Review of Laura and Billy's CreativeLive Wedding


Editorial Wedding Photography


Lesson Info

Review of Laura and Billy's CreativeLive Wedding

Laura and billy plan to their wedding for creative life. They weren't they were engaged, but they were planning a long engagement and then creative life came around and they submitted their names to be part of a contest, and part of the contest was to plan their wedding in four weeks. They're gonna have a lot of things provided for them, and it turned out to be one of the craziest things all so many of us have done, and for those people who were with the creative team, then I think that everybody was pushed far beyond what ever anybody ever thought was their personal like best everybody shown because we understood it wasn't a styled shoot. This wasn't a model. These were real people with their families who float for in from out of town with one hundred twenty five guests in a really room, and you're just like this's the day that is so real for this girl, we can't mess it up so that amount of stress going into it and the conversations that I was having with craig in advance, he would th...

row out an idea and sometimes there's this resistance. Craig this is a real girl who's having a really wedding girls dream of this day we need to like fight for the integrity of it and I'm so excited to say that we did but the level of stress that all of us are under on that day was so intense but I just cannot but feel knowing what I needed to get in advance really helped so we thought about myself I thought about laura first thought about myself as a photographer then I had to think of myself as an educator teaching everybody online and to be quite honest I was trying to think of the invisible editor but it was so far down on that list but either way I was still in the back of my mind and for those of you who are watching during that time thank you I'm just it was such a good it was such a good event um I'm going to show a few wedding a few pictures from the wedding day and kind of walk through the process for this is all with intention so because I had seen feel they got married at a chocolate battery called theo in seattle I had seen what the environment looked like it was exposed ceiling it was brick walls I knew that the colors were very subdued, so as I was shooting the details I stayed away from anything that was too modern or too bright because I had to understand that as I was telling the story, it needed to make sense from beginning middle end. And also, laura is a photographer. She would understand what was going on. So just in case I wasn't stressed out enough, I knew I had another professional judging my work. Okay, so as I went through, I mean, I was getting her details. I was trying to place them against things that were just like theo. Subdued strong colors, nothing too bright, nothing too modern. And, yes, I photographed the bright and modern things within the room. I did, but I did not showcase them as I curated them. Just that we're on the same page. I photographed laura's wedding details in a way so feel was beautiful and feel was cool, but it was so the non traditional wedding than you that they needed to protect the sanctity of her decision. So what happened was we traded. We started choosing these wedding locations in advance far before we had a bride and groom. So we finally whittled down the list to what we had based on internet connection based on space. They saw all these other things so the bride had to agree to where she was getting married regardless. Whether or not that was the place that laura actually wanted to get married I knew this in the back of my mind so I had to photograph the details one that would reflect outside of the environment that we were in and too in a way that I had seen them done in the magazine that I had to look through two or three years before again what did I talk to you about seating cards obsessed with this eating cards the medicals air put out I immediately shot them and of course there were cameras small vintage cantor elements to reflect laura's personality I want to use this particular photo to showcase what j t is doing in the wings yesterday we in the wings of the photograph outside of my perspective yesterday when summer with here she said she doesn't mind ah big family photograph where people are simply standing in line and capturing those candid moments I do less of the candid capturing and more of the directing grandma you look great let me take your purse uncle john let me have your beer all of that stuff I'm getting them and jd is capturing images from the side so while the girls are coming in for the shot we janey will usually call the bride or also laura can you look over to j d and she'll look over jd this particular photo is usually taken because it appeals from my experience to editors because it's slightly looks candid yet staged, yet still has an appeal that works editorially, and it includes the okays I always try to include three versions, as I should to becae bouquets in the hands of the people who are holding them to book a stylized and the bouquets in which they come in the box. If they are, if the florist is taking time to put them in, like mason jars or something, if they're stylized by the florist, I shoot them how they come from blurs, they're coming and just like a cardboard box, I'm not shooting that. But if the forces taking the time to stylized her delivery on photographing that for forest so the bride now has three options of ruby k now I know the florist has an option bouquet, and now I know that the editor has an option for the case all the same page cool. This is the second photograph of the bouquet that we had photographed on that day, and I want just to take particular notice of this particular photo because we're talking about in a minute. And of course, this was the moment that I think everybody was really happy as billy and laura walked in the aisle were like, oh, sweet things, she says. Okay, if we have unveiled at this moment, we're going to be a ok for the rest of the night, and I think all of us were really happy for it again as we photographed the details. Remember, I talked about table numbers, the's air, personalized table numbers. Now I knew about the paper goods because laura was working with a friend for paper goods. I'm sorry I did it didn't look like I had, like the voices in my head was the less saying something to me, swash, swash or swath? Yes, god, yes, what swash cost? You have a memory? Good lord have mercy yet celeste is yelling at me off camera with her impeccable memory. It wass watch press! And so I knew that laura did have the ability to have a say in some of the elements as she was working with daniella. So I had to make sure that it really reflected what was going on that day. So I'm shooting for lawyer in june for the editor, and I'm also shooting for myself. One last photo and this particular photo was taken because as we lead up now, I'm not going to fake the funk there were very stressful moments during this. During that course that happened off camera and jane and I wanted to connect with laura and billy before the wedding because it happened so fast I wasn't I did have the opportunity to shoot their engagement session I didn't really know them so I wanted to have dinner with them before and as we had dinner laura had expressed that there was a mix up with the chairs and she cried about the chairs and billy came in and said we need those shares creative lives of christians he said we will get you the chairs but the stress that it took florida get those darn chairs so I had to make sure that I got a photo of those shares so I shot the heck out of those chairs just for laura so if you know those details or if you know that the bride had spent some time shoot them because that's the thing that she's probably going to remember so what I'm going to show next is a video from the creative life course no I have I still have yet to see any of the classes on a teacher because I just can't watch myself into painting myself so I'm just going to put it out and just pretend it doesn't exist except for the fact that I happened to remember this particular moment on the day when I asked j d for a photo and this is what we gonna show I need a ride to tease and loathe because they have to enter into the store and find that I'll just wait and all this make sure jenny did you get a lot of the shots as the girls were standing on the side okay and you just I just wanna make sure they had get shot on the roll ok yeah yeah is that going to twenty separate um individually look I can go take some it takes also if you want one of individually or how do you want him with you no I wasn't have the girls told them I was just gonna have been lined up to take care of so the reason why I asked him to get that shot was because as we were shooting the bridesmaids I had realized that we had gotten photos in particular ways but not in the way that I remember I talked about the three ways we've got to them over the bridesmaid holding the bouquets we've got to them stylized by daniella but we didn't get them alone I could have just gone through the day and said ok that's fine but I made it a point to talk to davy about that photo because I felt like I needed the photo to appeal to an editor so I was so extraordinary excited to see that laura and billy's wedding got featured in seattle met writing room in the fall summer edition of two thousand eleven it was an actually like, full circle moment because it wasn't something that we were expecting, and yet it was the icing on the cake for a couple who absolutely deserve the best, because when a wedding gets featured, it's as if your wedding was highlighted amongst the best because there are so few print publications and then there's so few weddings that get into the print publications that I feel like laura had a moment of yes, her wedding was everything that she deserved, and she didn't sacrifice what she wanted for a wedding day that didn't feel like it was worthy of it being in a print publication. So, um, this is what the feature looked like, so a lot of photographers get really stressed if they're not getting every photo that they think. But what we have to understand is that we talked to summer yesterday and of perfect wedding perfect over the top gets their own forty pictures, an average wedding we could safely say gets thirty to thirty five photos on a feature in a print feature, maybe maybe that numbers twenty, so we're getting a wedding from a thousand images and bringing it down to maybe two percent of what is shot so don't feel daunted, making sure you keep that into perspective, and lastly, I wanted to show this particular photo because in the upper right and corner is the photo that we had asked janey to take and it made me feel so darn good to say that the extra steps that we take as photographers payoff in the end and to encourage other photographers to take the moment that you need to justify the means in what you say I need thirty seconds and don't be afraid tohave your second shooter do it and I was so I didn't know how jamie is gonna stylized him and so he just laid them out against the break and I was like go baby go so I was really I was really happy about that and it was just what a proud moment we're really excited and that was it this is how we're gonna end this particular section we have a break and about five minutes but if you guys have any questions now about that brief little section that we covered so that was just to basically show how the thinking process works if I don't have a photo this is what I need to get based on the based on the homework that I have done but what editors want guys yes ashleigh for so much but it's really appreciated what you're saying do not be afraid to ask for the extra time that's something we're just in that clip like there's times we've been like I forgot to get putin here on his jacket but I'm just like so stressed out and so afraid to go back and say hey I need you for thirty seconds to go stated here that the moment passes and I don't get that so it's it's encouraging here you just need to be like I need you three seconds like I need to you do this for me and they probably well so it comes and as I have to tell you I don't want ever anybody on the internet thing is like I've always been like that it's come to trial and air it's come through looking back and regretting darn it what's thirty seconds in order to fulfill what maybe a client wants as well as an editor as well as a florist so thank you so we have a question doesn't from hannah sons how does it work when you know hannah do you canna submitted a video I met hannah in los angeles during the effects and she's a wonderful wonderful president so I like her high hannah okay I like the kona community it just gets really really really small so fantastic how does it work when you submit your work the work your second photographer has shot do they get credit from my experience no it's what in janey's in the back like ok I'm just going to be really for a second yeah I do janey shoots primarily what's what gets rated it's just the nature of what we do he's capturing what appeals? The most two editors as faras details go I know he's always and here's the thing he does here ever like really want doesn't even really want like it doesn't really want the credit which is great no that's far as deep as faras details go either very image driven from my perspective unless I'm telling him what to do which went back to the flour photo that I asked him to get and he's usually shooting all of the guys photos if the guy's putin years come in style as perhaps in a wooden tray over moss he's photographing that in the wooden tray over moss is also photographing that in them on the lapel of the suit and photographing them as the groomsmen are lined up he knows it as um lining I lined up the guys first because it gives him a moment to do something then I moved to the girls so I put the bride and groom and they say oh gentleman can you all line up here wonderful wonderful it lay them in a line and jd knows to swoop in and come in and get an angled shot of all the boots in years that's not necessarily for the bride because I've never seen it in a wedding album it's for the florist but the bride also has a photo should she want to document the money that she invested on her flowers then I had once I have the group together, I back up jamie gets the side and shoots the girls flowers, so we have kind of like a routine, and most of the details that he's shooting are the candidates editors really like those in between moments and details that I can't possibly get as I'm directing the large group shots. So when it comes to second shooters, there are very different ways that I think it works. If you have a contract id, um, a second shooter, and you have paid them and you have you said that the images will could be using publication and they agree to those terms, then you then become the owner of those images as the owner of your business, but making sure that the second shooter knows those terms, and it never hurts to ask, you know, if your print if you're going for a print publication and it depends also on the photographer like, you know, if there's a if I think that I'm going to burn bridges with another photographer or used if I here's the thing twenty images in a print publication and I'm submitting, you know, one hundred fifty images for that odds are, if I included an image from a second shooter, it's probably not going to get chosen, so to put a spread together and have nineteen images as mine. And have one detail image that belongs to somebody else and then to give them for talking equal photography credit is a little is a little off if for instance I was at a wedding and I couldn't get any of the detail photos and I was stuck somewhere and I'm like, oh my gosh and this person came in and did it everything and none of those photos are mine I would definitely just for the sake of what it is like this photographer came in and we shot it together I think it's it's a it's a question that needs to be answered on the base by base situation but to clarify the terms in advance will always make things easier all right? This other question came up yesterday as well so I'm going to throw it out there when you started out submitting photos how did you come about getting paid for them and that's from six in st john canada basically the question also was from yesterday that do you see when you submit weddings to blog's do you get paid for that or do you know the compensation comes in platform exposure and if people don't don't like that I think that they should probably get more into commercial photography where you're paid for the images that you are sharing I think in our industry it's become floor gloriously hodgepodge you know it's like these are the terms if you don't like the terms and agreements, don't engage in it. But no, you will probably never get paid for anything in print or anything online.

Class Description

This three-day event will be packed with how-to and tips for wedding photographers who are ready to shake up their business. In addition to lighting, posing, and technique, Jasmine will photograph a bride and groom, and a gorgeous wedding set up that'll facilitate a live demonstration how to photograph wedding details, elements, and moments with an editorial flair. The course will also address how Jasmine successfully submits her work for national publication and include discussions with editors on how photographers can approach a wedding day to maximize their publication opportunities. If you like taking risks, untraditional posing, and finding dynamic light in any situation, this course is for you. Be prepared for a smashing good time as Jasmine dissects her photography, online marketing, and teaches you how to create a fabulous experience before the first click of the shutter.