Jasmine Star, JD DelaTorre
Jasmine Star, JD DelaTorre
6. Sharing Images
Class Introduction26:12 2
Capturing Great Photos17:44 3
Getting Second Shooter Jobs34:30 4
Second Shooter Etiquette19:34 5
Compensation and Agreements24:09 6
Sharing Images06:13 7
JD's Gear07:08 8
Basic Photography Overview30:13
Shoot: Ceremony19:33 10
Shoot: Reception19:29 11
Shoot: Bridal Parties27:59 12
Shoot: Cake Cutting11:31 13
Shoot: Bride and Groom16:05 14
Wedding Day Check List18:07 15
Wedding Day Schedule24:07 16
Top Ten Tips10:33 17
Shot List41:39 18
Dress Codes16:27 19
Be a Proactive Shooter14:35 20
Second Shooter Handbook27:16 21
Reviewing Photos from Day 140:21 22
Working with your Spouse19:37 23
Terms of Agreement30:15 24
This is basic stuff, but again, we're going to the basics because I had said to the students in the classroom that today's going to be a basic about logistics, and tomorrow it will be about a little bit more about the frills, about the bells and whistles of what we do a second shooters. Now, um, it bears repeating different photographers request different things were going to kind of go through that, and you're gonna find out where you prefer and help identify, so that when you're working with the first photographer, you can ask how they want their image is delivered. Now some second shooters will be turning in their memory cards at the end of the night. This is because you were shooting on the first photographers cards. You have to know that in advance. Oh, and sometimes, if if if you're shooting on a first photographers cards you would be you're going to be tempted to go through and want to delete the crappy photos one by one as a first photographer, if I go through your cards and th...
ere is not a single crappy photo on it, I'm going to be pissed off at you because you could accidently reformat your card or it is like delete one, delete all or whatever, no leave the crappy ones in there. You know like j t this e when I would take a bad photo I would go back and and delete it and I remember just walked by and she saw me doing deleting a photo and she said, you know you can delete your entire your entire card like that and I actually did at one time I had clicked on the delete all button but mike I don't know what it was but it said are you sure you want to lead the entire card and that's what I said no but had I just you know, push the button again that entire card would've been gone so I'm not doing I please include the crime photos I don't think less of you I understand that everybody okay um and if you're turning in your cards at the end of the evening you may or may not see your photos so you have to understand that in making the decisions moving forward secondly some photographers will request that you download all of your images from your cf cards that night so they will either bring a hard drive or they will bring their own computer and you dump all of your photos on that word of caution. If this is what they ask you to do, the on ly person who will have your back is yourself so what I want you to start doing is downloading your cards during dinner downloading your cards during the downtime because if you're off the clock at ten and then you just start downloading your cards at ten, you're going to be there another hour and that's in an hour. You're getting paid on that first photographer that's, not his or her responsibility to say, when are you doing this? You should be doing this, so making sure that that's out in the open now, thirdly, you can send all of your images on a hard drive to the main photographer, so sometimes if the night got a little hectic photographer say, just send me a hard drive and I'll send it back to you. Now a couple of photographers will get really irked, but I would pay for the shipping. It doesn't bother you. It was a nominal fee for me to pay, and some photographers were like, I would never shit a hard drive because that's taking out of the money that they're paying for me to shoot and I understand it. But for me, I wanted the experience, experience, experience, and it was like seven dollars to ship a hard drive. I was not gonna, you know, squabble. Can you refund me the seven, it just wasn't worth it to me in that capacity, but if it does mean something to you I'm putting the gear on the agreement that you just you know right that they pay for shipping absolutely a flat rate for shipping um next, some photographers will have you choose your favorites, so if you shot, you know, twenty, five hundred images that day they'll say send me your top five to six hundred sixty eight hundred whatever the case may be because they want you to do your own cooling so they're not having to go through all of your image is what I want people to do is to make sure that they're aware of timing if if you're working with some of the latter ones sending the hard drive calling your images, make sure you ask for a deadline because a lot of homes for talks with just sent me the images you might do it in a week when they really needed by the following tuesday, and if they tell you tuesday, make sure the images are to them on tuesday that you're not shipping the images on tuesday because photographers on a timeline and you need toe really respect that what you don't want to do is be, um an impediment. What you want to do is you want to make sure that you're a help and definitely not an impediment as he moved into those long term relationships second shooter hotline this again yesterday, we're talking about today, we're talking about the logistics tomorrow we're talking about bells and whistles. The second shooter hotline is one of those bells and whistles I think we're gonna have a lot of fun with because I want to put out a request specifically for your questions. So your questions people talking online because what we notices that the pattern is people are asking questions in response to what we're talking about, but what we want our specific questions related to difficult challenges that we have faced with a first or second shooter, because now he's going to be the time for us to open up and be really honest. Now the best part of this situation is that we are going to be reading these anonymously, so any sort of identifying details or names will be removed. But what we want to do is have people be really forthcoming so that we can all learn collectively about the relationships and things that might have happened between first and second shooters. So this is going to happen tomorrow give you a sneak peek of two really difficult it's sticky situations. Ah, first photographer left this second photographer alone for three hours and then the first photographer, the second photographer found the first photographer in the bar with the bridal party and the first photographer said, you know what? You were alone for three hours, and I'm just gonna consider that a break, and I'm not gonna pay you for your time. The second shooter did not know that this is going to happen. Another sticky situation was that there was a second shooter who got reamed with a lawsuit because the first photographer skip town without giving the clients. The images were talk about how that person fared after that, so there is a lot of sticky situations now we want to talk to these so that people learn from each other and it's not gonna be faux pas because we all make mistakes, but we hardly ever want to admit them. Now where you are going to be posting your questions is in the second shooter facebook group it's private, you must request to actually be in that group, and the post is pinned to the top. I'm gonna be asking, I said you have you've been in a sticky situation with the first or second shooter, you can include that, and then we might pull a couple, and we hope that we can actually dissecting all learn from each other mentioned, but they're all gonna be anonymous, so don't worry about having your identity revealed.
Ratings and Reviews
Great course!! As a newly emerging photographer, I just got my first second shooting opportunity a few weeks ago. Since I had never photographed a wedding before (even as a second shooter), I searched Creative Live for a second shooting course and was relieved to find this one. After watching some of the free sample portions, I purchased it. I was happy to find that despite the few negative reviews left before mine, the course is an excellent one for those with no second-shooting experience. Here is what I liked most about it: a) It includes several segments where Jasmine and JD demonstrate how they work together at a wedding. I found Jasmine and JD to be very honest in their representation of how things actually occur during a wedding. Since I had not (at the time I purchased the course) ever photographed at a wedding before, I was desperate to get a sense of how things really work. Jasmine and JD delivered in this regard. I was able to see how things really flow...how to react and photograph in tight time frames...how to stay out of the main photographer's way and still take good images...and what to pack and how to preplan in order to truly support the primary photographer. b) JD and Jasmine were very honest in talking about some of the mistakes they have made in getting to where they are today. I think this must be hard to do - baring your soul and talking about things that have gone wrong. But in doing so, they give something to students like me that some other teachers don't - a truly realistic view (from the perspective of someone who has made them) of the errors newer photographers commonly make, and how to succeed and keep moving forward in spite of them. Jasmine has done this in other courses she teaches on Creative Live as well, and it is very much appreciated. It's such a relief to see that in their early days, seasoned and successful photographers make rookie mistakes too - and to hear how they pushed through them. Everyone makes mistakes. The question is - what can be done to fix them, and how do you avoid making them again in the future. JD and Jasmine address these things in this course. c) JD and Jasmine have different personalities and different approaches to certain aspects of their craft. It was helpful and inspiring to me to see how they work together in spite of the differences. I think their differences actually complement the other. Like JD and Jasmine, my husband and I work together in our newly emerging photography business, and have differences in our personalities and approaches to photography. I really appreciated seeing how Jasmine and JD use these differences to enhance their photography, and how they work through the sometimes tense challenges that can arise in fast-moving wedding photography scenarios. I also liked hearing things from both of their perspectives. d) JD provides lots of solid, tangible, helpful tips in this course, including a list of non-photography-specific items to pack in support of the primary photographer. His advice on second shooter etiquette is solid and includes lots of ideas and concepts that I hadn't thought of prior to watching this course. e) JD provides information about shooting angles and lenses to shoot from/with that help round out the main shooter's wedding portfolio for each client. Again - I learned concepts and ideas that I hadn't thought of prior to taking this course. I watched this course twice prior to my first second-shooting job and it paid off. I felt a lot more prepared, and comfortable, going into the job than I would have without the information presented by JD and Jasmine. I highly recommend this course to other newly emerging photographers who haven't photographed at a wedding before, and who are looking for solid advice for what to expect, how to prepare, how to photograph as a second shooter, and how to support the main photographer at weddings in general. Good stuff!!
Great course. Jasmine and JD did a great job of teaching this course. They were well prepared, entertaining to watch and provided a lot of useful information.