming at them from every direction Which you know is normal, but I try to reframe it so that it's a positive thing for them to give me time Because I They can hang out with each other and just chill out. But not only that, like their photos, eventually they'll relax more. if I have to do everything in 10 minutes, how relaxed do you think they can ever look? So after, 45 minutes to an hour, they're like, Oh yeah, I get the hang of this. This is easy. so that's another aspect to it. And then just freeing up time for me to not feel rushed. That I can craft images and actually, figure things out instead of just rushing through them. but on top of all that, if I have a couple that, it seemed like they're not quite meshing. I usually just try to get them moving. And a lot of times that can be as simple as just hold hands and I go as far away as possible with, 70 to 200 and just have them walk towards me and looking at each other. Like that's a classic wedding shot. It's one of my favorites to do because it just looks natural. They're walking, they're interacting with each other. And a lot of times they're walking and it's just like they forget they're being photographed a little bit. And I think, if even just asking them to thumb wrestle, right? Because now they're focused on thumb wrestling and not being photographed and what they look like. Okay. So that's something that can, relax people, I think. And you can get more natural photos out of your couple if you get them involved in something.

Raymond Hatfield:

Sure. Yeah. Give them that distraction. Well, I surely have gained a lot of, information and tips today, like thumb wrestling. Never would have thought about that. That was a great tip right there. And

Todd Laffler:

it's, not always the thumb wrestling, right? It's again, you prompt something. But it's what it leads to and where they take it. Of course you sort of give it, you give them permission to play that this isn't all, do exactly as the photographer says, it's okay for you guys to play and have fun. And that's kind of where I'm trying to capture.

Raymond Hatfield:

I don't think we could end this any better than that, Todd. That was, that was fantastic, man. before I let you go, first of all, you've been so gracious with your time and sharing your knowledge here and your, honest opinions, which I think is great. there's a lot of people in the industry who, as you were saying earlier, try to sell how fantastic this is and sometimes it does feel like a grind and I appreciate that perspective, So before I let you go, I know that listeners are going to want to find out more about you and see some of your work online. can you share where exactly they should go to do that?

Todd Laffler:

Yeah, sure. So the best place would just be to go to my website, which would be lafflerphotography. com. L A F F, like Frank Frank, L E R, photography. com. That pretty much has like a good smattering of, my more recent work, which I think would, give people an idea of, what I'm all about these days.

Raymond Hatfield:

All right, quick recap of what we have learned today. One, cherish those authentic moments. capturing genuine emotions over stage shots really creates a more meaningful image that resonates with your subjects, and your audience as well. So figure out how to prompt couples with fun activities like, thumb wrestling or just doing simple games. to elicit that genuine emotion and then allow enough time for your couples to relax and connect in between, these more energetic shots by adding in some simple movements so that they don't seem so stiff. Number two is to develop Observational skills, being attentive to people's emotions in relationship allows you to better, seize those candid, heartfelt moments with your camera. So spend time watching body language and facial expressions in everyday settings to really hone in your observational skills. So during a photo shoot, take a step back and let the moment kind of unfold naturally. Just focus on capturing those genuine interactions. And lastly, it's to prioritize simplicity, easy compositions, clean backgrounds, simple lighting. These are the things that enhance the couple's connection without over complicating the scene. So focus on those clean backgrounds and simple light to minimize the distractions and emphasize. your subjects. Also, you can use a longer lens to capture more candid moments from a distance to ensure more of an authentic capture that doesn't feel, influenced by a photographer being right there. So there you go. That is it for today. Until next week, remember, the more that you shoot today, the better of a photographer you will be tomorrow. Talk soon.