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Wedding Photography

Lesson 15 of 32

Audience Q&A with Jasmine

Jasmine Star

Wedding Photography

Jasmine Star

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Lesson Info

15. Audience Q&A with Jasmine


  Class Trailer
Now Playing
1 Introduction to Jasmine Star Duration:1:09:48
2 Social Media & Online Branding Duration:1:18:46
3 Audience Q&A Duration:15:18
4 Second Shooters Duration:39:00
5 Wedding Day Walkthrough Duration:45:57
  Class Trailer
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1 At the Wedding Venue, Q&A Duration:40:29
2 Shooting, Lighting & Posing Duration:22:22
3 Posing Q&A Duration:20:15
5 Shoot: Laura & Billy Outside Duration:34:05
6 Audience Q&A Duration:48:10
  Class Trailer
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1 Morning Bride Preparation Duration:26:02
4 Audience Q&A with Jasmine Duration:41:32
5 The Wedding Service Duration:36:14
6 Shooting the Details Duration:58:21
8 Toasts Duration:34:22
  Class Trailer
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Lesson Info

Audience Q&A with Jasmine

so a lot of people notice that you are dipping and swing while you were shooting people were talking about that a lot kind of bobbing your head and they wanted to know if that well well I don't know you watch yourself you well they want to know if that simply re composing or it's something else that you're doing but if you don't know you're doing it I didn't know that I was bobbing and weaving that's the funniest thing I've ever heard I don't even know they did that I do that you were saying what's up with the head it's I like to dance leave me alone I think if I shift to recompose its most probably like with my hands but it might be my head might be following it slightly I have no idea but now we will be aware of it and maybe I will have an answer for it later that's pretty good good answer so I hope that answers everyone's question so um simple julie in the chat room would like to know if you present images to the vendors yourself or do you go through the wedding stylist uh no I did ...

myself um another person had asked if all the wedding coordinator zara's greatest daniella or if this is she's miraculous it's both I think the interest both I think that daniel has risen to the occasion I think that she's take control kind of girl and given four week I think internet you sought with this room looked like yesterday and I don't know if anybody really anticipated the extreme transformation that happened she did it in four weeks and literally over one night so she is spectacular she deserves all the accolades and really her doing her job allows me to do mine so a lot of the corners they work with our wonderful um she's definitely up there okay lonnie from georgia I would like to know would you do abroad what would you do if the bride asked for two different locations for formals of wedding day wedding party and family um I would do it as long as the timeline was reflective of that if she had enough time to do two different locations and she was willing to work that in teo her wedding I would do it yeah okay um elizabeth would like to know if you sell images to family members friends and friends of the bride to further your revenue stream yes I'm actually the client I provide the client with an online gallery and so the client is then can use her discretion to to distribute that that link to her friends and her family and if people want to buy they can okay a lot of people were asking about your cards and what size they are and noticed that you were swapping them often that's a really good question it was something I had dressed earlier today when we weren't live on the internet but I did speak to the camera about it I shoot with four gigabyte cf cards sandisk cf cards and I know that some people prefer to shoot with eight gigs or sixteen gigs to each his own I'm kind of like a worrywart so I prefer using the four gigs which I know is ridiculous but I know that I get a around one hundred twenty five images per for gay card so I'm watching the rhythm and the flow of what ideo I just would hate if I ever lost anything our card got corrupted on a four gig it would be easier for me to say I would never want to but it'd be easier for me to swallow the loss of one hundred and twenty five images than the loss of two hundred and fifty or even in the surplus of five hundred so it's just two here on the side of caution but to each his own and I haven't had a card really act upon me in such a capacity but still I worry about that yeah everyone does okay barry and chat I notice that you shoot with both your eyes open and a lot of people were talking I do I just I just spoke to me and I was like nate you you she would both your eyes open that's weird and I guess I do it too I close my eyes I guess I go black and the other one I have no idea this's weird you're learning things about yourself I guess I am I am um and do you have any filters on your lenses I have uv filters there b and w filters from germany that I really really like but no I don't have like a polarizing filter anything like that they're just to protect dylan it's okay because people notice she didn't put lens caps on when you put him back in the bag yeah I know I don't ok and that's just because the filters air protected protecting the lenses you don't have to worry and I don't because I swap my lenses so fast I don't have time to take off the lens and put back in ones and they're really kept nice and sturdy and safe in thee shoots act so I'm okay with that okay and you turn off the the camera before you yes I turned off the camera do you ever use a ladder from dp and check now I know I should I mean I'm sure anybody especially when I'm looking eighteen shooting the guys I'll shoot on my tippy toes the couple like inches more but no no okay on dh stephen from olympia and twitter would like to know why you choose not to use a camera grip is that weight or some other factor um I don't know I just had never started with it and yeah I won't I don't want to add anything to my camera sometimes the camera grip it comes with the additional battery packed to go into the battery anything to go into camera anything that's going to make my camera heavier I'm not gonna want to use it okay and you morgan and chat would like to know if you normally have this much time to shoot details yes I educate my client I let him know and I've gotten to a point and before when I first started I didn't have the luxury of using this much time tissue details however um when I when clients do opt for a first look we do I'm able to talk to the coordinator and pad in about twenty minutes before the wedding ceremony to shoot the wedding details and the cocktail hour details given the situation that we're in we're in a really small area so it does seem like I have more time to do it because it's so tiny but last weekend's wedding for me the cocktail hour the ceremony and where the bride was getting ready we're so far apart from each other that I literally had like a five or seven minute walk to one location shot for five or seven minutes I walked another five or seven minutes to different locations to make sure that I was doing everything I'm lucky and it's advantageous that it's all in one location but for the most part you have to allocate time tow walk she would have you but yes I do get time to shoot details okay canan geek who is one of our regulars would like to know if you're going to do anything to capture the fact that it's in a chocolate factory are you thinking about that incorporating that into the wedding photos are you trying to avoid the fact that it's in it well what people might not realize um on the internet is that where we are yes a chocolate factory but the chopper factories kept on distinctly on one side of the building and what we ours a warehouse of sorts so I will document simply what I am given if they decide to incorporate details of the chocolate shop like for instance fan that I just photographed it says theo chocolate factory and so I will shoot that and if they have different chocolate elements within the day but I don't necessarily think that he was incorporated oh our levied as part of the overall theme for the day if they had you know I don't know talk like she tarts or teddy bears something I would photograph it but I don't really think it's played into away and shape the role of the wedding so no and there's not even anything to indicate that there is a big chocolate that that's here in this room but I'm actually trying to avoid it because it's an eyesore but there's nothing else that reveals that it's literally a chocolate factory so I'm not gonna go out of my way to shoot in such a way okay so sarah kelly in twitter notices that you like to take seven or eight shots of each pose and she is saying that she usually just those two or three and I was wondering why you do so many um I'm a worrywart and so I just want to make sure that you know they're in focus and their attack sharp yeah so I have a question as faras like the biggest stress for you today and throughout this whole process is I mean are you are you constantly stressing that you didn't capture you didn't capture you didn't capture it or are you pretty confident because you're constantly looking that you know what you're getting and you're comfortable with you know moving on obviously to the next shot well when I okay so when I know that I get a shot I don't stress after that fact but I will stress all the way up into the point that I'm like okay I have that shot and it's good because right now I have a third shooter because of the breakdown of the day I have a third shooter who's out there shooting candids of friends and family just hanging out wait did and earlier than I had anticipated so that gave us a little bit more latitude cd is out there hanging out getting candids as well and just affording me the luxury to come in here in like talk your ears off if this wasn't the case during this time j d and I would be shooting candids and details and constantly looking for the next shot so as faras as faras that stresses for capturing you know the mother and the bride yes you you you basically see that you have it and you don't you don't need to worry about it you know because for every single formal shot that you need to take yes I did know that I didn't know for myself that when the bride was getting ready even throughout the day I made a point to get candid shots of her and her mom especially her mom as she was helping laura prepare the minute I know that I have a solid shot of the mom helping the daughter prepare that that money shot the one that you think that she's gonna look back and remember forever I take it deep breath and they just mark it off my mental checklist I do not have to pursue pursue pursue the minute we moved into the formal family pictures the minute I had that very formal classic shot of laura and her mom looking at me I felt good then laura neuman looked at each other and then they kind of laughed and like hug even if it wasn't I mean I know that it probably wasn't composed perfectly I'll keep it real it wasn't supposed to leave but the emotion was there so the minute that he had the candidate the minute that had the formal and the minute that he had that like just kind of like nice huggy feeling when they're all looking beautiful I'm done I know that I have what I have anything beyond this point is gonna be brady good be a five more minutes so a couple more questions good core photography and ireland on twitter would like to know if you're using full length shots I'm sorry what are you taking full length shots all the time on no what when I'm sure when I'm shooting horizontally I make sure that I get a full length and then I walk in and I get waist up on when I'm shooting vertically sometimes I'm getting wasted like I don't know what specifics he was talking about as I'm shooting just the bride and one of her bridesmaids or the groom and one of his groomsmen I'm only getting from about the waist up for family pictures I tried teo immediate family pictures I tried to get one horizontal shot and one vertical shot the vertical shot does include the feet okay okay and one more question from teen asi in twitter what's your strategy on dealing with changing expose er's exposures you can't do a test shot every time and you work in a movie a mode and spot meter you don't use a spot no I don't need her at all so as far as changing exposures you're just using me tearing on the back of your camera I'm looking at the lcd screen so a lot of teams who are wondering what type of meeting I'm using um the camera came programmed in a valued of mode I haven't changed the mode that it has come in so my camera is still in evaluative but I'm only ever looking at the lcd screen on the back because if the skin tones look good to me then that's where I'm totally okay was that a question I think I'm getting no answer the question but as far as changing exposures go I am constantly changing any time that I take a step two steps in one direction if my light source of has manipulated I have to compensate for that most likely through shutter speed any time I flip my body entirely it's a whole different exposure I'm constantly changing one hundred percent of the time sometimes photographers will shy away from it because it's harder but you will only ever be in full control when you are one hundred percent knowing what you're doing with exposure your f stop and you're so okay I will try to shoot details as fastest possible talk about what I'm doing and hopefully I can get back here maybe around five what happens on the invitation the ceremony is slated for five but we know on the back end the ceremony most like we will not start until five thirty because as guests are coming in they have to sign what are they signing guestbook that too a good guess what model released model releases thank you guess they're sending model releases so we gave him an extra thirty minute so I will shoot details as guests are not here and then probably around five I will let the third shooter who's on their turn throughout the day and jd get candids of people walking in that's kind of like how we roll in a regular day and we'll just kind of move right into that can I ask you one more question are you having fun and I'm having fun are you happy with what's happened so far okay that's a different lesson I am happy I'm happy with what has happened so far I think that this project is so much bigger than I ever thought ends I couldn't sleep last night I was a nervous wreck I think what happened really what set the tone for me which was a really good thing in retrospect was that I was able to go and shoot laura yes it was a video camera that followed me and I was able to narrate how I should be shoes and how I should address but knowing that it wasn't on the internet really put me at ease because I think that this project has become so much bigger than I really thought and all of it is so extraordinarily overwhelming so I'm happy with how things are turning out yes am I excited to block this yes yes yes and the day is not even over so I hope that you guys are excited justus excited I am to school on the right and I will try to come back to the confessional as much as possible thank you guys for tuning in and I will see you guys hopefully in twenty five minutes so what's the easiest way for us to navigate the camera I'm gonna be starting I'm gonna be keeping that okay I'm gonna go starting I'm starting over there by the guest book so however have aziz is for you thank you thank you thank you you know one of the questions was just like one of the reasons is like our lawyer coordinators coordinators as amazing and oh and I'm just like you doing good looking okay so are we good to go so what what I see here is icy table numbers and I see names so I'm guessing before you shoot this I'm gonna have to talk to daniella to see if she wants to set them up a certain way I will get a safe shot now just to ensure that at least I have one shot but I'm pretty sure that she's gonna want to set them up um um nicer than this but I'll get a safe shot now then I'll talk to daniella to see what she'll want me to do with this later changed s o tio two fifteen I am shaded is a little dark but as you can see here is I have a light on the table cloth so I wanna make sure that my photo is not including this hot spot that I'm basically just getting the shaded area did you have todo way so once I get my settings right I will let you know where I'm at great so I am at two point eight two hundred four hundred cheddar speed if I wanted to I could pretty much stay at this setting as long as I wanted to as long as I stay in a shaded area the light source is the same go ahead okay go ahead oh you are good oh she entered my questions so I got okay so what happened now is I got this safe shot but then the wonderful katie's and come over and she's going to set things up the way that it's supposed to be so once that's done that I can come back and get the shot that I need to so I'll just move on to something else and because I'm assuming safely say that laura is a photographer she's always like old vintage cameras I will shoot that an individual details again I don't necessarily have to change my settings because the lighting hasn't changed too much so style it so that it looks good for my photo and then I'll be sure to move it back to how it wass so once they're done setting up those I will then take a step back and get these floating windowpanes so right now I'm just gonna focus on individual details of what's going on and then get the larger over overarching idea laura also has family pictures that I want to make sure that I get a photo of and and scrapbooks nice so nothing's in the scrap of quite yet I'm guessing this is going to be the guest signing book so I will just look at these but you'll notice there's a hot spot I'm going through all the pictures out of the hot spot oh johnny stood in the hot spot so I don't think you could stay there if you want that works better for photo because I want to change anything that's great okay it's a little bit darker over here I'll probably to compensate for that so I'm gonna move my soda to fifty and I may change my shutter speed great this is exactly where he wanted so what you'll notice uses a hot spot on this table I'm cropping the hot spot out so that the exposure for all the bottles would be the same ah ah wei was a little bit later it was a dark corner over here so I had to compensate for it so I changed my shutter speed teo to fifty six two fifty shutter speed two fifty I esso and aperture to pointing and shooting it and support me because I want things a little bit more I want things to be a little bit more in focus as opposed to having the distinct effect shooting at a one point to roger again I'm just moving items so that they are out of hot spots and then I'll go back and fix that later wait special something I like so people are standing in the light so it's changing the light so I just need thio position myself so that it's continuously under person with judy judy given back on you I can't get the fifty to focus what I think is happening is that it's um the lighting's choosing a lot and uh white paper is making it difficult to pick up the text texas very late I should add angle I can get it to focus a bit but when he should have been an angle you can actually read the names wait sorry don your pictures and that's what you have to say before jd comes back with the mech roland's I'm gonna see if I can get a shot of the overall windowpanes before a lot of guests are coming in hi how are you I call katie can I have you I'm so sorry I just need to get over all shot this real quick buddy I don't mean I need it in like two seconds just take a test to see what the light is reading it right now change my ice one twenty five you go right ahead I'm sorry wait no no I know I will be in everybody's way all day please still three I'm sorry excuse me so I could still pick up the light once smooth lest I'm sorry okay there we go I can't pick up the light of the shining lights in the background people on the background but it's just part of the day so now that I have the overview I'm okay I don't feel stressed about that so much anymore weigh on the flip side oh wait okay so now that I'm shooting with the now that I'm shooting with the macro life is good because it snaps on right where it needs to be my settings there going to be let him know you know right now okay so my settings are two twenty two hundred of a second two hundred fifty s o so now that I've among the macro just fighting onto the text getting a little bit of the diversity that day that I like and so what I'm doing is I'm shooting just the front row because the light is all exposing the front room if I showed the second or the back row I'm getting shadows of the cards in front of them which is kind of just makes the name cards not look as pretty so I feel good about that I'm gonna flip this back side I'm gonna get a shot of the windows waiting with the way I have it on and it's a nice lens and I don't usually shoot too many details with so they'll try it otherwise I would usually be shooting all these details with fifty think that's that so I know that this is a review of the thought process that I think of is I have a shot of the chairs I haven't overview of everything else that's going on I have a shot of the fan I have a shot of all the details on the welcoming people I'm shot of the windowpanes I will go around and be shooting this chandelier as I look around the room I realized that something that I need to do jd and the third shooter will be shooting candid shots of guests and other than that I think we're caught up I will not start on shooting any type of the reception details for daniela's requests because the room is set up in such manner so now I'll probably keep my macro lens on I will go through an individually shoot the chandelier and then after that I will trust that the third shooter and did he will be getting candid shots and I'll probably head back into the confessional toe asked to answer more questions for you shooting with garlands and why does I can shoot is a two point eight so right now I'm shooting at a two point eight five hundred esso and one twenty fifth of a second so sometimes I hold my breath as I shoot because it just helps me study what I'm doing so right now I would probably be holding my breath right there and I will move now all the way to the office inside of a room for the rest of the set of chandeliers are and likely be holding my breath as well in those corners though it's the center of the room and I'm not getting the lighting from the back windows or the front windows so I'll have my settings will likely be very different from what they are right now but I will talk to guys about that over there wait you guys to head over there ok guys good um one thing that I forgot to I didn't get a shot of just the bride's bouquet I have shots of laura holding her ok which is actually what I prefer but I also want to just get like a static flat picture of the bride's we came by itself in addition to the bride's a few of the bright uh bridesmaids bouquets so my settings actually didn't change as much as I anticipated I'm getting a lot of side light from all of the bay windows up in the front my settings are still the same two point eight one twentieth of a second five hundred so I'm taking individual shots of the chandelier because I do think that they were played a huge role in laura's day and so the user to the type of details that would go into a wedding album and these are also the type of details that would likely be featured on a wedding block or in a wedding magazine anything that makes the day truly unique or somebody's own that's what I'm gonna be photographing trying to change my s o back here for these chandeliers because it was very dark back in this corner I'll also likely start shooting the cake the cake is actually lit right now with natural light and pin line which is like my favorite when the room gets too dark it would be completely blacked out area so I'm gonna shoot the cake actually I should ask that in the l a before I should because I'm not sure if they're gonna add flowers or candles or anything to set up before I shoot that I should probably talk to daniele I will then get the bridesmaids bouquets and laura's case if it's not gonna be too much of one ideal way I needem bridesmaids bouquets and um loathe where they wait into the retail store because they have to enter into this store that is fine then I'll just wait and I'll just 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 that I had to get shot of the road okay yeah yeah is that what you want to take separate um individually but I can take him take him also if you want one of individual here how do you want him with you no I was gonna have the girls told them I was just gonna have been lined up can you take care on who's on third right now right now it's victoria because there's an hour break in she's just in a state that the to the break so she's taking care of candidates yeah I believe so you just heard and then once you're done with bridesmaids bouquets then you just do a swing of candids will think some family members yeah I mean I've been here for I've been taking some more but none of the rent now that they're getting here there's a lot more people getting in so I went one way and when I will go into the confessional okay I'm gonna go into the confessional ask a few more questions for asked jasmine and will probably be in there for like fifteen minutes before the ceremony starts usually before the ceremony starts I will change the lens is in my bag I will take up the macro lens I will then put in theseventy two hundred and then I come out find a position where I would like to be a really really really small area up in the front I don't know exactly where all the standing but as people are seated especially the elderly I will get individual shots of them before the ceremony starts way could start with one of your questions when we get this loaded up if you want I think we have about more or less I don't know twenty minutes ok yeah I could start with a question from the chat room from the womb can you go into a little bit of depth on what you look for when shooting the details when I'm shooting the details what I'm specifically looking for is light before I even assess how I'm gonna take the picture I'm looking for where my natural light source is then I will shift my body in relation to that so that I'm getting the type of light that I that I want and if I feel like it's a really dark area I'm going to see how I can navigate myself to see if I can compensate for the light elsewhere so how I should details first light first and then everything else will follow okay um from love cyber cat what is the most challenging part of the day for you during the wedding is at the actual wedding actually visit the wedding is the most difficult you know it for me I just feel like everything about the way everything of all the wedding is dressed well actually up after the first dance I feel like it's the first time the entire davida can actually take a deep breath and just take a step back up until that it is a high stress go go go every moment every memory every snap the camera really does matter at least in my opinion but that's just my personality sometimes I'm big stress ball but as long as everybody's working hard and we're doing we're supposed to do then I will probably remain dead set focused up until after the first dance at first and then it's like coast mode it's just a bunch of pictures so the second part of that question was what is the most fun what is the most fun what part of the wedding is the most fun for you getting into my car at the end of the night when I say good job baby thank you we're going home we're going to get in and out or something but yes that's when I knew my clients are happy than to me that's the most one let's see another question from twitter I'm not really sure how to pronounce the soldiers called them bun they're asking you don't shoot both families of the brother of the bride groom together are both sets of parents with the bridegroom I d'oh ting and I forgot that shot I usually d'oh I usually do I did send a list of all the pictures I wanted to take prior to the ceremony to laura and I wanted her to help set the tone sometimes I know that both laura and billy's family are actually very close they've lauren billy had been dating about nine years that's a shot that I will likely get after the ceremony so internet and twitter please remind me for that shot sometimes brides wanted and sometimes they don't it just depends but I usually like to get the bride and groom the groom's parents in the bride's parents so help a sister out and hook me up with reminding me after and what do you do when you get the list quotes actually I'm very very lucky my brides have now gotten to a point to where they trust me so if there is a list that comes to mind it is me sending the list letting them know this is what your family formal pictures will look like if you have anything to add or anything to take away please let me know I sent that list to laura about two weeks ago she approved the list and it was actually my bad that I didn't get her both both the parents they're so I'm waiting for that picture I shall get that picture and I haven't had a shot list in quite a while so that's good very good okay I have one more question and I know we covered this yesterday on I just want to ask it again this is from bees I view and twitter if you're shooting at an f one point two with groups and are couples where do you put your focal point always on the bride I don't shoot groups at a one point two I will shoot a couple at one point two two people I will shoot in one point two anything beyond what I will not shoot at one point to as I was shooting family formals narrated that I was shooting between and f around an f for four point five whenever I am that I do place the bride strategically in the middle the center focal point will go on the bride and that's it sorry there's a letdown question like built it up it was like but it ended there so someone asked actually it's uh green beat and twitter I notice you're shooting at a higher esso and lower shutter speed is there a benefit to the lower shutter speed in that light in this no just given what I just given what I was given sometimes it's just easier the five day march to has great capabilities so sometimes I'll push those capabilities if my mind just kind of reverts to that because yeah I usually don't try to shoot a higher esos but it's tricky is that sometimes when you see a video showing what's going on video can actually compensate for light that's in the room so if it's dark in the room the video video camera can actually compensate it is it's exposure but an actual real life it's darker in the room than what appears on the web so that's why I might be throwing people a little off but yeah so when you're shooting you don't have a list you have all this memorized every shot you need you know exactly just from memorization every shot you need because you've done it a hundred times yes why try to I can't say yes because I might get in the car tonight and be like darn it I forgot that shot but for the most part yes I know what I need to do and I know what coordinators wanted what vendors want what parents want and usually I hopefully know that the bride wants but that usually comes to practice and when you first started out did you have a list were you carrying a list you know I've just never been that kind of person to like bring out a list and make sure because I feel like I would be chained to the list of photos instead of letting my mind try to process the day and get the evan flow but I think it has become easier with time teo kind of just trust myself and my instincts and try to remember what am I doing where am I going am I getting everything I need would you say you've done a one hundred fifty weddings anyone you've done probably between one hundred one hundred twenty five hundred fifty gosh maybe your old was like no and then I'm like yeah probably dang so and where do you where do you see yourself in five years you see yourself being a wedding photographer you would ask me where I saw myself five years ago it wouldn't be shooting I would have never dreamt that I would be shooting weddings and nor would I ever believe that I'd be shooting a wedding that was being broadcast live on the internet in seattle so to ask where I will be in five years I have no idea the sky is the limit and I'm just gonna hold on to those wild ride maybe some underwater basket weaving maybe a way to bring it all back I actually like that all right and I know you've already asked you've already answered the question that you like to shoot natural light at weddings so in a darker obviously a darker venue are you bringing in the soft box in this particular venue I am kind of I will actually have the flash mounted on my camera for that just in case situation there's there's nice light coming in from the outside I'm going to try to leverage the mix of natural and ambient light as much as possible I will of course be pushing my ysl capabilities most likely I will be shooting with the seventy two hundred I s most of the time this menu is so so so small in addition in addition to it being so small way actually have the reception set up in the room so where the ceremony is and where the reception will be the reception is already set up the ceremony is right over here and he leaves a very very very little wiggle room so in order to achieve the texas top shots like do you want to get I will likely be using a long lens the on ly issue that I have with that is wide as I can shoot would be a two point eight I will keep my prime lenses on specifically the eighty five one point to if I could shoot photos at a one point teo that should be able to get me on enough ambient light to eliminate the picture but of course I will have the flash on for those in case situations in case the ceremony does go long and it gets really dark I'll pop him with flash if I have teo but of course that's not my first preference okay I have one more question for you when you're shooting two people ever come up and want to see the photos and you ever show them as you're shooting I usually don't show people the photos and say shoot I I will kind of make a joke of it all laugh and I'm like oh well see them online or all say like oh they don't look so good I work my work my magic later on on my computer I just don't really feel like showing people is this like my steel oh everybody but there's no right or wrong it's just something I don't do I don't know I just want you to know that I've been reading the chat stay and people are saying this is the most amazing class most amazing wedding you know knowledge that is being presented here and everyone's just thinks it's amazing and I'm really enjoying it and you know more power to they think you're incredible so thank you you know that like here's the internet I'm like stress like I wouldn't be this stressed otherwise in any of their wedding but at this moment I totally feel this level of like adrenaline which I think is good but at the same time it is completely completely overwhelming thank you so much for your support I really do appreciate it and if I make mistakes deal with me have my back send it send an emergency tweet so that everybody knows I'm scurrying up somewhere along the line but thank you so much for it there loving you thank you thank you thank you so what's going on right now is the same conversation so jimmy and I know the routine that we d'oh wei have a backpack full of gear but we leave the backpack hidden away from guests and we only revert back to the backpack whenever we need to switch out the lenses that are currently in our chutes axe I only carry in my shoots axe the lens that I need specifically for that particular moment in the day there is no sense for me to carry around a seventy two hundred or any other lens that I need if I'm willy will never use it I will never use a seventy two hundred as a bride is getting ready it's just not my style and it's very heavy right now judy's taking my bag jd is taking his bag we'll take out the macro lens he will put the seventy two hundred lens on my camera I will also carry the fifty one point two eighty five one point two and the twenty for one point four those are the lenses I will carry on me for the ceremony can you also put the flash on them he's also putting the flash on them just so we can be prepared for any changing light I'm hoping we don't have these flash again I've said it before but it's just not my style but I will use it and prepare and function the assumption that I will have to in case the ceremony goes late where I will be standing where judy will stand me standing will likely be decided once daniella lets us know how people will be coming in judy will get the shot of the bridesmaids and the bride going down the aisle before they're actually on aisle I get the photo of them actually on the aisle functioning on the assumption that I could get towards the back side of the aisle I don't know if that's gonna be a possibility today because the front row and the back brick wall are about seven feet apart from each other once you put a standing row of people it will likely be from the chair to the standing room of people three feet from the people to the wall it'll likely be three or four feet I don't know if I could get behind them if there's enough room for that someone have to compensate for that another different way and so I have to go out there and scope out where I can go and how I can shoot and just kind of rolled the punches as they as they come so one more question yes with every wedding is not rolling with the punches every wedding is so different every couple is different every lighting is so different jd has the bags I haven't amazing second shooter and he just kind of keeps me of flows

Class Description

What’s the best way to learn about wedding photography? Talk to a successful wedding photographer, of course. Even better? Go with her on a live wedding shoot! This extraordinary CreativeLive experience gives you a first-hand look at what it takes to shoot a wedding, from the morning bridal party prep to the actual wedding service to the reception toasts.

Celebrated photographer Jasmine Star begins by telling her personal story of how she built her business from the ground up. She covers everything from equipment to pricing to marketing. According to Jasmine, the key to a successful wedding photography business is to build a unique brand that highlights your personality, strengths and talents.

You’ll then accompany Jasmine and her team as she shoots the real-life wedding of Laura and Billy, who graciously allowed CreativeLive to share their experience with the world. Jasmine will demonstrate how she gets the most creative, most meaningful wedding photos that will be treasured by the happy couple for the rest of their lives.  

In this class, you’ll learn how to:

  • Build your wedding photography business from the beginning.

  • Market your business with websites, social media and blogging.

  • Create a unique brand and identify your target audience.

  • Rely less on fancy gear and more on your personality and talents.

  • Connect with your clients and build trust.

  • Use second shooters to help out on the big day.

  • Shoot a real wedding from start to finish.

  • Get the right lighting and pose your subjects.


a Creativelive Student

This is an amazing event to be involved in - and I feel as if I was involved all the way in Switzerland! Jasmine Star is so natural and genuine in front of the camera that she makes you feel as if you are her best friend. Seeing her shoot, watching the way that she uses the natural light and being walked through the problems you might encounter is invaluable. Even if you are not interested in photography or weddings, her business advice is spot on. Creative Live and Jasmine did an amazing job and I am so glad I bought the course. To be able to go back to a video and see how something was done, again and again is well worth the price. I'm also exciting to be contributing to new workshops for 2011 - can't wait to see what you guys come up with! It's true that some of the footage has yet to come through (would love to see the bridal prep stuff!) but it was so exciting to see the new footage of Laura and Billy outside, I think it will be worth the wait. Buy this course and be truly inspired! Emma Godfrey

a Creativelive Student

I watched this live back in August 2010 and since the first day it was on my list to buy. Finally bought it as part of the end of year pack in December 2010 and only just got around to watching the full five days. I'm not a wedding photographer, nor do I have plans to become one any time soon. I was interested in this course because of the business sessions on marketing, branding and so on. If you're interested in becoming a wedding photographer this is a must buy no question. If, like me, you're only interested in the business sections this is a valuable course, but there is a better option available from CreativeLIVE. The new 'Building your Wedding Photography Business' course by Jasmine consolidates all this business information from this course into a two day course. Another good addition to your to buy list should be Children's Portrait Photography with Tamara Lackey. This has by far the best business section of any of the CreativeLIVE courses. Combined these two courses and you will be set up and profitable in no time. Back to this wedding course. As others have said there are audio issues here and there but they are at worst annoying and don't really effect the overall experience. I think you can see from the course content if you are an aspiring wedding photographer this is the course for you. Five days of content from an award winning wedding photographer. As I'm not a wedding photographer I can't really add much more. I just wanted to say it's a great course. Fun to watch. Invaluable information. I really appreciate CreativeLIVE being here to offer these courses. Thanks guys!

a Creativelive Student

Jasmine is an amazing educator, who really gave it her all in this stellar course! Love how detailed her instructions were - down to such nuances as the bride's shoulder position! Big thanks to Jasmine and creativeLIVE for bringing this wealth of information to the community. Totally worth the buy! I can appreciate how grassroots and "live taping" the filming approach is, but I think I wouldn't mind giving most of that flavor up in favor of a more edited version :) You know - cut out the bits where the camera is just recording black and the pieces missing audio. And where is this missing footage promised from the guy you can see taping Jasmine from across the street?? Anyway, amazing course, and hopefully you guys can figure out the video/audio/mic stuff so that it doesn't get in the way of absorbing all this amazing content.