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The Art of Being a Second Shooter

Lesson 21 of 24

Reviewing Photos from Day 1

Jasmine Star, JD DelaTorre

The Art of Being a Second Shooter

Jasmine Star, JD DelaTorre

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Lesson Info

21. Reviewing Photos from Day 1

Lesson Info

Reviewing Photos from Day 1

Before I take us into the gallery, what I want to do is the showcase a short slide show of a few of our favorites to kind of give you an idea of what a bride would see after her wedding because we first want to manage expectations by setting her expectations if she could be really happy with the sneak peek that she got from her slide show she's going tio by default be really happy with all of the extra photos she sees as a by product so we gonna show a quick slide show and then we're gonna go into the entire gallery so we're gonna get cute up if I can have the tech guys bring up my computer to showcase this lie joe and once we do that we will I've got this going great way faithless you sound fish I will really keen for you our side my oy wait what if they are too bye sees war uly for me light our side you're doing eh? No way this clatter between my way wait saddle battle you faith for me I will be the word to gaze on you discreetly slow your speed yeah the scythe wait, wait no give a s...

hout out to tough toodle in the chat room who said something to the effect of uh wait this is a beautiful wedding wait I feel like seen that before? Wait that's because it was yesterday just thinking at first that it was a real wedding right guys were showing us but what I think is amazing that the susan pointed out because we're teaching throughout that entire thing it's just beautiful you thank you stop like my legs are shaking underneath this table right? I ask your wife she nervous e I like sitting underneath very it's one thing um it's one thing to teach into it's one thing to teach and shoot and belive it's the one thing a entirely different thing to teach shoot me live and have to show your work um not just two people but to people online so well hold on by the way and the jasmine was working up until the last minute to get that together for us also thank you working for lunch I have acute comment from ten l who said l well, never my seven year old came up to see if I was crying ha ha I was like no, stop checking I don't always cry over videos but the fact that you would make somebody tear up of wedding that wasn't real, you know it's that's pretty intense which goes back to what I want to talk about now is that as I know this is a second shooter course but what I want first shooters to see is that we depend on second shooter's not to digger gate what our second shooter we shouldn't decorate. What our second shooters do is they help us curate a very different story, a complete story, and they help are collection come together much differently and to service our clients in a really strong manner. So what we wanted to do with that is just to kind of give you an idea of what clients would see that would be very similar to a sneak peek side so that I would send vendors after a wedding day like for the vendors who participated in the shoot, their information is coming up soon, but I will be sending them a sneak peek sideshow before some of the gallery, but going into the gallery now, okay, so what we're looking at now is a complete kind of cross section of what I shot yesterday, so during lunch yesterday, what people who we're watching online didn't know was that I was working or we were working through lunch so that we wouldn't be spending so much time shooting details because that is not what the course is focused on the course was focused on working with the second shooter. If you would like to know more about how we shoot details, did she shoot how to photograph an editorial wedding? And we had a style shoot we talked about how to photograph details and things that nature in a much deeper capacity but for this we're just going to cruise through the gallery if you guys have questions if I'm moving too fast and also if I'm moving too slow like this is where I don't know how to gauge because it's not very often that people show you their entire gallery so let me know like be like okay give me a little code like have this be like move on also I'm not gonna highlight which images are j d's because we want to first show continuity and then at a later point in time we're going to highlight just j d's photo so you guys can see directly where he lies within that spectrum so this is a comprehensive this first part what we're doing now is comprehensive so we're starting off with the signature uh with the stationary suite and you're just kind of see the different angles and I was using primarily to shoot these with the fifty and with the vendors that we're participating I've said this before okay so what the vendors that we're participating a large portion of our business is really driven by referrals and word of mouth our marketing budget is really comprised of zero dollars because we really depend on other people but as photographers we want to empower the people we work with to share our name liberally and they do that when they have images so I make sure and get all of those images and they do depend on my second shooter to help me with that but he knows that in advance. So here are a couple shots that I asked jd to get of the bride's hair do I think that they're the most groundbreaking photos? No, but for the it's a hairstylist I want to give her a portfolio piece because brides are usually doing of front section of a braid and it's used like traditional so we could get her something else. I'll likely change that photo to black and white so that the focus will still be on the hair. Okay that's not the most becoming picture but I kept it in the edit because this is exactly what happens on a wedding day. I do the walking and jamie will snap a photo just so that he can get his spot his mark and know what his exposure is going to be. And yesterday for those who are wondering about exposure we did speak about the exposure triangle and you will hear and see how we manipulated it yesterday. So again, it's part of what we do is photographers is we helped capture story but what we need to do the best photographers help tell a story when you capture details um it really moves it forward um we can also I'm just kind of like cruise through what this is and this was actually a picture of this picture was kenna taking a picture of the couple on your iphone and I just got a side angle so I got the second photographers angle but that happens a lot at weddings so I will always help on that. You could see that light was a little a little crazy at times. Um one thing I want to point out with here's my angle of the first kiss and there's j d's angle of the first kiss so here they are side by side and what made the slide show was janey's kiss because here in this photo that hot spot was really destructive to me I could go back in photo shop and fix that up but because I was working at a quick pace I actually chose this one and I actually just think it tells a different story I actually like I think that might be um o okay ah, yes that's kevin and I actually sometimes like when somebody is in the foreground because it kind of gives a real appeal to it uh oh, yeah soaking on wednesday so it is going to cruise through the entire gallery um unless you guys don't want teo, we can we can do whatever you guys okay, okay so it doesn't sound half is good without music right would it be okay kruzel a bit slower oh, way have to get through these oh no we don't have to we actually have dedicated time to this section but uh I am a very self conscious person soto watch my photos like in front of people like why don't we just stop this wait I don't think anyone else is feeling that way way I will take that test it okay or you can reject if I if I see anything you guys feel free to interject what you have a moment to so this is all about us and I'm just trying to deflect I mean attention anyplace do there are microphones next to you as well so um yes even forward um so sometimes all grab the bridesmaids and do individuals occasionally and one thing to you that I find myself leaning more towards is action and movement because if you had to go through in a gallery and just see like pose, pose, pose, pose, pose and keeps the people less interested what I I want to do is have the bride and her bridal party and family be continuously interested in the stories that are being told and if you have a bunch of poe's photos you have less retention so again we're just going to right now and then we're gonna come back and talk about j d's photo specifically so this is during yesterday when I was giving her those god awful heat that cues I just think to myself that there's gonna come a point in my life right if I ever have to see what I was saying to her I'll probably die but either way it doesn't you know what I'm ok with myself because I like how comfortable she got I know that I don't work with models and so in order to give get her movement within her hips within her waist and her arms I needed to give her jasmine again being self conscious because I thought when she said your favorite team just won the game where's our super bowl or something I actually thought that was great with her reaction yeah war spouse again right there I think no, no, I think that those those types of directives are always good even on our wedding day jasmine will do something similar to that or you know, just a random reaction going and it does do something to just shake up what weather, whatever it is we're doing at the time if we're doing too many portrait or you know just gives us a variety I love it and it takes a while tio be comfortable and confident doing that but I think that the results payoff in dividends because you get photos you're like wow um now what you did see to as well is that I had the photos edited so yesterday I went through the cold the images and I sent them off to be processed through photographers edit so they did the light room processing for me that I may be able to show these images today just a few hours after the shoot and give myself time to edit. A few of my favorites would not have been possible if I was not. I'm sharing the division of work a great company. Um what I did, though, was I had them lined up the images according to how they were shot. So the based on the meditated j t night sync our cameras like he said yesterday, but because we shot the day out of order, what I needed to do as a curator was go through and lay out the date layout the day in a way that makes sense as a viewer's viewing it from beginning to end. So I think you guys can already start seeing, um where jd shooting? Yes. Are you referring to those in your slide show that you personally edited ordered photographers and it also do those I edit my favorites. So what you saw in the slideshow? We're, um um photoshopped after I had already got into the exported j pegs so I f d p to the raws yesterday I received the j pegs today average turnaround is usually like less than average turnaround for us usually most photographers is five business days um but I talked to him in advance and I said, hey, can you hook a sister up because I'm going to pee on creative live and they're like sure you no send us the images and they're great you mean I think that they would do that for a lot of photographers if they were in a pinch I really do believe that so again you'll see a heavy emphasis on the details that's what it was more about but again we take boat anywhere that we see um that the bride and groom spent money is what we shoot a lot of it there's a lot of details we shoot more of that very, very typical of opposed cocktail hour picture is it anything to write home about? I know not really but to the writing room it will be great at a later point in time way shoot pretty wide open. This is what we were talking about yesterday when we were talking about shooting manual yes mark um I saw like five or six different pictures like table settings and things like that that looked very similar do you have to put those all in the gallery just case the bridegroom sees something different here there do you kind of try and get that down to like one version of those pictures I will usually that's a great question, and I think it's going to be most best shown when we get to the cake shot, because when you're shooting a table scape, I want teo include the feet of the table. I want to include the linen on the table for one full shot than braise my shot up get half of the table in case the bottom of the chairs are ugly or the bottom of the lenin is dirty, so I'm shooting halfway up, then I shoot just the crest of the table and up, so I'm getting a full vertical ah, half vertical, a crest, vertical then I do a horizontal, so they do look similar and the bride yet may or may not notice, but again, I'm shooting for the bride I'm shooting for my portfolio, but I'm also shooting for the florist for the winning company, for the coordinator for the rental plates and chairs and silverware. So all of those people could be potential marketing vehicles from my business. So I'm going to make sure that I'm thinking for my client clear benefit for her, but also clear benefit for other people who could share a name great um, we do have a slide for people who participate in yesterday's shoot, but I actually really like working with the models they were all very, very sweet. So are there any questions just be talking to this we're almost ok so here is the cake shots so you'll see the full you'll see the half you see the crest you see the horizontal you see the tight vertical you see just so the cake the baker might want a different type of photos of her cake and the florist might want a different um photo of how she decorated that cake so I want to make sure that I'm thinking about both of them independent of each other and I always think I know what so lame but when I met weddings I'm always thinking about putting together presentations for creative live and so they require these like a lot of negatives space so I could put my text over so I just thought that photo in particular you guys will see in a future creative life court you know at the same time though you never know which one the brides in and choose like bright actually might choose that for an album for some reason she might like that but given your the option of whatever cape child she wants is always good so we're cruising now towards the end of the shoot and I thought that we should probably end the gallery in the slide show with what would probably end uh at the end of a traditional wedding cake cutting garter and stuff like that so I think that yesterday this particular portion probably showed what we do best as first and second shooter's in our perspectives um just shooting differently and quickly and communicating with each other and that is that is the end of the full gallery, so we shot yesterday yielded three hundred pictures uh, we were shooting about an hour and a half that is a higher average, but given what we were given, we were shooting all like the shoot heavy stuff, so it is definitely higher than our average by a little bit, but what I want to do now is I want to bring up so you could see distinctively two perspectives when things especially during the toasts during the cake cutting, you saw two perspectives, but we're hoping that he'd be blended seamlessly enough to showcase. So now what we're going to do is if you saw its cruising through the gallery, you'll notice that this photo is indicated with a little bit of red, I've marked all of j d's photos, so now what I'm going to do is show you that out of the images that we shot so two hundred ninety eight roughly two under scuse me two hundred and twenty eight photos yes, yes with two hundred and twenty eight feet, it is remind and jd yielded a higher number of photos the normal so and he got in the ballpark of seven o e competently yesterday about his twelve percent so I'm just gonna go through j these photos um rather quickly would bring to that time great way. Oh, sorry. E o okay, so j d got the hair photos like we'd mentioned uh meeting and checking so minus one because that one was a given so technically sixty nine photos okay um you'll see his angles as he's coming in and our angles of during the reception we're very similar but he was we were shooting them at different times so reactions are very important during this time he always usually gets bright bridesmaids and groomsmen during that time and he's a big fan of shooting hands so I don't have to shoot hands for some reason because he shot so long he I know that he gets hands so these are a few of his photos from yesterday and you could see how he's at a slight angle. So this ochoa question are we gonna see just your images later? No, no, no, no, no. Because during that if we could go back during that during those shots that I was getting of the hands and it was taking a lot of time doing that, those types of things I don't know if you noticed jet what jasmine was jasmine was actually an honest at a ceremony I usually never go past the first aisle because I know that jazz is going to be doing something a lot of that and the photos that she got from being in that aisle, I think I just love those reactions because you get to see a really close look. The bride's reaction when the groom was talking her where I feel like that just it's complete opposite of what I was getting, we can't bring those back up, so we'll bring will come back and revisit her reaction shots to what jd was shooting just to revisit this we're going to fit were how about halfway through with hardly any of those photos? Hardly any of those photos made the slide show. I mean, I'm a couple of them did, but most of the shots were from jasmine's angle those were just I actually loved those shots that she was getting okay, so, um, after didi shoots a kiss where he said he runs out because he was such a short, I'll they actually rack I walked rather quickly, but he was able to fire off one uh, even with the fire of three frames to them, I just didn't feel like really worked, but this one did her looking up at him a complete candid, so I definitely kept it. I'm again you'll see a lot of his focusing on details and he's shooting the details when I'm busy elsewhere and he's always getting that side reaction when I said hey guys want to just go up tio west and those are the ones I always lean towards they just feel real and candid and photo journalistic again a lot more details that's become his specialty I wil I was shooting the the bridal party picture jd came in and shot a much tighter version of the same photo the same moment and these photos I was shooting the girl's vertically walking toward me and he was off to the side with the eighty five very similar set up to the family photos that we had talked about earlier today and again this picture made the slide show because I felt like it was a lot more candid and it was nice and tight um I was shooting this straight on with the fifty and he shot it at an angle with eighty five jasmine's critique here would say you've got to leave her head on they get her full head up there because yeah I think jazz is that usually is for number one critique with me cutting off people's limbs like appendages appended don't hold him like it's okay to cut off feet but do it at away like don't do it mid calf it doesn't make sense like do it at the knee do it at the thigh. You know, if you're going to cut the head it's very few times you gotta cook both of them off just above the brow, not the hairline, because then they look bald, right? I mean, there's, these photos almost there but you didn't you you took off like the bride's shoes. Yeah, I left so much room for her head, so it could've been easy little adjustments like those things kill jasmine and I totally get it that's something that I'm actually always working on is framing, making sure that I'm not cutting off people's body parts. I actually I kept this photo in the so even though he cut off her head, it didn't make the slide show. It definitely made the gallery bo, because stacy might look at that photo and not see anything wrong with it. I'm looking at it from a photographic perspective in the fact of matter, and she looks gorgeous in it. So you know, ah, girl will think I'm missing a part a head, but I look good, so that's going to be the critical. This is very typical to what jd would get during cocktail so this mix he would get the groom and the bride laughing, he would get hands and them holding their signature drinks. Very, very typical formal shot at a cop to our that's. Very much how they would look, they're not anything over the top. Amazing, but they're great and sentimental for the clients. Um now I shot most of the detail photos, but again, jd fired off a few frames and ended up keeping this one made the slide show. And that would mean this light show him being intuitive enough to win. I think stacy might have picked up the bar of chocolate editors. Love when there's actually movement and working with what's given in that space and not just a static photo so definitely made, um, the edit. So you see, he's great with reactions. A different perspective of this speech, different perspectives of the speeches and of the toasting and a different perspective of the wedding cake cutting. And again, here it is again. Cutting off. Okay. Okay. Perfect stinking example of what we go through in a critique. You cut off his arm. Not a big deal, because she's a focus, but we have all this space over here. All I need you to do is to bring your camera and tilted more. So we get more of west and less of this space in here. I still kept the photo I still like it I could probably crop it here to four by six and crop that out on my own but I love in camera cropping if I want to pick a fight but I love that window I think that color in the window is great and again small things you know but it's true I do have I think that that's one thing that I'm actually trying to work on still right now is making sure I'm framing the two bodies properly so we're gonna go back tio what jd was referring teo during the ceremony so oh yeah you want to see mine and when you see just just at least just a ceremony I want to see uh well j d is getting this photo seventy six on the left so ceremony okay so because this is very so here we go I just don't want another you saw a side by side comparison so I can't bring up a side by side okay um can we just look at your ceremony shots just because I feel like as as a second shooter you most likely you never go I mean you never get so close you let the first shooter get close because you don't want to photographers getting really up in the mix eh? So that's where the big diversity in shots I guess come from from especially for the ceremony science so were you um I was referring to actually there is one of the best men that those I think that one and then also her kind of like that you go those shots, those angles I'm I'm I'm not I'm never getting as a second shooter those really close and I love those angles even she'll do that sometimes with when they were in there exchanging rings jasmine will be right there where you actually get a really crisp shot of what's going on mine are usually from the background so that's why I like to focus on hands at certain points does things that I know has a second shooter I can get the judgment does not worry about those are great but I just love the fact that we're able to showcase just how different that portfolio piece was I guess you guys have any questions right now in regards to the gallery and perspectives and tile and grout anything there are questions I just wanted to jump in and say so many questions about the vendors again which we did talk about yesterday so just like you give the photos to the vendors and I just wanted to point out that we did cover that yesterday yes, we did cover that yesterday but like a brief version of what that would be would be putting them in a gallery or sending them a disc or doing something to ensure that they have those images um is going to be a great way to start spreading your name or a good way that I've discovered is if I were to upload a photo on facebook I would tag the people who participated in that event because I'm sharing might network but I'm also tapping into theirs so let's say mark and terry and I collaborated on a shoot well I would say we did issue today so tomorrow basically way we all did a shoot I would post like this sneak peek and be like I'm so excited cause I got to work with terror and I linked her and I got to work with mark and I lied to him and it shows up on their feeds and their wall and their friends could be like oh well who's terran who's jasmine and how did how did all of this come together so that right there is great market and quick follow up are they watermarked and people that ask you give them for free yet I know they're not watermark yes I give them away for free what I think what they think transpires is when you give vendors images with water marks what you're essentially saying to them is that you don't trust them you don't trust that they have your best interest in mind now I will continue to share my un watermarked images until transgression has has occurred but I will still continue to share my images but they will, they will have my name. So, for instance, last summer, there was a very strong wedding. I feel like we shot a strong wedding and the venue wanted the images. I said, absolutely, and they said, what images? How many images can I send to you? And they said, we want them all, and I was like, well, okay, I wanted to have a good relationship with them, so we sent them all of the images, all high rez on watermarked, and I asked, would you? And even in the contract that I signed with the venue, it said we will assign photo credit perfect. Well, I had a client come in, and she had said she come across a wedding, that I shot this venue on pinterest, and then she met with her wedding coordinator and her wedding corner said, I'd love to recommend jasmine let me show you a wedding. She too shot there. That same wedding came up well when the bride went to the venue. They used my photos, but she said, I didn't know how to find you because they didn't say your name, and I was like, my photos didn't say my name or they didn't send me name she's, like nobody said your name, and I was like, huh? So I followed up very difficult e mail and I said a client took me to shoot a wedding at your venue you showed her my images and she had no way of contacting me it wasn't until she found out there were coordinator who I waas so can you please clarify what is going on and they're like we're so sorry it won't happen again and I feel like the next time I shoot it that venue I will give him the images but every single image will have my name on it but that's the first and only time that it has not worked every other time of florist works of me they do offer photo credit it was on facebook um uh yes the ones on facebook but I usually use those s sneak peaks and I don't ever really put up like a full gallery that I want a lot of people teo using again the watermarks are a way to get your name out not it was a way to protect it from other vendors using them so the vendors if they want to share them on facebook they can and they will most likely be on watermarked but they usually say you know photos by justice like the block stuff what kind of deal the bottom or you actually putting your name straight on the image itself? It depends I usually use blog's stump which is just like a border copyright border around me images I will use those like on facebook just as a way to protect my images. I'll use them in various modes, but when it comes to actually dealing with the venue itself, this is we think this will be the first time for me. I will go through and put my name on every single photo because I don't trust them, and that sucks, but that just that one venue and the fact that, you know they're using images and I'm not on the vendor list and that's a big deal in southern california is like to be included in a vendor list, and I'm not included on very many so the fact that they're promoting their establishment without giving proper credit kind of socks. So in light of that, I'm gonna have to play a different game. Yes. Do you have contracts with the vendors that you give that say like you, can you can we touch these photos or crossed them in any way or no? Because if if the vendors decide so you know the images will come in like a four by six ratio, but the size images that I'm sending to the clients are think someone ballpark of like an eight by twelve to forty dp I that's pretty. That's pretty big and most of them are using them on the web. However, if I have them sign a contract and they wanted to use those images on their website and crop them into a square gallery, I'm not gonna preclude them from doing that as long as photo credit is on it. And that's all I really care about yes, maybe not in certainly the vendor, but what if if you see a photo that's been? I mean, cropping is one thing, but re editing is kind of another thing, right? Like, if you just, like, put a bunch of stuff on it and your name is still on it, would you ever go back and say, you know, at this one, it doesn't look like my photo? Can you not give me credit for, like does not even come up at all? Well, in the age and era of instagram and every iphone app we have to, I have to understand that it comes along a little bit more with my clients, not missus fairly with vendors, vendors want pictures that are clean, you know they want pictures that looked like their work when you put a lot of like actions or filters or are late. Other things on it it's not really what they're doing with my clients sometimes I see images from there like wedding gallery and they put on instagram and they're like, you know, mother's day this happens every mother's day every father's day that one shot of the bride in her dead dancing or them together and it will have an instagram filter on it and I'm like you used kelvin of all the instagram filters use kelvin really but again I'm not gonna email her and be like excuse me like no, I have to understand that she thought it looks cool that's her memory and I respect that so okay, I have a question for me personally actually and I'm wondering if there's ever a moment j d where you are hurt or take it personal that I shot one of your images that she didn't choose or wasn't included and I'm wondering as a second shooter when you see the images that are given if you're like, why didn't they use that shot and how do you deal with that emotional you know what I get really hurt for like two point five seconds I want when we're actually calling and I think it's a good shot and I say, why didn't you even put that in the gallery uh and I think it's a great photo it would be because jasmine got almost the identical shot or something similar and I understand you know, I take a lot of photos that looked pretty close to jasmine and I don't expect her to put two of the same um do I ever get hurt if something that I really like? You know, I I don't really like the photo I mean, it feels like strongly by it I'm not like, you know, oz and being like I really, really like photo okay, way yeah, and I never get emotionally tied to my photos for some reason and I know jasmine does a first shooter, she does uh, when she asked me to edit down one over portfolios let's just say she can only use seventy for this performance has eighty five I go in there, she calls me upstairs, I go into your office, I look at it, I take maybe three minutes looking at four short hours and you know, you're in there for hours every night. I think of these photo in three minutes I take fifteen that we think of that one, and I think if she stops me from doing that, I think it's like the moment that initial is like I can't if she makes me think about it too much, I'll start complaining like, oh, now I can't decide, but like, if you just don't say anything, you just I'll just I can see through the gallery and just pull out images and she gets really emotionally invested in those photos so she gets pretty upset when I clean it up in two minutes she's like you'd even take time wait we're new website so you had to park all of them down and I was having a hard time so he came in three minutes flat and I was like but don't you remember the memories to this it was like no so I can see how people get yeah I mean he's actually I can see how a lot of people a lot of photographers get really on that note ok, I have to say we did take it to slide this morning and it was the top ten questions you should ask a second shooter now in retrospect maybe I'm kicking myself in the butt but I felt like oh this seems really repetitive I don't want to bore them but one of those things was to ask a first photographer if they were to get published if the ordinary blond published or featured would you as a second shooter be mentioned now that's in an uncomfortable situation that's an uncomfortable question but either way you have to be okay with that answer because at the end of the day you are the person choosing to go into that relationship I have to clarify and there has been a back and forth between what is right and what is not right if you sign an agreement or a contract as an independent contractor the second photographer does not lose the copyright but that first photographer gets to use the images in a capacity that he or she sees fit if you were paid for that event that photographer can include those images in a feature and not have to mention you that is what second shooter's must understand now if if it is such a big deal for you that you need to be included in any sort of publication or feature you can amend an agreement to reflect that you're well within your rights to but if you don't ask those questions you won't know how teo now they don't have to agree teo giving you credit it was it was in print or online now I will say that I I photographed my twin sister's wedding I was also the maid of honor which was crazy but j d second shot the wedding because again he doesn't feel comfortable it's not his strength to be a first photographer so I was the first photographer for most of the day but then this ceremony came along and I was in the wedding and we brought a good friend and photographer named stephanie she's from arizona we said we'd love to get you out to santa barbara to help us during this portion and she said I'd be honored I'll be there when the wedding got published, I did not feel right even though she was technically not the first and she was quasi the second she was shooting under jasmine start for the first we've never done that before, but she was shooting under pretty much jazz is jasmine's agreement, right? I just did it when the feature, when the my sister's wedding got featured in print and I got featured on the block and I did include stephanie's contact name on that because I didn't feel right not, but that was a personal decision that I need as a first photographer. Not every first photographer should or muster even has to feel that way just is pretty good about that as a first year she always if if she's gonna put one of my photos on on her blogged, she actually gives me credit, not cripple, she just says, this is jd shot when actually, you know, she doesn't have to do that every time. It's it's still her her name on the brand I mean it's, not it's, not the jasmine and j d show, you know, it's, jasmine, star photography. So? So I appreciate that she puts jd on there, but at the same time, I understand that if she didn't want to shouldn't have to.

Class Description

If you're an established second shooter or looking to become one, this course focuses on ways to strengthen your portfolio, be proactive, improve shooting technique, establish the terms of shooting agreements, become a vital asset to the wedding day, and learn how to book jobs. In addition to lots of content, conversations, and fun, a live shoot will demonstrate the first/second shooter dynamic and a portfolio review.

Class Materials

bonus material with purchase

2nd Shooter Day 1 Keynote.pdf

2nd Shooter Day 2 Keynote.pdf

Ratings and Reviews

Student Work

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Great course!! As a newly emerging photographer, I just got my first second shooting opportunity a few weeks ago. Since I had never photographed a wedding before (even as a second shooter), I searched Creative Live for a second shooting course and was relieved to find this one. After watching some of the free sample portions, I purchased it. I was happy to find that despite the few negative reviews left before mine, the course is an excellent one for those with no second-shooting experience. Here is what I liked most about it: a) It includes several segments where Jasmine and JD demonstrate how they work together at a wedding. I found Jasmine and JD to be very honest in their representation of how things actually occur during a wedding. Since I had not (at the time I purchased the course) ever photographed at a wedding before, I was desperate to get a sense of how things really work. Jasmine and JD delivered in this regard. I was able to see how things really to react and photograph in tight time to stay out of the main photographer's way and still take good images...and what to pack and how to preplan in order to truly support the primary photographer. b) JD and Jasmine were very honest in talking about some of the mistakes they have made in getting to where they are today. I think this must be hard to do - baring your soul and talking about things that have gone wrong. But in doing so, they give something to students like me that some other teachers don't - a truly realistic view (from the perspective of someone who has made them) of the errors newer photographers commonly make, and how to succeed and keep moving forward in spite of them. Jasmine has done this in other courses she teaches on Creative Live as well, and it is very much appreciated. It's such a relief to see that in their early days, seasoned and successful photographers make rookie mistakes too - and to hear how they pushed through them. Everyone makes mistakes. The question is - what can be done to fix them, and how do you avoid making them again in the future. JD and Jasmine address these things in this course. c) JD and Jasmine have different personalities and different approaches to certain aspects of their craft. It was helpful and inspiring to me to see how they work together in spite of the differences. I think their differences actually complement the other. Like JD and Jasmine, my husband and I work together in our newly emerging photography business, and have differences in our personalities and approaches to photography. I really appreciated seeing how Jasmine and JD use these differences to enhance their photography, and how they work through the sometimes tense challenges that can arise in fast-moving wedding photography scenarios. I also liked hearing things from both of their perspectives. d) JD provides lots of solid, tangible, helpful tips in this course, including a list of non-photography-specific items to pack in support of the primary photographer. His advice on second shooter etiquette is solid and includes lots of ideas and concepts that I hadn't thought of prior to watching this course. e) JD provides information about shooting angles and lenses to shoot from/with that help round out the main shooter's wedding portfolio for each client. Again - I learned concepts and ideas that I hadn't thought of prior to taking this course. I watched this course twice prior to my first second-shooting job and it paid off. I felt a lot more prepared, and comfortable, going into the job than I would have without the information presented by JD and Jasmine. I highly recommend this course to other newly emerging photographers who haven't photographed at a wedding before, and who are looking for solid advice for what to expect, how to prepare, how to photograph as a second shooter, and how to support the main photographer at weddings in general. Good stuff!!


Great course. Jasmine and JD did a great job of teaching this course. They were well prepared, entertaining to watch and provided a lot of useful information.