Original subtitles

So, we're going to start in workflow.

In previous lessons you guys saw how I

prepared my clients for a successful wedding day.

Later you saw how I shot the wedding.

So, this is bringing us to where we

are today.

And where we are today is workflow.

I mentioned to you guys before the cameras

came on that workflow always makes me a

little like, workflow.

It is not the glamorous part of our

job.

It's probably not my favorite part of the

job.

But it's part of the job that I

think can hinge on really what creates a

successful photographer.

So, when I started my business and for

the first year or two I became so

overwhelmed with workflow because it felt like I

was creating a new system every time I

got a wedding.

And I was like, oh I should try

this, oh I should try this, oh I

should try this.

And I never actually adhered to any sort

of system.

And then once I built a system I

said, I'm going to dedicate myself to trying

this again and again.

And then I will make modifications to the

system as needed instead of trying to recreate

it with every single client.

So, before I'm going to move on, I

want to start with how I call the

images.

And the things that I'm looking for as

I call them is after I call them,

how I back them up.

Then I'm going to talk about how I

send them off for processing.

And all of this happens, the downloading of

the images, the calling of the images, the

backing up of the images, and sending them

off to processing takes a few hours for

me.

And talk about what that looks like.

So theoretically, I could be done with 95

% of the wedding, the Monday after the

wedding.

So we're going to talk about what that

looks like.

Let's wait for it.

Wow!

Am I selling you yet?

It's like QVC.

But wait, there's more.

Now, I became a photographer to be a

photographer.

What I didn't know when I became a

photographer, that workflow and building a process was

such a big part of it.

Now, I wanted to create a business for

myself that lent itself to freedom of shooting

and of life.

So, when I talk about this workflow and

everyone is so impressed with the workflow, you

have to understand that it comes at a

different cost.

The cost that I take are lifestyle and

freedom and photography.

Now, there are others who want control, perfectionism,

and a distinct ability to edit all of

their photos.

When you say yes to something, you say

no to something else.

I am saying no to bulk processing.

I'm going to show you why.

Let's get into that.

So, we're going to get into an overview

of what workflow looks like.

Because I like linear presentations, I want to

walk you through all of my steps and

then you're going to see the components of

those steps.

So, first and foremost, what I want to

do is I want to express appreciation.

This was the first step of workflow in

my engagement session workflow, which is what you

saw in a previous lesson.

Then, I'm going to talk about how I

cull the wedding.

Culling, raking, selecting your favorites, that's just the

word that I use is cull.

Now, I talk about how I'm going to

make quick decisions.

You're going to see how I do this.

Now, what I encourage you to do, which

is what I'm going to do, is to

view the images as an editor, not as

a photographer.

So, you have to wear a different hat.

On the wedding day, you shoot the images

like a photographer.

When you cull, you're viewing them as an

editor.

Now, the thing that you want to do

as you're culling your images is you want

to make it as easy as possible for

your clients not to get overwhelmed.

In light of that, there will be photos

that don't make the final edit because you

have to think for them and not for

yourself.

Then, we're going to get into the editing

process.

We're going to talk about why I outsource

my post-production and what that looks like.

We're going to get into the nitty gritty

of it, too.

Then, we're going to move into releasing the

gallery, what I do to explain and educate

my clients in regards to downloading, sharing, and

printing instructions.

Then, I'm going to talk to you about

how I share with the creative team.

We're going to talk a little bit about

how that transpired from the Not Dream Wedding.

Lastly, I'm going to talk about surprising the

client.

We're going to get to that in a

second.

Now, onto this slide.

The first component of my workflow is expressing

appreciation.

I express appreciation in three ways.

I do it first and foremost by email.

I send a thank you email the day

after the wedding.

This is a template email.

You guys will hear me say template email

at least 15 times today because they are

truly the bulk of my workflow.

Then, I express appreciation by showing a sneak

peek from the wedding.

I tell the clients that it will be

about a week before they see a sneak

peek from their wedding.

Then, they see it the next day.

In previous lessons, I talked about building a

brand.

The first step of building a brand, one

of the first components would be to manage

to exceed expectations.

How do you exceed expectations?

You exceed expectations by managing expectations.

I tell clients that they will see a

sneak peek in one week.

Then, they get to see it the next

day.

We'll talk about how that transpired for the

knot wedding.

Lastly, I include a thank you note.

I write a handwritten thank you note to

my clients expressing my appreciation.

The note is supposed to be a part

that bolsters their experience with me because I

can say thank you and I can email

thank you, but there's something very unique about

receiving something tactile.

That might not be for your brand, but

it's definitely a reflection of mine and I

adhere to that.

I want their emotional connection with me to

come in different forms, in email when I

say it verbally and also something that they

can touch.

I'm going to show you two of the

three ways that I expressed appreciation after the

knot dream wedding.

I want you to see how that unfolds

for us.

I'm going to start with the email and

then I'm going to get into how the

sneak peek fared.

I won't be able to show you the

handwritten note, but trust, it will be done.

It has been done.

We're going to move on to our next

slide.

Cool.

Now, this is the email that I sent

my clients the day after the wedding.

Hello, my favy faves.

Thank you so much for such a spectacular

day.

Your wedding was one for the record books.

How could so much awesome be condensed into

one day?

I appreciated being able to document your love

and first date as husband and wife.

I'm sure you're tired of getting emails from

me, but you ain't done with me quite

yet.

Wink face.

Just wanted to follow up and let you

know I've been working on your gallery and

can't wait for you to see the photos.

So many good moments.

Eek.

On that note, that sounds funny.

I should be like eek.

On that note, please let me know if

when Samantha's mom might be up for family

slash wedding photos.

Let me back up for a second.

I didn't get into this.

Unfortunately, Samantha's mom, about three days before the

wedding, was admitted to the hospital and she

was insistent to state that she would not

have been able to travel for the wedding.

Now, understandably, Samantha was devastated and she had

called me crying and she had said that

she was looking for a way to incorporate

her mom in the day without it seeming

like a memorial.

So we talked about a few ideas, but

Jadie and I took a trip to San

Diego and it was like a small vacation

before we came back up and things got

crazy with CreativeLive.

When I got her call, I said, let

me leave San Diego.

I'll go to the hospital and I'll shoot

your mom, you, and Taylor and we'll get

that photo printed and we'll put it at

the wedding.

And she was just crying and she had

said, thank you so much.

I appreciate it.

She was like, what I want to do

is I want to get photos of me

and my mom in my wedding dress.

Can we do it after the wedding?

I said, absolutely.

That is my number one priority.

So, I wanted to follow up with him

after.

On that note, please let me know if

when Sam's mom might be up for family

slash wedding photos.

I'm here for anything and everything.

I'm leaving on Wednesday to film again for

CreativeLive but return on Saturday.

This is happening literally in real time here.

Let me know what works for you.

We can take things from there.

No rush.

But I want to ensure you know I'm

here for it all.

Much love, J-Star.

This is Taylor's response.

Hi, Jasmine.

First off, what an amazing day.

Thursday.

It was honestly the best day of my

life and I couldn't have gone better.

Minus all the interviews.

Ha ha.

In my wildest dreams.

Thank you for being you and just being

awesome that whole day.

You were so wonderful to work with and

the most efficient photographer I have ever seen.

You allowed us to get more time with

our guests and not waste time during photos

and that means the world to us.

J.D. is one of the coolest and

nicest guys we met through the entire journey

so please thank him for us both for

being so awesome as well.

We cannot wait to see all the photos

from the big day.

To no surprise, the scenic peaks were absolutely

stunning.

Thank you for your work.

Thank you for working so hard on all

of those.

We feel like the luckiest couple in the

world to have had you as our wedding

photographer.

On another note, Sam's mom isn't doing very

well at the moment.

We actually had to cut our weekend short

and drive back early Saturday morning to be

with her as she fell into an unforeseen

medical state.

She's certainly a fighter as we know, as

we all know, and is a little better.

But as you know, the disease is an

uphill battle from the start so all we

can do now is keep her in our

thoughts and prayers and be there for her

to continue the fight.

I wanted to let you know this because

I know Sam feels pretty bad about not

being present or active on social media since

the wedding, but knows that everyone understands.

It's been a roller coaster of emotions for

us all, and especially for Sam.

So for now, she's avoiding a lot of

the wedding stuff, social media, etc., so she

can focus on her mom.

Also, the photo session with her mom will

have to be put on hold now, unfortunately.

Thank you so much for continuing to be

you and trying to make this happen for

us.

It means a lot to us both.

We look forward to seeing the pictures when

you finish them, but please don't rush them

for us.

Thanks.

Taylor.

It's hard.

Like, it's really, really hard.

So what we deal on a wedding day

is high emotions and very low emotions, but

this wedding isn't one stand-alone.

But if I hadn't sent an email to

say thank you, I wonder if I would

have known.

The power we possess to simply — I

will say that in life's darkest moments, the

smallest, kindest gesture means the world.

Do I think that my email was profound?

No.

But did it let him know that I

cared for him beyond it being the Not

Dream wedding?

Yeah, I do.

Now, he had mentioned the sneak peek, so

let's talk about how the sneak peek fared

for us.

Now, I usually share three photos in a

sneak peek, but things and people were so

active on social media after the wedding that

I felt like my three photos were going

to get swallowed whole.

So I decided to share eight photos, because

so many photos had been pushed out on

social media that I wanted to make sure

that I at least tapped a few vendors

to make sure and give a global perspective.

Now, this is the sneak peek that I

shared, and the sneak peek was a little

bit more about my experience, and again, maybe

this heralds back to maybe a future lesson

when I had said I am a natural

apologizer.

The next morning, this is prior to me

reading anything.

This is me just go, go, go.

This is me on a deadline for the

knot.

This is me sharing a few photos.

And I just open, exhausted.

Can't even begin to describe how I feel,

but neither can thankful, humbled, or appreciative.

I was just honest with what those looked

like.

I shared eight photos, and I wanted to

bring people on the journey with me, instead

of masking it for anything that it was.

I was feeling a mix of emotions, and

instead of being like, what a perfect day

for amazing people, I would prefer to say,

listen, I went the full gamut of emotions

on this day, but what I think happened

transpired very well, so here's the result.

This is the same portion, just the lower

portion of it.

64,000 people had seen this post just

a few hours later.

There were 18 shares, and 2,100 likes,

and 144 comments.

That is powerful for a sneak peek.

Now, is this wedding an anomaly?

Maybe.

Maybe not.

This is people connecting with photos, and this

is the power that we possess as photographers.

Now, sneak peeks take a lot of time,

because you're doing them the day after the

wedding, when you're exhausted, and when you have

a wedding coma, and the only thing you

want is Sunday brunch.

They're tired, but this is a marketing opportunity,

and this is a marketing opportunity that I

know we are all capable of.

I was reading in the Facebook group about

how somebody, and here's the thing, I might

not be able to comment in it, but

I do read a lot of what's going

on, and somebody had said, well, it must

be nice that Jasmine's page can get, and

I don't think it was snarky, it was

just like, it must be nice that Jasmine's

page can get that much traction, but that

works for her.

I would say, no, let me flip the

script.

I've worked hard for the social media platform

to grow and be what it is, but

percentage wise, everybody is capable of the same

type of success.

If you have 800 people on your Facebook

page, and you're putting out photos, and you're

tagging the other vendors, and then they're sharing

them, you might not have 64,000 people

reach, but you can have more than what

your average is.

People say, it's growth.

Nobody ever has a Facebook page that goes

from 100 people to 100,000 people.

It is always micro growth, and that's what

I think sneak peeks do.

They kind of hit the wedding first, shortly

after, and then a little bit after, you

hit the wedding again, and then shortly after,

you hit the wedding again.

You grow it by actually putting out fresh

content that's personable and in real time.

That's a sneak peek.

Now what I want to do is get

into calling the wedding.

Do we all not feel the way that

this little girl feels about her hair getting

done?

Maybe I'm the only person who gets frustrated

about...

I have to say, I just looked up

at JD, and I would be remiss to

not say that I didn't take this photo.

JD did.

Dang it!

I actually take a lot of credit for

his photos.

I'm not lying.

He's the good one.

It's your brand.

It's my brand.

That's right.

You're my second photographer.

No.

He was popping in every so often, and

he just fired a couple photos because he

knew...

Now this goes back to what we spoke

about in a previous lesson, which is when

I was preoccupied with the Revlon shoot, I

was looking up.

If I saw that there was another photographer

in the room from my business, from my

brand, I knew that the candidates were being

handled in a different way, and this is

what transpired during one of them.

I have to trust and let go, and

I think he did a great job.

Now, up until this point, we've spoken about

first expressing appreciation, and then the sub-components

under expressing appreciation.

Now as we get into the logistics, please

know that there are microphones.

If I'm overstepping things and moving too fast,

please interject as we go along.

What we're going to get into right now

is an unculled section from the wedding day.

I'm going to show you the photos straight

out of my camera.

What people are seeing during the broadcast, in

previous lessons, when you saw me shoot the

wedding, the photos that you were seeing were

straight out of the camera.

Was that disconcerting?

Hell yes!

Do I want to show you my untouched

photos?

No!

Never in a million years, but again, the

greater good.

This is going to show what I get

out of the camera, and then what we

can do considering that awful light, considering that

crazy gnarly light, and those crazy green casts.

Right?

Thank you.

I'm going to show you how quickly I

move through a selection.

I'm going to talk to you about what

that looks like.

Now because calling a section is not exciting,

I'm going to show you a brief section

of what that looks like, and then we

can get into questions after that.

Now, my backup system.

We did a periscope in Sonoma, and I

had my computer, and then I had my

hard drive sitting on top of my computer.

So when we travel, and even when we

don't travel, the backup system for our raw

images, all of the raw images, are on

the cards.

We do not reformat cards until we know

everything has been backed up.

So we have them on the cards.

I back them up to a computer.

Since I was on the road, I backed

up the images to my laptop.

If I was at home, they would be

backed up to my desktop computer.

And then I put all of the images

on my hard drive.

So, my raw images have three forms of

backup.

Cards, computer, hard drive.

I feel confident and safe that that's going

to be the best mode and mechanism for

me.

Now, once I have all of the images

backed up, then I will start the culling

process, and I'm going to get into my

iView on my computer right about now.

Great.

So, I use iView Media Pro.

Now, this is similar to Photo Mechanic.

This is different from Lightroom, in that Lightroom

you can do so much, and in things

like Photo Mechanic and things like iView, you

only view your images, and you only select

your faves.

Like, that's just what it does.

It's one thing.

And I feel like it's really important for

me just to have a really streamlined process

of what this looks like.

So, I'm going to walk you through the

bride getting into her dress, and the things

that I was looking for.

So, this was the first frame.

I'll highlight it.

This is the first frame that came out

of camera, and I actually ended up liking

it because it's her sister looking down at

the dress, as opposed to this one where

her mouth is open, and it doesn't look

like she's admiring the beauty of it.

Her mouth is open here.

I kept this one because she was smiling

at the bride.

Now, as the bride was going to get

into it, I kept this photo because her

friend's looking at it.

She's blinking here.

Her mouth is funny, and she's holding her

robe awkwardly.

Then this right here is the one that

I kept.

You will see the ones that I keep.

So, these are blanks, and you'll see that

they're indicated by greens.

And how I get the green is the

numbers on top.

One through nine all have different numbers, and

in my mind, green means go.

So, I press number two, and I only

press my keepers because it makes you feel

better.

If I went through and I threw away

all my negatives like bad, bad, bad, bad,

let's flip the script and say great, great,

great.

I mean, or good.

We can say good.

Let's cruise on down.

Now, here, her face looks funny, and they

might have seen something on the dress as

is here.

Not keeping it.

Not keeping that.

Her mouth is funny here.

She looks a little flat in the eyes

here.

She looks happy.

Eyes are open.

She's looking there.

Now, this is the bride getting into the

dress.

I do not shoot the bride unless otherwise

requested.

So, I'm shooting things that go around in

the room.

This is the moment of her slipping into

the dress, and she's uncovered.

So, I'm shooting the flower girl from behind.

I did not keep that photo because her

arms are up, her face is looking funny,

and her fingers are weird.

Here, I never put photos where the bride

is covering her bosom.

It's just never a good look for anyone.

But here, she'd slipped her hands down her

waist.

That's the one that I kept.

I don't have brides really looking at me

during the prep, because I feel like it

reveals an insincere moment.

Her hands were tucked behind her waist, which

I did not like.

Her hands are to the side, but it

just seems like a there photo.

Remember, I'm keeping it really tight.

This photo is fine, but if you look

up closely, her eyes are, she's blinking.

And in this photo, she's there.

I like that was the one that I

kept.

Here, her hips are too thrusted forward, and

I don't feel like it was a good

look for her.

There, her hand is up in the air.

Her left hand is up in the air.

Here, her hand is resting, which is the

one that I kept.

There, she's laughing directly at her flower girl.

Now, look at the difference between photo one.

The bride's on the left is in a

half squat.

I prefer that photo better, but here, because

she's in like a 3-4 squat, which

looks funny because she's leaning at the waist.

I kept both of them, but the one

that I used in social media was that

option.

I kept this photo because it's just like

a storytelling of the flower girl.

And then, I was able to shoot a

few other reaction photos from the bride's mates,

but they all looked funny-faced, so I

didn't keep them.

Here, we have the sister and Samantha's hands

are too, they look a little too fashion

-y, so she's cocked forward.

Her sister has this weird hand here.

Her, Samantha's face is weird.

Her sister's hand's looking like Aye Aye Captain.

Her eyes are closed here.

This just looks like just their photo.

Nothing's wrong with it, but nothing that I

would keep.

Her face is a little funny here.

Now, she's smiling.

Her hands are pretty.

That's the one that I was going to

keep.

Now, as you guys are watching the video,

I'm talking you through the narrative that Samantha's

arm got cocked.

Her right arm.

So here, I'm not going to keep that

because it's a funny photo, and her abdomen

looks like she's leaning forward, which isn't a

good look.

Here, her mouth is open.

The arm is cocked.

Arm is cocked.

Arm is cocked.

And then, I stopped shooting because I said,

I'm going to wait for the arm.

I knew that the minute she got into

the other shoe, her body would become like

this, and her arm would drop down.

And that's exactly what's happening here.

I did not keep this photo, but there

we go.

Her arm is now straight.

I didn't keep this photo because I didn't

like what was going on until Samantha had

looked over at her sister.

That's the one that I kept.

And these are all fine, but her bridesmaid

here is blinking.

Here, I don't...

Her little hair that's driving me crazy along

her dress.

These are the things that I noticed that

I should have in the room.

I should have said, hey, can you just

clear your hair?

And she would have done that easily.

I just was very caught up.

So here, the bridesmaid told her she has

lipstick, then she's cleaning the lipstick.

None of those get kept.

Her wrist is cocked in such a way,

not keeping.

Now, I didn't keep any of these because

her foot is up.

I don't like that look.

So I said, Sam, can you put your

foot down?

That was one that I kept.

We have jewelry, and that's bride.

That is how quickly I would go through

my cull.

Now, I read some really great tips recently

about if you're kind of stuck and you

don't know how to move quickly.

One thing that you can do is cull

backwards.

Culling backwards, because culling takes so long, is

that ending with the reception photos, which is

traditionally our least favorite part of the day.

Those photos are just rather hard to get

through.

Start with those when you have the most

energy in the beginning, and then you save

those prep photos that we all like, the

detail photos.

That's at the end and it'll kind of

give you a little bit of an oomph.

Also, starting when you cull backwards is that

we have, at least I do, I can't

say we, I have a tendency to shoot

stronger at the end.

I'm figuring out what's not working at the

beginning so that if we're moving backwards, the

stronger photos will likely be at the end

so you can feel more confident choosing the

stronger ones and going from strength to weakness.

A couple tips to kind of help you

move forward with that.

So, I'm going to talk a little bit

about what happens, walk you through iView Media

Pro.

Now, once I have all of the images

that I want to keep from my RAW

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

going to upload them to Photographer's Edit.

Now, I have decided we have a question.

Can you put the mic here?

Just for inView, does it iView, I mean

iView, does it save as a RAW file

or does it save as a JPEG?

How do you mean?

From iView, when you're culling them and you're

putting green, you save the greens as a

RAW.

Do you know what I'm saying?

Let me just talk it through a little

bit more and then you can reframe the

question just in case I'm not answering it.

So, the catalog is like a skeleton.

It's a shell.

It's not anything.

The images, like versus Lightroom, the images are

in Lightroom, this is just a shell.

It's just like a t-shirt that you

put over your body.

So, I'm making these selections, right?

And so, if I had uploaded JPEGs to

the iView catalog, it would be saved as

JPEGs.

If I had uploaded RAW images into it,

it would be saved.

You're doing no changes in this.

It's just a viewing mechanism.

Great.

That was a good question.

So, now that I have the images selected,

I have made the personal and professional decision

to outsource my post-processing.

And I know that this is kind of

like a weird situation for a lot of

photographers because people like to maintain that control,

but due to the amount of how much

Janie and I work, how much we travel,

and how much I really want to value

the time that I have with my friends

and with my family, that is on my

priority list.

My priority list, I have defined success as

being able to travel the world with my

husband.

I have defined success as being, I'm not

lying, as being able to work for my

pajamas.

That is, I think that you are a

flipping success if you're working in your pajamas.

My opinion, you might be like, you are

a failure if you're working from pajamas.

I think you're a success.

I think you are a success when you

get to create your own work schedule.

I think I'm a success if I have

the time to go out to lunch with

my mom when I darn well want to.

Now, what I want you to do is

I want you to define your version of

success.

Your version will look nothing like my version.

Once you've defined your version of success, then

you will know when you're there.

Because so often you look at other photographers

and be like, they're shooting 50 weddings, they're

shooting 30 weddings, and I only have seven.

What's your number?

If you said, if you're shooting five weddings

this year with your kids and a full

-time job, and you hit five, you're a

success.

Nobody's version of success is the same.

First, define your version of success.

Once I have defined my version of success,

and on my version of success, it has

nothing to do with being a perfect image

processor, what is my level of success?

Traveling?

Being with my friends and family?

Working for my PJs?

If I am doing things that put me

farther away from my version of success, I

shouldn't be doing them, which is why it's

so important that you should be defining what

success looks like for you.

For me, in order for me to be

successful, I need to give myself time.

How do I get myself time?

I found a great digital lab.

Now, I am not saying that they are

the best.

I have just worked with them for eight

years, and they have yet to let me

down.

Leave me down.

Let me down.

Now, I work with photographers because for four

main reasons.

They are dependable.

I get my images fully edited from a

wedding five business days after the wedding.

It is very common for me to send

the entire wedding gallery to my clients while

they are on their honeymoon.

That looks great on my brand.

They are fast, so dependable and fast.

Their customer service is amazing.

I can email them.

Now, people say, Jasmine, what if they don't

edit the photos that way?

I have tried photographers and it just didn't

work for me.

Well, okay.

That's like going and experiencing riding a bike

for the first time.

The first time you rode a bike, it

probably was not that great.

The more you did it, the more comfortable

you became with it.

You found ways to modify.

It took me, I don't know, five, six

weddings, full weddings, that would say, hey guys,

the green tones aren't right.

The contrast isn't there.

Can you lower those highlights?

It was a constant conversation.

As my business, as my brand, as my

style has changed, I have asked them to

change with me.

How much time I give into my post

-processing company is the results that I get

that are beneficial.

Now, what I want to do is I

want to talk about how photographers edit with

my favorite preset.

The reason why I'm happy with outsourcing my

images is because I am able to upload

my favorite presets to Photographer's Edit.

This is my preferences page.

Now, we can have before and after samples

so that you can add photos in which

you say, this is how it came out.

This is what I want it to look

like.

Here you have your Lightroom presets.

You can have a color preset and a

black and white.

What they do is they apply your preset.

So this is you, this is somebody doing

your job for you.

Now, will they make your photos look exactly

like you?

No.

It's impossible.

No one's in your head.

Can they get them really close to what

you like?

Yes.

That is what you're going to see in

a second.

Now, I want to talk a little bit

about the presets that I use.

I have used for years and love Totally

Rad Actions.

If you go to TotallyRadActions.com I use

Replichrome and there's Replichrome 1 and 2.

I have both.

I still have a penchant for Replichrome 1.

I am a big fan of the Fuji

400H.

I have made modifications.

Now, I actually think that every photographer should

get a preset that they like, buy a

preset, but then make modifications so that it

looks more like you.

Right?

You don't want to work so hard at

creating your craft and being unique and original

and then applying a preset that everybody else

can use.

Make a few modifications so that it looks

a little bit more like your style.

Now, let's move on.

So, now that I have my presets uploaded

to Photographer's Edit.

Now, this is a one time upload for

me.

I uploaded them.

I started with these new presets about two

and a half years ago.

Now, what I'll do is once I have

all of the raw images called, I will

upload the raw images to Photographer's Edit.

I do it at night.

I simply drop it in and go to

bed.

The next morning, all of my raw images

are uploaded.

I am completely done with that process from

the wedding on Tuesday morning.

There have been times during the slow season

where I get all of my images back

on Friday.

Not because I'm me, but because they deliver

on what they say they're going to deliver.

Okay, so we're going to move on next.

Once the images are ready, so what Photographer's

Edit, I pay for them to process my

images and then I pay for them to

export my raws to JPEGs.

Why?

I want time.

So, I will pay extra for them to

export my images so I don't have to

wait and do them at home.

Once they have exported the JPEGs, they put

them in their online gallery and then I

just download them.

So, the following Monday, maybe that Friday, I

will go.

I download the images.

They're all ready for me.

I might go through, maybe reorder a few

of them, even though they will, they order

them for me by one time and two

category.

So, they have five categories, prep, ceremony, so

it'll just bulk it for, yeah.

Okay, you guys.

Right?

That's the thing.

We talk about, we don't have time for

this, we don't have time for this.

They, for free, they will categorize according to

your time stamp and then, which is why

it's important for you to sync your cameras

with your second or third shooter, and then

they categorize them so they bulk all of

them.

And then I make a request, because they

bulk it into prep.

And so, there was one wedding that I

got back and all of the prep photos

were together, which is awesome, but not so

awesome because J.D. was shooting the guys

and I was shooting the girls, and so

they got mixed up.

So, what I needed to do was make

a note.

I said, hey guys, I just spent about

a good 25 minutes reorganizing the photos.

How about we get this right the next

time?

And I left a note and I said,

in all of my jobs, I say, please

put prep photos in its own folder, but

have bride prep separate and groom prep.

The minute I added that note, never again

has it been an issue.

So, again, working with the team so that

they understand what you want.

Now, what you're going to see are before

and afters from photographer's edit.

So, you're going to see the image as

I shot it at a camera, and then

you're going to see the edit.

Dun, dun, dun.

Okay.

Now, quickly before we get in there, I

chose photos from five or six distinct parts

of the day, so that you could see

how my singular action is applied and shown

in different scenarios.

So, here we go.

Let's start with bride prep.

My straight of the camera photo will always

be on the left.

The edited photo will be on the right.

Now, what you see, I still stand by

it.

What they basically really focus on is lightening

skin tones.

That's like my, that's my jam, and I

have told them, apply this preset and then

really focus on what the skin tones should

be.

Now, as you can see, these are really

dark.

We were shooting against mahogany.

These are darker areas.

Now, we're going to move on to the

bride by herself.

What we did is, what this monitor is

doing, it's really highlighting the highlights, but her

face was really, really brightly exposed, and then

the back of her wasn't so much, and

here we've kind of blended it out a

little bit, but not too much.

I have maintained that I want to shoot

my pictures out of can the best way

I possibly can.

Worst case scenario, worst case, is that I

give my bride this photo, I stand by

it.

I stand by it.

I am not delivering my images to an

editor and say, can you work a miracle?

We are the photographers.

We must be in control and produce images

that are 90% good, and then that

10% are the things that really fine

tune what it could possibly be from there.

Let's go to a different part of the

day, which is bridesmaids.

Again, the thing that we're really focusing on

the most is bringing up skin tones.

That's what they're doing.

You see that the tonality has changed and

there's brightness, but it's bringing up those skin

tones.

Now we're going to go into the ceremony.

Now, somebody had asked in the Facebook group

what I did to save the sky, and

the answer was nothing.

People ask what my metering mode is, and

for about eight years, I didn't know what

my metering mode was.

I was like, people were asking me, I'm

like, I don't know.

I'm like, I'm pretty sure it's spot metering.

Pretty sure.

I don't use it.

I use the back of my camera.

And what I came to do was like,

I'm going to really find out the answer.

So I went to my Canon 5D Mark

III manual, and I was like, what is

it set at?

Come to find out, it's set at evaluative.

Yeah, didn't know that.

I was like, it's spot, it's spot.

No, it's evaluative.

But I never use my metering.

I look at the back of my camera.

Am I producing the kind of images that

I want?

Done.

That is like the most un-technical answer,

and it will drive people batty.

But it is what it is, and it's

all I got.

And, ten years later, I'm still okay with

it.

I do not use an expodisc.

I do not use any other tip or

trick.

This is straight at a camera.

There it is.

Boom.

Done.

And what we're really focusing on is just

bringing up the highlights.

Again, very simple.

According to the things I want.

Now here, we have the photo party picture.

Now, what you'll see are basically color tonality

changes.

This was really, really, really green.

And what they did is they kind of

just poured in and made skin tones look

like skin tones.

Her bridesmaids love to tan.

If I did not give her back a

photo where they did not low tan, they

would be like, what happened?

I want to make sure that their skin

tones look truly like their skin tones.

Now, get into the last frame.

And this was at, let's see, 4 p

.m. in the afternoon in Sonoma.

You saw that, against popular belief, I do

know how to save skies.

I choose not to.

You saw in the ceremony, I know how

to shoot that way.

But given this light, my only other option

was to have the sun on my client's

face directly.

They would be cheeto orange.

They would be extra sweaty.

They would be squinting even more.

And they would just not be a good

situation.

I made the artistic decision to blow out

my sky.

I am okay with that.

But guess what?

I saved the detail on her dress.

I saved the detail on her flowers.

I saved her skin.

Is there a hot spot?

Yes.

But what do I want to do?

Like travel with a 30-foot scrim?

Never.

I saved everything in Taylor.

I have a highlight on his shoulder.

I saved most of the leaves.

I did my best.

We're going to talk about how we find

natural reflectors.

Now, why this photo was able to work

was because this floor right here was illuminated.

And this floor was almost like a terracotta

color, which is going to be reflecting light

back into her.

This floral bouquet is what color?

White.

It reflected the hints of light back onto

her face.

That's why I was able to say confidently,

listen, this is probably not the best photo

and the best light that I've ever shot.

Would I prefer to shoot this at the

golden hour on sunset three hours later?

Yes.

I did not have that option.

I stand by this one.

So what I'm going to do now is

I'm going to open up a photo.

So now that you know what my before

and afters look like, I will only bring

a photo into Photoshop because they're edited pretty

much the way that I like them.

I'm going to show you.

I'm going to open up Photoshop right now.

I'm going to show you what I do

in Photoshop to make small modifications.

These modifications will only happen if the wedding

goes for submission, if the images go into

a wedding album, or if the images go

online.

By and large, so one thing that I

noticed that I was like irked by, I

was just like, why is this rock still

here?

And I was like, I know I took

that out.

But I just actually just went and grabbed

the photos from the photographer's edit to show

you exactly what it was.

No retouching on my end.

But when you'll see this photo online, this

rock and that rock were taken out.

And what you're going to see me do

now is like the most basic Photoshop retouching.

But I'm going to show you kind of

like what that is.

So I have a few images in Photoshop

here.

Now when I have all of my edited

photos, I get the edited photos and I

put them into an iview catalog.

So I have the raw images in their

own catalog.

Then I have the exported retouched jpegs in

their own catalog.

What I have are a few sample photos

here.

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

going to highlight them all.

So Apple A.

And then I'm going to open them directly

from iview into Photoshop.

Now if this gets remedial, if this is

boring, if you want to poke your eyes

out, please let me know.

Like this isn't for me.

You know, like please.

The stuff that I do is so basic

and I promise you I will probably get

like 15 emails later being like do you

know there's an easier way to do that

in Photoshop?

I know.

I just choose complex.

Okay.

So what we're going to do is I

have four photos.

Kind of show you basically things that I

would do.

Now here's a photo.

Does anybody notice anything with this photo just

off the top of their head?

What happened here?

That but what I didn't realize this had

fallen.

It was windy and so it fell forward.

Okay.

I shoot this and I, you guys saw

on the previous lesson, I had like five

seconds.

So I'm going and then some camera guy,

I'm running up to the front and he's

like hey, do you know what fell down?

And I was like it did.

And I was like people had already sat

down.

I'm like I got to handle this in

post.

Let's handle this in post.

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

going to use a shortcut J and that's

going to bring up my patch tool.

Now I have my patch selected on destination.

It could be source or destination.

For now I'm going to choose destination.

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

going to try to go around this and

see if we can just basically clone it

on the other side.

So basically I'm just writing a little circle

around this.

So it's like you become a photographer and

you just never think that this is going

to be your life, right?

Oops, hang on one sec.

Hang on one sec.

So there it is.

Okay.

So now what I want to do is

it looks pretty good except for this area

right here.

It doesn't look blended in.

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

going to press S shortcut.

I'm going to make it a little bit

smaller.

I'm going to press the Alt key.

I'm going to select what I want to

copy in.

Clone it out.

Clone it out.

So cool.

So as I'm cloning areas I want to

clone the things that are around it.

So here we have peaks of trees.

Grab that.

Clone this over here because we want to

make this look as real kind of as

possible.

Now do I think I'm a good retoucher?

No, not at all.

Not at all.

But I do, I know what I need

to do to get it done.

And would I do this for the wedding

submission?

I heard back from the photo editor from

The Knot and she said that from what

she saw so far that they definitely see

this getting featured in the national magazine.

So I'm excited.

I'm excited.

So that goes, so this is it up

close.

Now let's peel it back.

That's the original picture.

So we just fixed it.

So that's a small thing that I would

do.

Cool.

Let's go into another thing that I would

do which would be very much a photo

that would be included because the Chateau St.

Jean was a major sponsor for the event.

If I could find signage, verbiage, wording that

can incorporate details and those elements, that's what

they're going to choose.

When J.D. arrived early and I was

shooting the bride, he went around property and

took pictures of signs of Chateau St. Jean.

That works if needed.

But to find something, a natural element that

incorporates the two of them, you're killing two

birds with one stone.

But this is one thing that I noticed

with this photo that our lovely third shooter,

Tammy, had captured when we were shooting the

ceremony.

So I noticed that it's not centered.

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

going to first center it or center it

as much as possible.

And I basically just went to the crop

tool and what I want to do is

just look on the sides of each of

the box.

That looks roughly about what I should be.

I have my aspect ratio set at four

by six which is how the image was

captured.

I'm going to come back down to crop.

Now, I'm not going to ask you what

you guys see is wrong in this photo

because I'm sure you guys will find something

else wrong.

So I'm going to tell you what's wrong.

It's that umbrella.

The umbrella is really distracting to me.

So I'm going to deselect, so Apple D

to bring my image back.

Now I'm going to do this absolutely ghetto

fabulously, but this is how I know how

to do it.

I'm going to S and I'm going to

bring up my tool and I make my

tool a little bit bigger just by simply

using the brackets.

So I'm going to push the bracket.

I'm going to press alt.

I'm going to pull up an area and

all I'm going to start doing is going

over.

And yes, I know that there are people

who can do this better.

There's a video on YouTube from CreativeLive where

all these Photoshop gurus have to use Photoshop

One and it's really funny and I'm thinking

oh my god, they're dying as they use

Photoshop One and that's how I roll in

Photoshop Six.

I use Photoshop Six like it's One.

But hey, it gets the job done.

I'm going to be here in full light

and you see that I'm copying over that

little white spot.

I'm going to go back over that in

a sec.

Now I'm pulling aggregate information by the things

that are around it instead of just using

a lot of the same color.

So you see this is a lighter green

and this is a darker green.

I'm pulling things around that darker green to

make it look how I want it to.

Now see these two little white spots to

me that they're distracting.

I'm going to go into this darker green

area.

I would probably do this a little bit

nicer if I had more time, but that's

a general idea.

We have a question.

We'll make sure that you have a mic.

We have one question back there and we

have one question up here.

Do you find that it's worth it to

do it on your own or would you

rather not pay?

Do photographers edit do things like this?

Yes.

So why not pay them to do it

instead of taking time out of your day?

That's true.

That's true.

So what I'm showing you are hypothetical situations

of what I would do.

And I value time, but guess what I

also value?

Money.

That's right, boo.

So I'm going to do what I can

because this right here, if I wasn't talking

you through it, would take me less than

a minute.

Am I editing all of the photos?

No.

Am I editing even photos that are going

to the gallery?

Only if they're in the favorites folder.

And what goes in the favorites folder are

images from the slideshow.

Do I want the images in the slideshow

to be really nice?

Yeah, I do.

So once I've edited them for the slideshow,

I can double dip, put them in the

favorites folder.

And we're going to talk about how I

use the favorites folder into the wedding album.

We're going to talk about that in a

second.

You're just getting ahead of me.

But does that work?

Yeah.

Okay, cool.

But let me take it back.

So I did a shoot that I talked

about earlier when we showcased the lesson on

how to shoot ceremony details and how to

shoot reception details.

Now we were commissioned by the Lodge at

Torrey Pines in La Jolla to shoot their

marketing campaign.

Well, unbeknownst to us, they had a big

golf tournament.

I think it was something famous.

I don't know anything about golf.

Are you nodding?

What is it?

My dad's a big golfer.

Okay, so let's just say it was famous.

Okay, and it was there and it was

big.

Well, they had all of these bleachers set

up in the background for spectators and press,

and they were massive.

And they were supposed to be removed two

weeks prior to our shoot.

When we get up to the shoot, and

what do we see in the background?

Massive bleachers as part of the whole background.

And they were like, you could just Photoshop

that.

So, in that situation, I have to set

expectations.

And I was like, okay.

So, we weren't expecting there to be about

300 feet of bleachers in the background.

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

going to shoot this entire session.

And I'm not going to be concerned with

it.

Once we choose the images that you would

like to use for marketing purposes or if

you decide to pursue a submission, you let

me know and I will handle that.

Okay.

Well, I edited the images.

I got them to a gallery.

They chose their favorites.

I think I sent them around 300 photos.

They ended up selecting 125.

So, I had to go through.

And of the 125, about 70% had

the bleachers in the background.

And so I was like, let me just

see how hard removing these bleachers would be.

About 15 minutes until one photo, I was

like, I give up.

Like, this is ridiculous.

So, I uploaded.

And so the way that photographers edit does

it currently now, although they're in the process

of changing it, is you send the photos,

and then they give you, they will say,

it will take us this long.

And this is our hourly rate.

So once I got back that quote, I

was like, oh man, this is kind of

expensive.

But then I thought, would I rather spend

$250 instead of losing hours on a shoot?

Like, it just made no sense.

And, they would do it so much better

than I would.

You guys saw my editing skills, right?

Like, so I decided to pay that.

And I didn't put that as a cost

of business.

I put that as a marketing expense.

These images will be used as marketing, so

I'm going to chalk it up and itemize

it as that.

Is that okay?

Cool.

Let's go here.

How many images do you typically deliver to

your clients?

Somebody left a comment in the Facebook group

and said, probably between Jasmine, her second shooter,

and her third shooter will probably produce somewhere

around 6,000 images.

And they weren't that far off.

Between three shooters, and at the end of

the day, ended up shooting 10 hours.

It was around 5,200, 5,300.

We were shooting a ton.

And, you know, you're getting these photo requests

from different organizations.

Like, also there, for those of you who

weren't aware, we'll probably get into this, is

the, not TLC, yeah, TLC's Cake Wars.

The bride and groom went in advance to

do an episode filming of Cake Wars.

And they chose their cake and their cake

flavor in advance.

Then they were going to reveal the winner

at the wedding, do the cake tasting.

So TLC had their Cake Wars camera and

press there for the cake cutting.

And they had to get footage for their

show.

And I'm supposed to be shooting, so who

wants camera, who wants angle one?

Guess.

TLC Cake Wars.

And I'm just like, so they set them

up, and I don't know if we'll get

this on camera, but I was like, Samantha

and Taylor, can you take a step forward

and charge with me?

Can you charge with me?

Okay, awesome.

So, right before they were going to do

the cake, like, I got them to where

I needed to be, so that I resumed

camera one.

Like, I know it seems shysty, but everybody,

I mean, I'm just a squirrel trying to

get a nut, you know?

So, we move that, we move them.

And so, where was I going with this

question?

How many photos?

That's right.

So we had all these extra photo requests.

So did we end up with more photos

than we typically take?

Yes.

We average around 100 images an hour.

So for an 8-hour wedding, my clients

are getting around 800 images.

We were shooting 10 hours, plus we had

extra photo requests.

The clients will get a gallery of around

1300 images.

That's a lot.

But, the way that we break up the

day, which is what I'm going to show

you, in a gallery.

Yes, please.

We're going to pass the mic to you.

Oh, you have one.

Great.

So, at what stage in your career did

you make the decision to start using Photographer's

Edit?

And about what percentage of photos do you

personally edit yourself that you give to clients?

Fantastic questions.

Now, remind me if I don't hit them

all.

First, I made the decision to outsource my

images the second wedding I ever shot.

Yeah.

Because, here's the thing, I started my business

saying, like, I want to be a photographer.

What I didn't realize was that I had

to learn how to edit the photos.

I had to learn how to pay taxes.

I had to learn QuickBooks.

I needed a bookkeeper.

I had to learn Photoshop.

I had to learn how to be a

wife because I just got married.

I had to learn how to shoot my

camera.

I had to learn how to work a

part time job.

I had way too many things to do.

And so, after I shot my first wedding,

I was just like, I don't know how

to edit things, so I'm going to do

it how I think I should.

So, I had 700 photos that I edited

one by one in Photoshop.

I did it wrong, obviously, but that taught

me a big lesson.

I don't have 15 hours to spend on

each wedding that I shoot, so then I

made the decision, I have to find somebody

to do this for me.

Now, I was working with, like, a mom

and pop, a mom and pop photo processing.

She was a photographer who needed to make

money on the side.

So, I'm going to get into that in

a future lesson in regards to pricing.

I'm going to talk to you about what

that dynamic was, but I made the decision

to outsource my first year of business.

I moved to photographer's edit my second or

third year of business.

So, I've been with them for seven or

eight years.

How many images am I actually touching?

Great question.

I will only touch the images that will

go online.

And what goes online?

Blog images, social media images, and images in

the slideshow.

Those are all one and the same.

Slideshow is the biggest.

Blog, second biggest.

Social media, smallest of the three, but they're

all deriving from this large edit.

How many images go into the favorites folder?

About 100.

So, if my client's gallery is about 800

images, I have six sections in the gallery,

which I'm about to show you.

There's going to be, plus my favorites, going

to be around 100 images in each folder.

So, while people might hear, wow, Jasmine's clients

get 800 images.

That's a lot.

Well, yes, but if we break them into

folders, my clients are not overwhelmed looking through

75 to 125 photos.

I tell them to grab a glass of

wine, and every night for a week, go

through one folder and choose their favorites.

That's kind of how we expedite what that

looks like.

Cool?

So, you saw me using iView Media Pro.

We got back into Photoshop.

In case you're keeping notes, this is the

linear trajectory.

Now, once I have all of the images,

that is Ashley.

Ashley is here.

Well, you can't really see her.

That's her.

Trust me.

So, yeah, I use Pixie Set.

Pixie Set has been the cornerstone and the

foundation.

I know that there's a lot of questions

in the group about it.

I'm more than willing to ask about them.

I am not promoted to talk about them.

I talk about them because I think that

they're awesome, and I know that the people

who do use them feel equally the same

about me.

So, this is a sneak peek into my

back end of Pixie Set.

So, when I log into my account, I

will see my most recent events up at

the top.

I love the clean interface.

I love the search icons.

I can quickly go through here.

I like the idea of getting notifications every

time some sort of activity is going on

in my gallery.

Now, one thing that I think is really

important as a wedding photographer is you need

the ability to sell prints.

Now, I am not a product photographer.

I'm a service based photographer.

We're going to get into what that looks

like in a future lesson.

But, as a service based photographer, I will

have products but I don't want to be

the purveyor of them.

I don't want to provide them.

So, what I do is I use Pixie

Set, and the clients can order prints directly

through my gallery.

Now, my gallery is not branded as Pixie

Set.

It's branded as Jasmine Star Gallery.

So, the clients will go there, and when

they order prints, that print order goes directly

to White House Custom Color, and it is

drop shipped to my clients.

So, when I wake up in the morning

and I see a $200 transaction, I'm like,

ha, happy Monday to me.

That's the kind of business that I want

because remember my definition of success is PJ's,

travel, and money, right?

Like, I hate talking so honestly but is

that not what we do?

Can we not get paid for our art

in a way that is effective for us?

This is the kind of business I want

to run.

The best part of it is that I

work with White House Custom Color.

So, if there's ever an issue with the

print, and there never has been, I can

call White House Custom Color customer support, and

they are just on it impeccably.

Now, one thing that I really like about

Pixieset is that they don't charge a commission

on the prints.

That's a big factor in why I decided

to choose them.

So, let's kind of get into what we're

going to look at now.

So, I will create a new gallery for

each wedding that I do, and I simply

drag and drop all of the images here.

So, I get the edited JPEGs that photographers

had edited, and then what I'll do is

get them in a gallery.

Now, this is what Samantha and Taylor's gallery

looks like on the back end.

And here you'll see my images broken up

to.

Favorites, Bride Prep, Groom Prep, Ceremony, Bride and

Groom, Portraits, Reception.

And then I also include their engagement session,

but it's going to be at the bottom.

Now, the way that the ordering appears is

important to me because when somebody logs into

their gallery, the first thing I want them

to see is not Bride Prep.

It is not Groom Prep.

It's not any portion of the day that

it hasn't been heavily curated.

What I want them to do when they

log into the gallery, which is what I'm

going to show you right now, is I

want them to land on their Favorites page

because their Favorites page are my Favorites page

and the best representation of their day.

I'm curious what your personal preference is.

Why Pixie Set over Pass?

Why I choose Pixie Set is because it's

branded in a way that's completely my own.

My clients do not have to download an

app to download the images.

It's directly to their computer.

At the time when I made the transition,

Pixie Set was a much cleaner representation and

mobile-friendly.

It wasn't flash-based.

At the time, they were taking commission.

I did not want to take a commission.

I wanted to work with my lab, White

House Custom Color.

There were a lot of reasons why I

made the transition and what I can say

about working with Pixie Set is I haven't

had a single complaint from a client and

I think that's very valuable.

Ashley has a question.

Let's pass the mic.

What size are you uploading to be used?

I've changed mine like 100 times.

I'm assuming this is how you deliver no

flash drive.

This is how they get their images.

I run a service-based so I'm not

sending a USB or a disk or anything.

I've done both.

I've done one.

I do 3500 pixels and then 8x12.

There was a time where I was doing

12x16 at 240 dpi and right now I'm

resting at 8x12 at 300 dpi.

If they want to print it bigger, like

six months down the road, finish it.

What do you mean?

What if a client comes back to you

a year later and wants to make a

huge print?

I would tell them to make it a

canvas because I can change the dpi to

150.

Just in case you guys don't know, when

you're making a canvas, you don't have to

upload at 300 dpi.

You can make it at 150 and it'll

look impeccably well just due to the nature

that it's not a print.

If they want to do it, 8x12.

I have seen huge photos at 240 dpi

and they're beautiful and they're fine.

We are not putting our images, I have

to be very careful, we are not putting

our images in a gallery nor are we

doing gallery wraps on a billboard.

We're putting them in client homes underneath glass

in a frame.

Nobody's with a magnifying glass.

You know what, this pixel seems a little...

Don't save your raws.

I don't.

I've saved my raws for 6 months.

Here's the thing, I have never in 10

years had a client come back and be

like, I need this raw file.

One, they don't even really know.

An educated client would know what a raw

file is.

If I actually work with a photographer, I

do save the raws for a little bit

longer.

I've only saved them in case they came

back and wanted something bigger.

Have they come back and wanted something bigger?

No, but my computer is just full.

I can't even put one photo on it.

Here we go.

Get it.

If they're older than a year, anything over

a year that a client has not...

What we're giving our clients are big files,

massive files.

Most clients are ordering 5x7s and Christmas cards.

That's what they're ordering.

Let's move into the gallery.

I want to show what the gallery looks

like.

All of my galleries are password protected.

My clients seem to like that.

If you purchase this course, you will get

access to this gallery and you will get

the passcode.

Let's pop right in.

Now that we're in the gallery, the best

thing that I like about it is that

it's a scroll gallery.

It's very similar to the way that maybe

Pinterest works.

Clients are able to favorite their photos by

using...

Clients and vendors are able to select the

heart icon.

This is a thing that I want my

clients to work through as they go through

the options.

Now we have gone through my workflow.

We've gone through the calling.

We've gone through the editing.

We've gone through the photoshopping.

We've gone through the upload process to Pixie

Set.

Now it is time for me to release

the gallery to my clients.

What you will get is their specific web

address.

My addresses are gallery.jasminestar.com whatever I

name that gallery.

Those galleries belong to me.

It's still a brand that's continuous.

Now what I'll do is I will send

a template email outlining how to download their

images, how to share their images, how to

print their images.

I must educate my clients to order prints.

I want them to have prints, but I

don't want them taking them to Costco or

Walgreens.

Do I hold it against my clients for

doing that?

No.

That's where everybody gets their prints done.

I don't expect anything otherwise until I educate

them and say, there's a reason why these

print labs have great machines.

It's the paper quality.

They are true to color.

When you tell your clients those types of

things, they then understand that paying a tiny

bit extra for your print versus taking it

to Costco makes a difference.

Now, once I send the template email to

my clients, I will then send a template

email to the creative team.

I am sharing the images with my clients

and then I am saying, just the next

day, sending it to the creative team.

I ask the bride, is it okay if

I share the images with the vendor team?

I have never had a bride who has

said, no, you can't share the images.

So, once I get her approval, even though

it is in my contract to share the

images with them, I just want to make

sure that she knows that other people will

be sharing them as well.

Now, both of these email templates can be

found and they are available at jasminstarstore.com.

I have said template, template, template, template so

many times today.

If that's what you want to do, I

think that would be beneficial because they are

effective, they are efficient, and it saves up

time in my inbox because having time is

my version of success.

So, in closing, once I have the galleries

and I send it out to my clients

and I send it out to my vendors,

I get notifications when each gallery has been

downloaded, who's ordering prints, how many times it's

been downloaded.

It has a category for each wedding, who

has created a favorites folder, who has ordered

prints, and who has downloaded.

I want to know where the images are

going because this helps me end up marketing

who I need to market more to.

And all of this is happening, I wake

up to new, uh, to new, to new

thank you, thank you notifications.

But here's the thing, I want to bring

you up to date with how sharing with

the creative team has worked from the Not

Dream Wedding.

So this is a few things that the

vendors, I just sent the gallery to the

creative team two days ago.

You continue to amaze me with your grace

and speed.

You have mastered efficiency to get the perfect

shot without exhausting the couple while maneuvering around

12 video cameras at the Not Dream Wedding.

Sorting through your images brings a sweet roller

coaster of memories and joy I experience at

the Dream Wedding.

Having a strong photographer as a partner on

the day makes my job effortless and enjoyable

at the same time.

Thank you.

That was from the wedding coordinator, Jeannie Savage

of Details Details.

This, uh, is another one.

I must say that the entire team is

oohing and aahing over your photos all morning.

I hope we get the chance to work

together again soon in the future.

Happy wedding season.

Teresa from the Fairmont Hotel in Sonoma.

They catered the event.

Jasmine, thank you for the generosity in sharing.

I delved deeper into your tweets and blog,

and I just adore how open and down

to earth your posts are, and how you

capture the aura of just the right moment

in your photography.

So I will now look forward to more

of your aura, the distinctive atmosphere or quality

that seems to surround and be generated by

a person, thing, or place.

Mira from Peony Acres.

I want to say that your photos are

absolutely stunning.

Amazing work.

Jennifer from The Knot Magazine.

I don't read this to say that I

think I'm great.

I'm reading this to say it is so

powerful to help others build their business.

We are the gatekeepers to documenting how their

work came out.

We must share, and when we share good,

good comes back as a result.

In a future lesson, you're going to see

how we used all of these images and

how the vendors team used the images in

marketing in a future marketing course.

It is about creating photos.

It is about making your clients happy, but

it is about also helping other people as

we move along, and I believe that this

is something that we can absolutely all do.

So, final slide of this presentation before we

get into a few questions.

It's the wedding workflow wrap up.

Now you've seen what a wedding looks for

me from the beginning, from the middle, and

from the end.

In previous lessons, you learned how to prepare

clients for expectations, sorry, prepare clients for success,

manage their expectations, deliver on a timeline that

you're proud of, how to shoot with intention,

how to personalize the images by way of

their story.

You're going to use this wedding as marketing

collateral and to connect with other vendors, and

this particular lesson saw my entire workflow.

Now that you know everything, how I run

my business, I hope that you are empowered

to apply all of it or just some

of it to your business so that you

guys can grow and succeed.

We have just a couple minutes for Q

&A if you guys don't mind.

So we're going to go to, I think

there's a mic here.

When you're culling the photos and you're picking

and choosing, do you ever get the brides

coming back saying, I saw you clicking away

all day, I want to see every photo

you took.

How do you deal with that?

We dealt with that by managing expectation.

In the beginning, in my collection menu, I

itemize how many images a client will get.

So if a client comes back to me

and she says, I want to see more

photos, outlined in the contract you were going

to get between 800 and 900 photos.

If I met that, then I am not

under any other obligation.

But most of the time, if there is

a photo that's one of a kind, even

if I don't think it's that great, and

you will see that quite a bit in

the gallery, it goes in the edit.

My clients aren't missing chunks of their day

at all.

That's why I get a little bit leery.

I read in the Facebook group that there

are photographers who give their clients 200 images

or 300 images.

I just think that you run the propensity

of misleading a client unless you're saying, this

is all you're going to get.

Outline that again and again.

I've never had a client come back to

me and say, I feel like I'm missing

a photo.

If it's a one of a kind, it

automatically gets into the gallery.

The only thing I'm really doing is if

I'm shooting the bride and I take eight

frames of her in the bridal portrait, she's

going to get one.

I'm just curating it down, but anything that's

original automatically goes in there, so I don't

have a client come back to me.

Question?

How many hours do you think you spend

on one wedding from start to finish, like

meeting with clients and editing and things like

that?

Let's talk about this.

This is where we're going to end it.

This is great.

Let's see.

I flew to Seattle on Wednesday and at

5pm on Tuesday, I opened my computer and

my keynote, weeks of work preparing for these

lessons, was gone.

I'm not going to get into that, but

just know that there was crying, gnashing of

teeth, perhaps there may or may not have

been some cursing involved.

I was on the phone for two hours

with support and this has never happened to

me.

I am fastidious about backing up and saving

and something happened.

I had to say, and in retrospect I

can talk calmly about it, but I was

not calm.

I had to say I make the decision

right now to choose positivity.

I make the decision to say there's a

reason why this happened.

The reason why it happened is because I

can answer your question with assurance.

I just realized, I didn't put it in

this keynote.

How many hours it takes for me in

a single wedding is 31 hours.

31.

I outlined how long it is for a

client meeting.

I outlined how long it takes for me

to call.

I outlined how long it takes for me

to drive to an average engagement session.

How long does it take for me to

drive to the consultation?

How long does it take for me to

drive to the wedding?

How long am I calling?

How long am I photoshopping?

Social media takes almost as much time as

me actually prepping and calling my images.

My social media pushes take around two or

three hours, but because I'm not editing my

photos, I have a work day that can

facilitate that type of growth.

That is a decision that I'm making because

I don't know if you guys can feel,

but maybe I need to change the energy

because these sections about workflow and sections about

pricing, they make my skin crawl.

It's not a strength of mine at all.

When we talk about marketing, bring out the

lasers and the horns.

That's going to come up in a future

lesson.

That's my judge.

Remember, I want to choose things that I

want to choose.

I hope that you guys feel empowered to

make those same decisions.

Run the type of business that you want

to run.

If workflow is your judge, rock it and

own it.

If it feels just as tiresome as it

does for me, do what you can and

then release the rest.

Thank you guys so much.

I appreciate it.