All language subtitles for cL-1505-STARBOOTCAMP-D10-Post-Engagement-Workflow-HD

So, in previous lessons, we talked about how

I prepare my clients for a successful engagement

shoot, how then I shoot their engagement session,

and now where we are in the spectrum

is the workflow and marketing from that shoot.

What you saw was a beginning, middle, and

now you're going to see the end.

Now you're going to see how I leverage

every opportunity to make sure that my clients

feel like a number one priority, to make

sure that the experience has been personalized, and

to make sure that they feel that they

are absolutely, positively number one in my queue.

Whether or not they are or not does

not matter.

If they feel like they're my number one,

then that's beneficial.

Now, I talk, this section, this lesson is

entitled Workflow and Marketing.

Now there was another section where we get

in detail about marketing, but I want to

talk about how I use every opportunity within

my business to market, even if it's just

a tiny bit.

So we're going to get to that.

We'll sprinkle that in at the end, but

the bulk of this presentation will be about

workflow.

So, because I'm going to be in different

aspects showing things, I'm going to be showing

you in a viewing gallery, then I'll be

showing you in an iview catalog, and then

I'll be online.

I'm going to be doing a lot of

different things, so I want you to, I

want to cast the vision so that you

can kind of see where we are in

the step of things.

So first of my workflow, which might seem

odd to you, but is expressing appreciation.

Far before I start editing, far before I

start calling, I need to express appreciation to

my clients.

I'm going to talk about how I do

that.

Secondly, I'm going to talk about how I

cull the session, how I choose my keepers

and not keepers.

I'm going to talk to you about how

I make quick decisions, and part of the

reason why I make quick decisions is because

this is the first encounter, outside of actually

meeting my clients, and I may or may

not have met my clients.

I might have booked them entirely online.

So their engagement session is our very first

interaction.

So I make quick decisions because I'm not

so concerned with giving them four different angles

from four different things.

I'm trying to say, these are the best

photos from your engagement session, and I only

want our very first experience for you to

walk away and feel like, wow, we did

such a great job.

And me as a photographer, I want to

say, these photos really distinctively feel like my

brand.

First encounter, first experience, I'm going to be

very judicious in the photos that I choose.

Then I'm going to get into the editing

process and what that looks like for me.

And when I say editing, I mean it

loosely because I have taken control on the

front end, and then I've abdicated responsibility by

outsourcing the large bulk of it.

I'm going to talk about why and what

I do.

Then I'm going to talk about marketing, and

you're going to see the pattern.

I have spoken to you about the marketing

pattern.

Now you're going to see the marketing pattern

come to life.

And I do that by way of a

blog post, by way of social media, and

all of these things, every step of the

way, is preparing my clients for a little

bit more, for a little bit more.

Because once they see the blog post, and

once they see it on Instagram and Facebook

and Twitter, well then what am I going

to be following up with?

They think, I'm so excited to see the

gallery, but wait, there's more.

I send them a slideshow.

Then I send them a slideshow, and we're

going to talk about what that slideshow means

and what the slideshow does for my business.

Then we're going to get into releasing the

gallery, because that, in my mind, is part

of the experience.

How the clients receive their images, download their

images, and things of that nature.

And then I'm going to be following up

with the client.

Once I've released it, once they have printing

instructions, once the creative team has the ability

to share those images, I'm going to follow

up with the client, and I'm going to

ask what their favorite photo is.

Why?

Because I want to send them a gift.

I want to talk about what that is.

So now you see the big overarching idea.

We're going to splice this up into different

sections, so bear with me as we flip

between things.

So, first things first, expressing appreciation.

I want brand association.

So a brand isn't a logo, and a

brand isn't a website, and a brand isn't

your Facebook page.

Your brand is a set of expectations or

experiences that enable a client to choose your

service over another based on preconceived notions of

what that experience will be.

That is kind of like a loose quote

from Seth Godin.

Now, because a brand is an experience, it's

not something you could buy, you must make

your clients feel something.

Because when they feel something, they have an

experience with you that they want to tell

other people about.

So my brand association is one of the

things I want my clients to feel is

appreciated, is taken care of.

Is being, loosely, for lack of better words,

loved.

I want them to feel loved on.

So I do this, the next day after

the engagement session, I send them an email,

two, three sentences, just to reaffirm their decision

to shoot at the location they shot.

To reaffirm her decision to get hair and

makeup done because she looks so beautiful.

To reaffirm their love and tell them how

appreciative I am that they hired me.

Of all the photographers they could have chosen,

I was the lucky one.

And I use a template email to say

thank you.

Because if I'm writing the same email over

and over and over again, and I want

to make this into a quick and efficient

workflow, then I simply copy and paste and

then I add a couple of judges.

A couple of judges about location, a couple

of judges about her outfits, but I'm not

sitting at my computer being like, okay, here

we go again.

It's the basis there, then I add a

few personalizing details.

Then another way that I want to express

my appreciation is secondly, through a sneak peek.

Now I tell my clients at the engagement

session that they're going to see a sneak

peek of their images about a week after

the session.

But because I want to surprise them by

expressing appreciation, I'm going to send them a

sneak peek the day after their session.

How does that make them feel?

Taken care of, excited, loved, already they're feeling

like we must have had an amazing shoot

because she shared a photo the next day.

Thirdly, I write a handwritten thank you note.

Early in my career, even though I couldn't

afford it, there was a lady at our

church who I don't know if it's as

popular anymore, but it's something called Creative Memories

where they would make these photo books and

they would put like stamps and foil and

flowers and I wasn't into that so much,

but I said, can you use like your

talents and make me a few cards with

like my logo and a ribbon and I

would put it in an envelope.

And so I wasn't just buying like an

off the shelf thank you card, although that's

totally good if you feel like that reflects

your brand, but the idea of having a

personalized thank you note, and I have since

invested in getting stationery that is entirely my

own, but after every session, I write a

thank you note and I say, no, because

the template email, it's kind of like a,

I personalize very little because it makes it

easy.

Then I take time to say, I love

where we're going.

If this is what's happening in June for

your engagement session, cannot wait for September.

We are so excited, just wanted to drop

a note and brighten your day.

I cannot tell you how that changes things.

Some girls will take a picture of the

note and then they update their social media,

like my wedding photographer sent me a note

and I'm thinking, what?

That's amazing.

But what are you doing to kind of

create that experience?

What are you doing to express your appreciation

on an ancillary note that this wasn't in

my notes is that most of my clients,

because I know my target clientele, most of

my clients are paying for the wedding themselves.

This is the target I, uh, I, I

attract.

This is who I hone in.

Now, every so often I get a client

whose parent will pay for the wedding.

Now, if I receive the contract from the

clients, bride and groom, they sign their contract,

they send it to me and she tells

me the check is coming from a different

address.

I look at the address and I realize,

Oh, based on the last name, it must

be from, let's say her father or her

mother.

Once I get that check, I confirm with

the client.

I say, I received it.

Thank you so much.

We're in store.

I'm going to lock it up.

I'll invoice you.

And then I bring out my stationery and

they say, dear Mr. Chapman, I received your

note.

Thank you so much.

I look forward to thanking you in person

in August.

Until then, please feel free to contact me

with anything.

What can we do to express appreciation for

our clients, but also express appreciation for the

bank that's paying you, you know, takes five

minutes and it really changes the dynamic.

Now we're going to be moving into calling

the session.

So once the thank yous are done and

I've expressed appreciation, we have shot the entire

engagement session and you saw the way that

that transpired for us in Los Angeles.

Now, what you're going to look at is

a portion of the engagement session for the

not dream engagement.

Now you're going to see my approach.

You're going to quickly see how I move

through my selections and you're going to see

what I'm looking for when it comes to

keepers.

Now I have a tendency to speak fast,

move fast, shoot fast.

If I'm moving too fast and you guys

aren't really understanding the linear ideas of going

my head, please stop me.

Um, I want to, before I get into

that, I know that somebody would ask about

our backup systems.

So when I go home, I get the

raw images and I drag them onto my

computer.

Once I have the raw images on my

computer, I plug in a hard drive and

I copy all of those raw images.

Then now that the hard drive is backed

up with all of the images from the

shoot, I will only work with the raw

images on my desktop.

Okay.

Once I go through and I call the

raw images on the desktop, anything that I

do not keep automatically into the wastebasket.

I'm only keeping on my computer the images

that I'm keeping for the client.

Okay.

So the way that the backup system works,

and I'm going to get to the logistics

in a second, but I have the raw

image keepers on my computer.

I have all of the raw images on

the hard drive that I will only keep

for about six to eight months after the

session.

If my clients aren't asking for a raw

image six to eight months after the session

or after the wedding, then I feel abdicated.

Now in my contract, it says that I

am not responsible to give them the high

res.

They are commissioning me for the raw images.

They are commissioning me for the high res

JPEG images, which is what I will deliver

to them.

But I keep the raw images just to

be certain.

But in almost 10 years of doing this,

I've had clients ask for raw images once.

And then when I asked, what do you

need the raw images for?

Because that's not what we contracted for.

She had said she really wanted to do

a very, very, very large print on her

wall, to which I was flattered.

And then I said, I will be in

control of ordering that for you.

I will not make a profit on it

because she was worried that I was going

to try to mark it up.

I said, I want you to have your

photo, but I don't feel comfortable handing over

the raw image.

Let me handle it for you, and I

will invoice you for the exact cost.

It was a win-win for us both,

and I didn't have to turn over my

raw images.

So the backup then looks like raw images

on my computer of keepers, the raw images

on the hard drive, and then I upload

the raw images to my post processor.

So now, in theory, I have three backups

of the raw images before they've been made

it to JPEG.

Cool?

Now we're going to move on to what

I'm going to show you is a gallery

of my raw images from a portion of

the raw images of the shoot.

So what you guys see right now is

a catalog of my images.

I use iView Media Pro.

You might not have heard of it because

it is really old, and it does one

thing only.

It creates a catalog.

So some people ask why I don't call

my images in Lightroom, because I just feel

like with Lightroom, I'm an easily distractible person.

I want to do all these things all

at once.

So if I am in iView, the only

thing I could do is choose my keepers

and create a catalog based on what that

is.

So what you're seeing now is a portion

of the shoot.

We started the shoot roughly about here.

OK, so I'm going to show you this

particular section and how we moved through it.

One of the very first frames we fired

off camera is one of the frames that

I really liked.

Like, I was like, oh, great.

Every so often it happens, and I'm like,

before this course, I was like, makes me

look good.

Like, everything fires.

Boom, boom.

No, not at all.

You're going to see as we kind of

go through this.

So I was talking to them behind the

camera, which is what you saw in the

footage.

They turned to me.

They were just nice and relaxed.

Now, this photo is not good.

Like, it just doesn't do anything.

Her face is coming up like this, which

is why I'm not going to keep it.

Same for this photo.

Here, her eyes are blinking.

Here, his mouth looks a little dead.

Here, she's looking nice, but his eyes are

closed.

Here, we have picked it up, but now

her eyes are closed.

And that eye closing is not really indicative

of my brand.

So I have to understand that if their

eyes are closed, I need to sell the

heck out of the closed eyes.

Because whenever I look at a photo and

there's two people like this or two people

like this, I just wonder, were they really

like that?

Do people really do that on a wedding

day?

So as a lifestyle photographer, that is my

decision to say, if that's true, I'll sell

it.

If it's not, I'm not going to get

it.

So here, same pose, but do you notice

how the minute she closed her eyes, she

opened her eyes from them being closed, her

chin was raised, and then you'll see the

curvature of her back.

It seemed to have lessened.

So instead of this photo with her eyes

closed, which might work for your brand, her

with her eyes open, smiled, and relaxed works

for mine.

Now, here's one, two, three.

I need one.

I don't need to give her multiples of

the same thing.

So I went through, I chose which one

I felt was the strongest, which was the

first one.

Now, here you'll see that I changed my

settings a little bit.

So the exposure wasn't exactly what I wanted

it to be.

But their skin tones still look nice.

So I saved that one.

But I chopped off a bit of their

feet.

And even though I, because of their height

difference, I'm OK chopping off, cropping out at

certain appendages.

So wrists, elbows, ankles are OK.

But ankles are one for me that kind

of irk me.

If I'm showing your ankles, I should have

gone all the way down to the toes.

It's a personal thing for me.

But due to their height difference and me

starting the shoot trying to figure out what

their dynamic was, I still kept it.

Because I feel like potentially, if cropped in,

they can make it into a very nice

portrait.

So that was the reason behind it.

Now, here in this particular portion of the

shoot, I had them walking towards me.

And I don't use a lens hood.

So I had my hand.

What you see in this frame is what

it looks like without a lens hood and

without my hand blocking the sun.

This is what it looks like with my

hand up blocking the sun.

So I knew that that's OK.

And now I'm going to start picking.

But here, her chin was still too high

up.

I didn't like the way that it looked.

Here, her chin gets better.

But it was jutted out.

She had smiled and then went like this.

So the one that I ended up keeping

was not this one, because they look mid

-conversation, was not this one, because she looks

as if she's turning her head.

Not this one, because her eyes are down.

But now her eyes are down.

Her hand is up.

And her leg, instead of her legs walking

out like this, we have one leg crossing

in front of the other.

That was the small little tweak that ended

up me making the decision.

So not this one on the left, because

there's too much haze.

Not this one on the right, because her

hair flip is going too strong.

This one, they're looking great at each other.

Both her legs are walking in a way

that look complementary.

Not that one, because of the haze.

And then I just kind of felt like

I lost.

I had just about three feet to shoot

them.

I knew that if I got one photo,

I would be stoked.

The fact that I got two, I'm OK

with.

Not keeping that one.

Definitely not keeping that one.

These ones just look a little too fake.

And the tonality of them went to a

very distinct blue-green.

And what I'm thinking, because I'm going to

outsource my edits, I need to start making

sure that the color continuity tells the same

story.

We're going to get to that in a

second.

So those ones did not make the edit.

Now, this one just looked way too like

Olin Mills' portrait-y portrait.

And it wasn't even exposed well.

So it did not make the edit.

Now I got to a place where I

was shooting this one at 800th of a

second.

And I'm pretty sure we dropped down to

500th of a second here.

Now, small modifications.

And I like this pose, but she kind

of has a little too much of a

scrunch in her nose.

And as we moved, she started laughing.

But then her mouth came up.

And that's never a good angle.

Then she started talking to me.

Then the too much haze came through.

Then they were looking off in the distance,

which would work if they weren't really looking

at bushes.

That was my mistake, right?

It's like, look off fondly into this barren

wasteland, you know?

They did a great job.

And they looked really good at it.

But I'm going to be very judicious in

the amount of photos that I would choose.

Now, if they were overlooking a cliff, that

might be a different story, right?

So in light of this, this photo looks

good.

But I'm not going to keep it.

I'm going to be very choosy with what

I want.

Now, if you'll notice, I had my hand

up over the frame.

And a slight shift of my body let

too much light come in.

So I had a little bit of haze.

I had a little bit of haze.

We came back to it.

I got the pose that I wanted.

So I'm selecting that one.

Now, what you'll see between my selects and

no selects is, see this area down here?

This is green.

I can change this to any color I

want.

So I do this through the numbers panel.

Two is green.

Green.

Three is blue.

Four is brown.

Five is pink.

And so forth.

So if I was kind of like on

the fence, like, oh, should I?

Should I not?

I might market a different color so that

when I go back and review in light

of the entirety of the gallery, then I

can make those decisions.

But I'm kind of just like, I use

green.

Green seems like growing and positive.

So two.

I choose my keepers.

I don't choose my throwaways.

It does something for your artistic ego as

well.

So I chose this one.

And I let a little too much haze

fall through this one.

A little too much haze fall through this

one.

Now, this one worked.

And I decided to select it.

But one of the things I wanted to

caution was from this.

As Taylor came in down to Samantha.

So this one, she's just kind of like

laughing down at her hands, which I don't

think is selling.

Here, she's too calm.

And because he's so tall, his hands came

right under her bust line, which is kind

of something that I just didn't find as

appealing.

So in order for Taylor to come down

without bending at his hips, I had him

come to the side and kind of cuddle

her.

That was the cue.

This is what resulted.

He came down to her.

But what resulted was this photo.

Her bringing her arm up, him coming down

into her.

And while it's cute, I don't think it's

the most complimentary of her.

I kept it because it is truly their

real cuddle.

But now I kept one for her.

Now I'm going to go through and select

one for me.

So we kept that one.

So because I have that one dialed in,

and because it's not a favorite, OK, I'm

passing on.

I'm going to pass on.

Now I said, peel away from each other.

This is the cue.

Peel away from each other.

And that's what you see here in 2

-1-1.

And then I say, can you come in,

but Samantha, don't bring up your left shoulder.

And this is what resulted.

Him coming down to her in 2-13.

So I kept that one.

And I kind of got what I wanted.

And then I kept 2-17 because her

hand, instead of right here, was right about

there.

So I'm going to give her three options

of the same pose.

One, a truly cuddle cuddle that reflects them.

And then two poses that I like.

One, it's like a half time.

And then one where it's a little full

time.

So I probably shot some in the ballpark

of 12 to 15 frames.

Maybe they'll keep three.

Now we're going to cruise on.

Once I had set up the light, and

once I knew.

Now, if you recall back to the footage

that we had seen, it was really, really,

really bright.

I had no open shade.

We found about two and a half feet

of open shade.

And I was like, this is where we're

going to stay.

This is so lovely.

This is me trying not to panic, right?

So I said, this is our light.

And I know that they're backlit.

And so I'm going to try to give

them an action.

So I'm prepping them for the action in

this photo.

And so you're going to see that a

lot of the times, after the cues that

I had given her, her back was to

the camera.

So anytime her back is to the camera,

unless Taylor was doing something really, really, really

great, I was not going to keep.

So this is a no.

This is a no.

This is a no.

That's a possibility.

But do you see what's going on with

her ankle?

It looks like she's about to break it.

Not going to make the cut.

Now, there we go.

Now we have her right leg behind her.

And I intentionally had her walk into the

sun so that we can get that nice,

beautiful room light.

And then what was in front of me

and behind me was a natural reflector.

We talked distinctively about natural reflectors.

We talked distinctively about creating a shooting with

intention.

And this is, you see itself manifesting itself.

So I kept this one.

I did not keep this one because the

arc in her back is too strong.

And it pushes her pelvis too far up,

which is not complimentary.

Back of her head.

This one's OK, but she's kind of stomping.

Her right foot has a stomp going on.

I'm not going to keep it.

Then I kept this one because she had

turned at her hips.

Look at how it accentuates her waist.

Kept it.

Not going to keep it.

Not going to keep it because the back

of head.

Back of head.

Twist.

Shoulder comes too up.

This one is OK, but I already have

something that kind of fits the bill for

that one from the same dimension, me being

at equal distance to my subject.

Now, she's walking too much into the darkness.

And so this is where I know I

need to start slowing the cue.

So in this one, her ankle looks a

little too twisted.

In this one, she looks a little too

perky, like she's up on her tippy toes.

But this one, she leans back into her

hips, turns this way, and that's the one

that I kept.

So you'll see the tiny little things, the

nuances that I'm looking for when it comes.

And you'll see that because I talk so

much behind my camera to give the energy

to my clients, I might fire off anywhere

between 10 and 12 images.

What they will see and keep, not as

a general rule of thumb, but what we've

seen so far, is anything from two to

three.

Cool.

An average session for me yields about 400

images.

What the client will see, what I tell

the client they'll see, is 50 to 55.

What they usually end up seeing is about

65, maybe 70.

Cool.

Now, we have a question here.

I'm going to get a mic here.

And then if I feel like I'm going

to answer that, I'm going to move right

into it.

Cool.

Perfect.

I was just going to ask, do you

trash then all the other photos that you

didn't choose in the session?

Yes.

OK.

Yes, I do.

Now, every time that I'm shooting, I'm constantly,

we've spoke about this before, I'm giving myself

a back door.

Because I tell, even if you saw in

the footage, I'm like, I'm not sure if

this is going to work.

I am OK telling my clients, I'm not

sure it's going to work.

Because if they come back to me like,

oh, that one photo, it's like, unfortunately, guys,

the light just didn't work.

It wasn't complimentary.

It wasn't the right angle.

It had nothing to do with you.

It just didn't work.

But I look forward to trying it again

on the wedding day.

And if you deliver on what you say

you're going to deliver, I say I'm going

to give you 55 images, and then you

give them 65 or 70.

Yeah, that doesn't become so much of an

issue.

Cool.

So now we're going to talk about what

the editing process looks like for me.

So before I get there, I need to

just lay it out all on the line.

When I started my business, I aspired to

be a wedding photographer.

Now, the little bit of photography experience I

had was in college.

I shot on film.

And people always say, oh, she must have

had film experience.

Well, actually, it was a sociology class entitled

Sociology Through Photography.

So they didn't teach you photography.

They just said, do you have a camera?

Do you want to study sociology?

Join us.

I went to a very granola college.

I love it.

Go Whittier College.

It was very liberal arts.

So what I did learn was how to

develop my own film.

And it was fantastic, and it was invigorating,

and it was exciting.

But one thing that I quickly found out

that a lot of the other students were

doing, I completely subscribed to, was we found

a good lab.

A lab that we liked so that when

we were done with our rolls of film,

we sent them to the lab, and the

lab processed them.

And then we got them back, and we

felt, wow, this is great.

Wonderful experience of being creative.

Well, what happened with the digital admin is

that it changed our entire perspective.

We then felt the responsibility to become the

photographer, and the lab, and the processor, and

the marketer, and the album designer, and the

tax collector.

I mean, we went through all of these

things.

When I got into photography, and remember, I

told you in a previous lesson, in the

bonus lesson, that when I shot my very

first wedding, I went through every single photo,

and I photoshopped every single photo on a

laptop, on a trackpad, on a 12-inch

screen in Photoshop.

So I knew things had to change.

And what I thought of, even though I'm

a digital photographer, what I need to do

is find a lab.

I need to find a lab that I

like so that I can turn them over,

and then I get my images, and then

I get to play with my favorites.

So early on in my career, I tried

different digital labs, and then I came across

one from a friend that I was in

a photography online group with.

And he had said, you guys, I'm starting

a business, and it's outsourcing, and it's called

Photographer's Edit.

Well, because he was a friend, I trusted

him, and I sent him my images.

And that was about eight years ago.

I had been working with Photographer's Edit for

eight years.

Now, I hear often from photographers, well, they'll

try, maybe not just Photographer's Edit, any sort

of digital lab, and they'll say, it just

didn't work for me.

They just couldn't get what I wanted.

Well, I'm going to respond and say, no

lab will ever edit exactly how you edit.

They are not you.

They are making the best educated guess.

But what I will say as an over

-communicator is that over the past of eight

years, I have said, great job on that

last edit, guys, but can we work on

this?

And can we work on that?

And in this lighting scenario, this is what

I prefer.

And on this lighting scenario, this is what

I prefer.

So you can't walk away.

It's like not giving a guy a second

chance or a girl a second chance on

a date because when she ate, she had

ranch in her mouth.

Well, if you told her you have ranch

in your mouth, you might have a different

kind of reaction to the entirety of the

date.

For me, I had to be very specific

with what I wanted.

But I want to talk about why I

choose them.

There are wonderful other amazing labs, but I

have only had eight years experience with Photographer's

Edit.

And I choose them, and I stay with

them because they are dependable.

They tell me, you will have your images

in three days, and I have my images

in two and a half.

Are you seeing a pattern?

I like to work with companies who are

under-promise and over-deliver.

There we go.

I work with them because they're fast.

They have a turnaround.

During a high wedding season, their turnaround is

seven business days.

And so sometimes when I shoot, I shot

a wedding in March, and I uploaded the

images on Monday, and they had them to

me on Thursday night.

That's fantastic.

My clients are on their honeymoon, and they're

seeing their gallery.

And we'll talk about that in a second.

I use them because their customer support is

amazing.

I email them, and I have never waited

more than 24 hours.

I get a response from them same day.

And lastly, they edit my photos based on

my Lightroom presets of my choice, which means

I'm not sending images and saying, OK, guys,

I hope you do a good job.

They've afforded me the luxury of saying, here's

a starting point.

Now you can amend.

So I want to talk to you about

what that looks like.

So this is my preference panel for photographer's

edit.

Now my brightness, white balance, and contrast, they

asked for my blog so that they can

get a sense of how I'm blogging and

what my favorite images look like and feel.

Now they've given me an opportunity to upload

sample images for every job I update.

So I can edit four images from a

wedding, maybe one from prep if it was

like tungsten lighting, then one in bright light,

and then one in ceremony light.

Say, hey, guys, use these as rule of

thumbs.

And secondly, I upload my Lightroom presets.

I upload, they give me the option of

uploading one color preset and one black and

white preset.

So already, we're off to a good start.

Now, what Lightroom presets do I use and

what presets do I love?

I use and love Replichrome.

Replichrome presets are fantastic.

They are by Totally Rad Actions, and you

can find that at totallyradactions.com.

I'm going to give you all the details

at the end.

So I use Replichrome.

And part of the reason why I've decided

to use Replichrome as opposed to other presets

is because they've kind of mastered making digital

photographs not look so digital.

But they don't aspire to say, oh, we

are the presets for film.

I shoot digitally.

I need to understand that my photos may

not look like film.

But can they possess similar qualities?

Yes.

And that is what I love stylistically.

So people ask, what is my favorite preset?

Kind of my go-to is the Fuji

400H.

That's my go-to.

I've made a few modifications.

So one of the modifications is I lowered

the contrast and I lowered the grain.

I lowered the grain because right now, they

had initially had the grain set out at

30 something or something like that.

And I lowered it down to 5%

grain because I don't want too much grain

in my photos.

Now, let's go back.

So once I've uploaded my presets, once I've

uploaded how I want my photos to be

edited by photographer's edits, this is what we're

going to look at.

So I placed an order.

So for instance, for Samantha and Taylor, I

think if my memory serves me right, they

had about 80 images from their engagement session.

I promised them 50 to 55.

But because we had the CreativeLive crew come

along with them, I wanted to give them

more because I didn't want to feel like

they were distinctly at a disadvantage if my

attention was divided.

Because I'm shooting them, right?

And I'm turning to the camera.

And I'm talking to the camera.

And I'm talking to them, but I'm talking

to the camera.

As a division of my experience and my

brand, I needed to give them more to

assure them that we were all on the

same page and they weren't getting chinst.

So I uploaded about 80 images.

Now, you have two options.

This is the web uploader where you simply

drag and drop your raw images to their

server.

They take your raw images, and then they

edit them, and then they export them to

JPEG.

And then what you do, or you can

also send a catalog.

You can send your smart previews from Lightroom.

They edit there.

And then they send the catalog back to

you.

And then you apply those images to your

images.

And they apply those at pre.

They apply the modifications to your images so

you can export on your own and make

modifications as you see fit.

Cool.

Now, Monday after a wedding.

Well, let's peel this back.

We're talking about engagement sessions.

So I shot Samantha and Taylor's engagement session

on a Monday.

So I went home.

And on Tuesday morning, the entire session for

me was cold.

I chose the 80 images.

I uploaded them.

And on Thursday, I had my images waiting

for me, which was fantastic.

So I got an email that says, Jasmine,

your images are ready.

So when I go, I simply click this

button.

And it says download.

And they download to my documents folder.

And then I get my chance to play.

My chance to play is now I know

the images look nice and great the way

they are.

But I'll make small minor modifications.

Before we get there, I want to show

you a before and after for two photos.

I didn't want to do them for so

long because I want to keep my ego

intact.

I'll be like, oh, my photos look great

at a camera.

OK, so we're going to start.

And I'm being totally facetious.

So what you see on the left is

straight out of camera.

And what you see on the right is

the modifications that they made.

I'm a firm believer in trying to get

the photo as close as possible to how

I want it to look.

And I would say the biggest difference is

in skin tones.

But everything else is pretty darn similar.

And we do that by leveraging natural reflectors.

We do that by finding really great reflective

light and otherwise really harsh lighting.

Second before and after.

So this was the beginning of the shoot.

And this was closer to the end of

the shoot.

What you see, again, is really strong similarities.

There was a fog that had come in

just off the coast.

So it softened the light quite a bit.

And the thing that I'm going to take

into consideration the most is you see what

they did with their skin tones.

But everything else stays pretty true to form.

But that is because how I requested it.

Some people want bright.

Some people want punchy.

Some people want contrasty.

Some people want grainy.

That's great.

You upload your preferences.

And that's how they will edit them.

Now what I want to do is I'm

going to move into showing you what a

completed gallery looks like in my iView catalog.

Because remember, we started off with the raw.

I showed you how I called.

Now what I get from Photographer's Edit are

the exported JPEGs.

Then I put them into a catalog.

So that I can see maybe I want

to reorder them.

Or maybe I need to renumber them.

And we're going to look and see what

that looks like right now.

So what you're seeing now is a fully

edited session.

Down here, it tells me how many images

are in this.

So what I ended up keeping for them

was about 77 images from the shoot.

What you're going to see is a mix

of what we call location setters.

So in order for me to tell a

complete story, it is super helpful to arrive

a few minutes early.

And take pictures of the environment.

So that when you start like a slideshow.

If you start like a blog post or

something on Facebook.

To set the tone of where you are.

Really, really, really does a lot for your

storytelling narrative.

So here I start my gallery with palm

trees.

To indicate that we're in Los Angeles at

the beach.

Or near the beach.

Now I'm just going to kind of cruise

through what you've seen.

And then what I'm going to do is

I don't want to go through the entire

gallery this way.

Because I actually want to show you how

my clients will actually view it.

So I kind of want to give you

an idea first.

That this is what it looks like now

that it's edited.

You saw before and afters.

You had to have an idea.

You saw us shooting as we went through

it.

Now, a few things to point out.

Most of my gallery is color.

Because you can always take a color photograph

and make it black and white.

But in this situation, I was shooting a

couple portraits of the bride.

And so I felt pretty confident making a

couple of those portraits black and white.

Because she does have those color options.

Now, what we were talking about at this

particular portion of the shoot.

Was that it was so stinking windy.

Now, I have two options.

I could be really upset and frustrated.

And just be like, this is not working

for me.

I can put her so the wind is

coming at her.

But then I have this like untold...

What is that with the flying dog from

The NeverEnding Story?

You know, it's like her hair is behind

her.

Which is never a good look for girls.

So what I did is I decided to

put the sun behind her.

Which is my preferred mode of shooting when

it comes to really harsh light.

There was a natural reflector in front of

her.

And then I said, let your hair go.

Because I can try to fight it and

then have hair.

And it doesn't look right.

Or it can just look windy day, tousled

at the beach.

I chose the latter.

So because of that, I gave her a

few options when it came to color and

black and white.

So this will give you a pretty good

idea.

Now, here's one thing I kind of want

to point out when it comes to the

gallery.

We were at a beach in Los Angeles.

We started off at a field and we

walked down some switchbacks.

Down the hill.

Down the mountain.

Well, we say Mountain LA.

But anybody with mountains are like, no, no,

no.

That's silly.

So it was the Quasi Mountain.

And we got down to the beach.

And they needed a place to change.

And so there was just kind of like...

It looked like an abandoned type.

Maybe old school or an old abandoned school

or a monastery of some sort.

And so we thought this would be a

great place to change.

And then I saw this location.

And this is not reflective of my brand.

But I was so caught up.

And I'm like, oh, it's a painting.

And we're in like a desolate area.

And it's backlit.

And I shot it.

And in retrospect, I probably shouldn't have.

But like life always works.

She's like, I love that photo.

Did you know that our heads meet a

heart on the wall?

I can't wait.

And I'm just like...

So it kind of goes to show.

What you...

If you are questioning whether or not you

want your client to like make that her

header on Facebook, maybe question whether or not

you should be shooting in the first place.

Either way, I will still stand by the

photo.

She loves it.

I think it's exposed well.

And it's quirky.

And it shows that they're at the beach.

Fine.

Did it make my blog?

No.

Did it make Facebook?

No.

Did it make the slideshow?

Yes.

Because it was part of her story.

We're gonna get to that in a second.

Now, people ask, well, what kind of editing

do you do after you get your photos

from Photographer's Edit?

I want to show you just...

I do very, very, very light editing.

Now, I want to say that I do

very light editing because I've worked so hard

on the front end with Photographer's Edit to

get it dialed in the way that I

want it.

The more work you put into any digital

online lab, the more happier you're gonna be

with your results.

Now, let's take two photos.

But another thing to note with this particular

couple, there's very little retouching to do with

them.

But this is quintessentially what I would do.

So here is a photograph of the bride

and groom.

What I would do very, very, very lightly

is I want to...

And I do this only for photos that

I think I'm going to use in a

heavy access, in heavy ability, but a frequency.

I'm gonna use it a lot of frequency.

Now, I knew that because of the Not

Dream Wedding, they would need to need a

couple few solid shots.

So I wanted to get on the front

of it.

If she needed a couple few solid shots,

she doesn't really have bags under her eyes.

But because I knew that she's gonna be

impressed a little bit more, I wanted to

clean up to the best of her ability.

So what I'm gonna do is I'm gonna

enlarge my bride's face, and I'm going to

duplicate this layer.

And how I duplicate a layer is Command

J.

Same layer of the photo.

Then what I'm going to do is I'm

going to use the patch tool.

And what I'm going to do is I'm

going to use the patch tool and go

over the part of her wrinkly eye.

Now, I usually do this with a mouse,

so just bear with me a little tiny

bit, although I should have plenty of experience

editing.

I'm gonna track that.

Cool.

So once I grab that area, I'm gonna

drag it down to simply soften what it

looks like.

But that looks way too fake and way

too Barbie.

What I'm gonna do is because I'm working

on a duplicate layer, I'm going to go

through and I'm going to make the changes

that I want.

And then I am going to lower the

opacity to kind of get it to a

way that I want it.

So this is at 100% opacity of

the duplicate layer.

Now I'm just gonna peel it on back.

Because I still want her to look like

she has under eyes.

I don't want it to look too, too,

too forced.

So I've just softened that.

And if you notice here, there's small little

lines in her forehead.

I don't want to use, sometimes occasionally I

will use a skin retouching tool in Photoshop,

like an action.

But you know, when brides get their makeup

done professionally, a great makeup artist can do

really great things.

So once I've softened that, what I want

to do is I will shift command E,

I will collapse those layers.

And stuff that I know I want 100

% removal, see this little tiny blemish on

his neck?

I don't want that to be in competition

with her eye level.

So I'm just going to move that in

over.

And I don't need to do that on

a duplicate layer, because I know that I

want that removed in its entirety.

So I just remove anything that I think

could potentially be distracting.

And now what I'm going to do is

what I, the biggest Catch-22 is shooting

backlit, is that if you have flyaway hairs

or on this particular day, it was so

windy, that we get a lot of just

a lot of action going on above her

head.

So what I'm going to do is I'm

gonna get the clone stamp.

And I'm just going to enlarge it.

I mean, I will just simply select areas

around it.

Now, I try not to go too close

to her head, because I don't want to

make it look too, too, too artificial.

And I might, depending on whether or not

I could actually sell that little loop, if

I can actually remove it in a way

that I could sell it, or like that

I'm convinced that it looks natural, then I

will.

So let's just give it a little go.

In order to make my tool smaller, I

use like the little bracket tools on the

side.

I mean, some of you guys are like

nodding.

But when I was learning Photoshop, I was

like, what?

There are these shortcuts, kind of just go

around for these flyaways.

Great.

So what we did was something really, really,

really soft, really, really, really not noticeable.

Those are the types of things that I'm

doing.

One last thing, in regards to environmental elements,

what I did, and I left this one

intentionally, because see down here in the lower

portion of the left frame, you'll see what

I'm kind of going around with my mouse.

This area right here, they had these little

spokes sticking out of the ground.

And it's not a big deal, but I

considered if this was a photo that they

happened to use for press, or if the

coordinator saw this, I need to show the

coordinator, since it would be, if I hadn't

worked with her before, our first time working

together, that she says that if I had

left those in, she would think that I

don't pay attention to details.

So what I would do, and these are

very simple, very simple fixes.

I'll simply get the patch tool, and I

will circle the things I don't want in

the frame, and I move it.

And there was about four or five spokes.

Was it annoying to remove?

Yes.

But again, these are the small things that

I do.

Under eyes, flyaways, and environmental removal.

That's what I do when it comes to

editing.

So once we have edited the photos in

Photoshop, and they've cleaned them up in a

way that I like them, and I've prepped

them for my blog, and I've prepped them

for social media, the first form of action

that I do is I blog the images.

I will blog the images, and I will

blog the images with a title that I

want the photos to be searched for.

Now traditionally, I'm entitling each blog post by

the location, because the most popular searches for

engagement and wedding photographers are by location.

So if a bride is getting married at

the Ritz-Carlton Laguna Niguel, her highest form

of search would be Ritz-Carlton Laguna Niguel

wedding photographer.

So if then that is her highest searchability

factor as she's searching, that's how I want

to be found.

So likewise, if I shoot an engagement session

in Santa Monica, all of my engagement sessions

start off with location, engagement photos, or engagement

session, slash client's name.

A lot of times I see photographers using

the client's name first, but then you're eating

up the Google searchability, because you can only

see the first, I don't know, like 30,

50 characters.

So I want to be very strategic with

how I do it.

Now, I could have said Los Angeles engagement

session, or Rancho Palos Verdes, or I could

have even said Abalone Cove engagement session.

That would have been the smartest thing for

me to do, because if a bride was

searching for Abalone engagement session photos, mine would

come up.

But I want to be a little bit

more strategic with this one, because I want,

if people are doing for the not dream

wedding searches, I want my stuff to come

up.

So I titled the post, The Not Dream

Wedding Engagement Photos.

So I'm trying to cover as many bases

as possible.

Then I write a personalized story about the

client.

And we get into the reasonings why we

write personal stories in the marketing lesson.

So I'm not going to get too deep

into that.

But one thing I want to point out

is that in addition to writing a personalized

story, it makes the client feel special.

It gives Google an opportunity to find more

of you.

So in between each photo, or for the

majority of in between each photo, I want

to make sure that I'm writing things that

could be searchable.

The location, the weather of the day, what

she wore to her engagement session, because it's

a very common thing, like what to wear

to an engagement session.

And then somehow, hopefully, Google will say, will

read it and say, she wore to her

engagement, blah, blah, blah, blah, blah.

And I come up in those searches.

So be strategic with how you're writing about

these things.

So once I have blogged this, once I

have put this content out from my end,

now I actually need to point people to

it.

And I point people to it, I point

people to it in three ways.

Because some people like to interact with Twitter

more than Facebook.

And some people like to interact with Facebook

more than anything else.

And other people like to interact with Instagram.

So here is how I did it.

The morning that I blogged this post, I

have my post go live around 6 a

.m. Pacific Standard Time.

And I let them sit there for a

while.

And then around 8, 8.30, I will

then do what I call my push tweets,

my push status updates.

So around 8, 8.30 on Twitter, I

will update Twitter, and then I will update

Facebook with a push tweet, or a push

update.

I'm going to get to that in a

second.

So I am finding ways to maximize my

reach with everything that I do.

So here is the tweet that went out

the day that I blogged their engagement session.

Smitten with, at the knot, hashtag, dream wedding,

couple, their engagement photos are here, link to

my blog, and a link.

I mentioned the coordinator, I mentioned the knot,

and I used the hashtag.

Now, the hashtag on Twitter is going to

work really well, especially the closer we get

to the wedding.

So if people decide to go through and

search for that hashtag, I want to be

a part of it early on, which is

why it was a strategic decision.

Secondly, we're now going to go into Instagram.

This is how I Instagrammed the photo.

Now, do you guys see the photo that

I chose to use as my push photos?

It was the one that I actually went

through and did a little bit of extra.

Do you have a question?

You obviously didn't take that picture with your

cell phone.

So how do you get a beautiful PC

edited photo on Instagram?

Okay, this is a good question.

So when we talked about marketing, we divided

it up as I will use my cell

phone at the shoot, and I will indicate

that it was a cell phone shot by

hashtag iPhone.

But what I do is I simply email

myself the photo to my phone, and I

download it to my phone, and I upload

to Instagram from there.

That is a great question.

I get that asked all the time, and

I can't believe that I didn't address it

myself.

That's great.

That was great.

Thank you.

So yes, this is an edited photo.

Okay.

Now, what I want you to notice is

today I blogged at the knot hashtag dream

wedding engagement session for my bride and Taylor.

Love these two.

Can't wait for this one at detailsgenie, who

is the coordinator.

Then I also hashtag the knot dream wedding

because I was able to hashtag both hashtags

in Instagram because I wasn't limited to the

140 characters.

Now, I want you to notice that I

tagged the knot because I want them to

see, and if by any chance they can

repurpose the photo to their 500,000 followers,

I'd be all for it.

I tagged the coordinator because if she can

repurpose it to her following, that would be

awesome.

I also tagged Samantha, the client, because what

I noticed is Samantha does not have Twitter,

or maybe I didn't find her on Twitter,

but I also see that when I actually

did find her on Twitter, after I put

this presentation together, she doesn't really use Twitter.

So I'm only going to high and on

Twitter, you have 140 characters.

I'm not going to sacrifice a chunk of

the characters to go to somebody who doesn't

really use the platform, but I know she

uses Instagram.

So I'm going to tag her on Instagram

and I am using both these hashtags because

if you follow these hashtags, you can go

back to see who last year's dream wedding

photographer was to get to see images from

that knot dream wedding.

So I want to start plugging into that

hashtag.

I want to be found by the way

of that hashtag because I know a lot,

a lot of prospective brides are going to

be watching the wedding live.

I will be doing iPhone photos the day

of.

I will be doing a sneak peek the

next day.

I'll be doing multiple sneak peeks so that

my photos end up at the top of

that hashtag search.

Now, oh, one thing I want to point

out.

This girl said, I watched this pose on

Periscope.

The wind wasn't even a factor.

Happy face.

That's amazing because I did broadcast from Periscope

and I said, hey, we're here at the

knotting age recession and there was so much

wind that people were just like, we can't

even hear what you're saying.

Like it sounds like you're in a wind

tunnel, but this sweetheart of a girl watched

the whole thing happen and then she commented

that the wind wasn't even a factor, which

is great because if my client happens to

read that, there's not going to be a

shadow of doubt in her mind that I

didn't deliver on the thing that I should

have and that matters to me.

We also covered this previously, so I'm not

going to get too deep into it, but

this is what it looks like on Facebook.

This is what the push on Facebook looked

like.

I linked both to the knot and to

details, details, the coordinator, but I did not

use any hashtags on Facebook because hashtags on

Facebook just don't work.

They're just not that great.

It's not native to the platform, so I

won't use it.

Now, I also tagged my clients and I

tagged them in the photos.

Now, I tagged my clients because I only

update my folders of images on my Facebook

business page, not on my personal page, and

I do this intentionally because if their friends

happen to like their photos and they want

to see the originator of the photos, I

do not want them coming to my personal

page.

I only want them going to my business

page.

I want them to see a professional version

of me on Facebook to the best of

my ability, which is why I am only

leveraging my Facebook business page when I post

images.

So now, it's time for a commercial break,

and I mean this in its most literal

sense because one thing I find extraordinarily powerful

is a client experiencing their images by way

of a slideshow.

Now, this is so amazing if you are

not doing it yourself, and if you are

not doing these for your clients, I'm telling

you, you are missing on such a huge

opportunity because there is something different about seeing

your images set to music.

Does it sound silly?

Maybe, but there's a cinematic quality that totally

changes the dynamic.

So at this point, my clients have seen

the blog post.

At this point, they've seen themselves on my

social media avenues, and a couple hours on

that same day, after I received a call

from Samantha and she was crying and she

was like, I can't believe these are my

photos.

Did you see our heads?

And they were a heart.

I'm just like, this makes me happy.

I was like, if you like those photos,

just wait.

More are coming.

And she didn't respond to me when I

put that out on social media.

I mean, she was happy.

She left comments.

I'm so happy.

But she picked up the phone and she

called me because she was like, the music,

the photos, all of it.

A brand is an experience, and what she

experienced was powerful.

And then they want to share that experience

with their friends and family, right?

So they're going to get a link to

the slideshow, and they're going to send it

to their friends and family, but they're not

going to send the link just like empty

link.

What are they going to say?

Maybe, I'm guessing, our engagement session photos.

I'm so happy.

I love them.

We had a great time.

They're pre-qualifying me.

They're saying to their friends and family, watch

this commercial because I'm starring in it, right?

We might not watch a Ford commercial, but

if your best friend's like, I got booked

for the Ford commercial, all of a sudden

you're like, I got to watch Ford.

In like manner, we want our clients to

watch our slideshows because it's important for us

to understand that we are photographers and we

are art directors, but we are also curators.

Any good artist can tell you that he

or she shines when they have a good

curator.

Well, guess what?

We are our curators.

We put together our story for our clients.

So what I want to do is I

want to share the slideshow that I made

for Samantha and Taylor.

Now, this slideshow is different than the other

slideshows that I have shown throughout the course

when I'm talking about shooting with intention, how

to shoot in bright light.

This is actually how my clients experience it

as they view it on the web, and

we're going to go there now.

So the slideshow program that I use is

called Soundslides, S-O-U-N-D-S

-L-I-D-E-S.com.

Now, the best part about Soundslides is that

it is a one-time fee, a one

-time purchasing fee, and then you host the

slideshows on your server.

Now, about a year ago, I was looking

for the right type of software to use,

and I downloaded and tried about five or

six.

I bought some.

I demoed some, and I will say that

I kept on coming back to this one,

and it's not the most glamorous, and it's

not the shiniest, and it's not the most

bing-bang, blow-your-socks off, but it

is 100% viewable on mobile devices.

By picking the right shell, once you download

it, you can see it's called a shell.

I picked the iOS shell because I know

that I am sending my clients their slideshow

when they're on their honeymoon.

How many times are people walking around without

a Flash-based compatible thing?

In light of that, I choose this, and

I think it works really well.

So we're going to take a step back,

and we're going to watch how it works.

Cool.

I have to say it's a little disconcerting

watching a slideshow with roomful peers being like,

hmm, yeah.

I will say that as photographers, we view

slideshows with a much different critical analytical eye.

So the thing that I want to encourage

you to do is when you put your

slideshows together, do not think about your peers.

Do not think about the curatorial nature that

how somebody else might appear to theme and

see it.

I want you to think, how will it

make your client feel?

And that trumps everything, and I know that

I made good decisions in that regard because

my clients were happy.

One thing I want to point out before

we move out of this screen is at

the end of a slideshow, I add a

logo at the end because I still want

it to remain as a reflection of my

brand.

And also, see down here at this little

credits tab?

It brings up that the photos are by

me, and the music is by Brooke Wagoner.

I want to give photo credit, and I

also want to give music credit.

It's very important for me to do that,

and I get my music from themusicbed.com.

And so I don't have to list themusicbed

.com.

I have to list the artist so that

my clients know who the originator was.

And I thank Brooke.

I don't know her personally, but I thank

her for making my work look and feel

stronger as a result.

So now what we're going to get into

is we're going to look at what it's

going to look like once the client has

experienced the emotionality of social media and then

seeing her slideshow and then, but wait, there's

more.

A gallery is coming, and that's what we're

going to get into right now.

Now, I have been using Pixieset for about

two years, and I love it.

It's like I want to sing from the

mountaintops, and I'm seeing the people, and here's

the thing about Pixieset.

It's like, it's like a click without being

a click, right?

It's like, so the people who use it

and love it, I'm watching you guys like

in the studio audience, and you're like, yeah,

so get pom-poms, Pixieset, go, go, go.

Because it's that great.

It's easy.

It's intuitive.

My clients love it.

I've had never an issue.

But for those of you who are not

familiar with Pixieset, one thing I want to

talk about is you will now have lots

of options to host your digital galleries.

A few years ago, there was not very

many options.

And then as the years have progressed, more

and more options have come about, which is

great.

But the minute I found Pixieset, I knew

I was sold.

And here's why.

I can sell my prints directly through the

gallery.

So I get to choose my lab to

provide those prints.

So I work, and love, and use, and

swear by White House Custom Color.

And I have chosen them because their customer

service is so legit.

They take care of my clients like those

clients are their own.

Any time I have a question, any time

of the day, any time there's sometimes they

will pause in order to say, hey, Jasmine,

did you know that you're cropping off a

tiny bit of the side?

And I'm like, somebody is looking at a

print so carefully that they notice 1 100th

of an inch might be cropped up.

So are you OK with this?

That to me says, thank you for caring

about my photos the way that I do.

I work, my images go to Pixieset.

And then my clients, when they order their

prints, they are delivered and produced by White

House Custom Color.

And I tell my clients this.

We're going to get into that in a

second.

I get to set the prices of my

prints and products through Pixieset.

Other online galleries will tell you the price

that you should charge.

And in addition to telling you the prices

that you should charge, they will take a

commission off that sale.

Now, Pixieset, you get to set your prices

and they don't take a commission.

So what you're paying for is a monthly

fee for them to host your galleries.

One thing that I want to do, oh,

I love it.

My clients will choose their favorites.

And every time a guest logs into their

gallery, I get a notification that a new

list of favorites was collected or made.

I get a notification when a print order

is made.

I get a notification every time photos are

downloaded.

I'm getting constant notifications of what is going

on with my images and how I'm able

to use them.

Now, lastly, the thing that I love the

most is that my clients can now download

their images anywhere to their computer, to their

laptop, to their iPad.

It's phenomenal.

So this is what an empty gallery looks

like.

This is my back end for Pixieset.

Now, I will label my new folder as

the engagement folder.

And then I will simply drag and drop

the images to this screen.

Then this is what results.

This is the back end.

You have now seen what the gallery looks

like from an iview catalog, but already it's

looking better here.

But just wait, it's going to get even

better.

Now, what I'm going to do is I'm

going to show you what the Pixieset gallery

looks like online.

So what is the client experience?

Now you know what that back end experience

looks like.

We're going to get into online what it

looks like right now.

So what you're seeing now is a gallery

of images.

This is what Samantha and Taylor got once

I sent them their link.

Now, the beauty about this is that it's

password protected.

So if you are watching and you have

purchased the course for CreativeLive, you will get

access to this gallery at every other gallery

that we have shot.

But I'm going to type in their password.

Cool.

So now this is what happens.

This is what my clients will see as

they come in.

I'm going to click on open.

It's going to scroll up.

And now what they have is a very

similar to Pinterest style gallery.

Now, the beauty about this gallery is that

it's smart sizing.

So here we go.

So it automatically sizes for any sort of

device that you're working on, which is super

helpful and intuitive for my clients.

One thing I want to point out is

that if the client decided to get this

image, because this gallery is for students, one

of the things that I have taken off

for this gallery is the download capabilities.

But my clients have the ability to download

and share directly from the gallery.

So that is what it looks like.

And this is how my clients experience their

images.

And then I tell them to please order

their prints.

Yes, they can download their images.

But I price my prints competitive enough, just

a bit over what you can get at

Costco or Walmart.

Because there was a day where photographers could

charge $8 or $10 or $12 for a

4x6.

But those days, I think, primarily are gone

unless you are doing so much work to

the image.

If there's a lot of Photoshop and a

lot of your time in it, you can

justify that.

But just like your average processed image, it

has to be a lot more competitive price

if you want to make money on price

and print on the back end, which is

what I want to do.

So now that you've seen what the gallery

looks like on the front end, I want

to show you what my updates look.

This is a panel with all my activity

updates.

Here you will see when Samantha and Taylor

has been downloaded.

New favorites created for Samantha and Taylor.

Another client has downloaded.

New favorites.

And all of this will come down and

also shows me what my print orders are

and how much each print order is.

I also think it's important because I want

to know who is downloading.

Based on my experience and based on empirical

data for people who have followed this type

of thing, the number one order of prints

is the bride.

Second number, second highest order, anybody?

Mom of who?

Groom.

Mom of groom.

Yes.

All of a sudden, the moment I started

noticing that, I was like, family photos for

the groom.

More family photos for the groom.

But it happens because it now happens because

you now get to see what is tracking.

What are the photos that are being bought?

So it's important to run it as a

creative, right?

We want our pictures to look pretty, but

it's also important to get those photos that

we think are just meh, but they sell

back end stuff.

Now what we do is we release the

gallery to the clients.

Now you've seen what it looks like in

the front end, on the back end.

Now it's time to share it.

Now I send a template that outlines everything

the client should expect.

So they will get the link.

They will get the password.

Then I teach them how to download, how

easy it is.

Then I teach them how to create favorites.

Then I talk to them about printing their

images because I tell them I have to

educate them how important it is to use

a professional print lab.

And I say, I use one of the

nation's premier print labs and I stand by

the quality that you get.

And then I explain the difference in paper,

the difference in ink, the type of machines,

and the time that I have spent color

correcting the photos that my lab, I know

I will stand by.

All of a sudden, when I started educating,

my print sales went up because they knew

what they were buying.

And I also talk about sharing their images.

Within the gallery, there are sharing capabilities.

I want my clients to share their images.

It is marketing, marketing, marketing.

So a couple days later, I follow up

with a template email.

And I say, I'm so happy that you

like this time that you usually said thank

you so much to the gallery.

A couple days later, I will say, I'm

so happy that you like the images from

the gallery.

Now, if you wouldn't mind telling me what

your favorite photo was, because this really teaches

myself and JD how to approach her wedding

day.

Stylistically, what do you want?

What do you like?

Well, that's kind of like a loaded question.

And so she'll come back and she'll say,

well, we really like this reason because, and

she tries to get all technical.

All I'm really asking for is because I

want to know her favorite photo because I

want to send her a surprise.

So I've included this in the cost of

my collection.

But remember, we're talking about under-promising and

over-delivering.

In her collection menu, it does not say

that I'm going to send her a canvas.

It does not say that I'm going to

send her a surprise.

But what I do is I order my

canvas.

I order my standout prints.

I order anything about a 24 by a

36, so a big statement piece from White

House.

And once I order from White House, they

drop ship it to my client.

And it is another opportunity for what?

One single word.

Thank you.

Yes, marketing.

It is another opportunity for marketing.

So much so, here is an example.

Now, I emailed Samantha and Taylor before I

left.

No, you guys are actually watching all of

this unfold.

They got their gallery a few days ago.

Like, you are watching this literally in real

time.

So I emailed them.

I said, let me know what your favorite

image is.

We're going to get back to you, blah,

blah, blah, blah.

I left to Seattle.

So I want to show you an example

of what a client did in the past.

She updated her Instagram and Facebook, taking a

picture of the print.

This is an example.

This is her reaction.

We are the luckiest couple on earth.

Who arrives home to surprise package only to

find a canvas print of our favorite engagement

shoot photograph?

At Jasmine Star, you are too much.

And then at to her wedding coordinator, thank

you for connecting us.

How do we get so lucky?

Spoiled.

Jasmine Star, thank you.

Engagement photos, love, 253 days.

Amazing surprise.

Can't wait to hang it up.

Excited.

And then she tagged her fiance.

So what does this mean for us?

That between her social media following on Instagram,

on Facebook, the two platforms she used, which

is what most of my clients are using,

and her tagging her fiance, I had the

potential of reaching 2,800 people.

So what did this endorsement cost me?

The cost of a standout print.

I had a marketing campaign that could potentially

reach 2,800 people for $114 plus shipping

index.

That is powerful.

Now we have gone over this section by

five minutes.

Is there just a burning question?

OK, we'll go one, two.

And I know the producers are just like,

but this is, you know, we're going to

deal with grace.

Thanks, guys.

Two questions and that's it.

Does Pixyset archive or what do you do

with the photos?

How do you know when to?

Fantastic.

That was so great.

Thank you.

Why am I singing?

Why?

It's the end of day.

It's the end of day.

And I see bubbly in my future.

Yes, that is like a source of backup

for me.

The minute I, so I pay for the

amount of storage that I use.

If I need to update my storage, very

similar to Dropbox, except for Dropbox has like

an ugly outer interface that anybody can use.

Pixyset, the galleries are marketed as my own.

There's not a Pixyset symbol anywhere on that.

So I leave my client images.

I'm contracted.

I will have their images backed up for

a full year, but I leave them online

because it's a backup for me.

And that's what my clients are paying for.

If I take them offline, I will give

them six months advance notice.

Please back up.

Please do this.

I am no longer responsible, but I haven't

got there yet.

A question.

Yes.

What resolution do you use when you upload

to Pixyset?

So in terms of pictures for print and

because I know there's a storage limit for

Pixyset, right?

Yes, there is.

But if you pay, so I paid like

the print for the premium account because I

just know how much I'm shooting and I

want my clients to have the high res

images.

So I'm 12 by 16 at 240 DPI.

And so, yes, it does take a while

to like upload them.

And yes, it does take a time for

my clients to download them.

But I tell my clients, download at night,

use a strong connection and understand that you're

downloading really big pictures so you can put

them however you want.

All of a sudden, they're educated.

They feel better about that.

You guys, I'm talking a bunch.

Thank you guys.