Wedding Photography 3: Setting Up Your Business | Phil Ebiner | Skillshare

Wedding Photography 3: Setting Up Your Business

Phil Ebiner, Video | Photo | Design

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30 Lessons (1h 26m)
    • 1. Course Introduction

      2:00
    • 2. Project: Pick a Company Name

      1:34
    • 3. What type of wedding photographer are you?

      2:42
    • 4. Equipment you need to get started

      5:00
    • 5. What camera brand is the best?

      1:47
    • 6. Where should you buy camera equipment?

      0:39
    • 7. Picking a name for your company

      2:49
    • 8. Launching a Website

      4:33
    • 9. Creating wedding photography packages

      5:04
    • 10. Pricing for success

      9:16
    • 11. How to get your first client

      4:16
    • 12. The importance of contract

      2:32
    • 13. The wedding photographer philosophy

      2:28
    • 14. Taking care of business on the wedding day

      2:02
    • 15. Overview of what to photograph

      11:52
    • 16. Wedding day equipment check

      4:31
    • 17. Wedding day considerations - day vs nigh

      2:36
    • 18. Do you need an assistant or second shooter

      4:24
    • 19. How much to pay a second shooter

      1:05
    • 20. Scheduling the wedding day

      1:31
    • 21. Intro to success

      1:19
    • 22. Being happy - Tips from a wedding photographer

      0:52
    • 23. Making it a business and sticking to it

      1:42
    • 24. Building out your portfolio

      0:53
    • 25. Dealing with saturated photography markets

      1:41
    • 26. Competing with the family photographers for jobs

      0:44
    • 27. Working with other vendors for success

      1:18
    • 28. Using social networks to expand your business

      1:55
    • 29. Testimonilas - Yelp, Wedding Wire, The Knot

      2:00
    • 30. Thank You

      1:03

About This Class

Wedding photography is an amazing side business or full-time career. On average, wedding photographers make $3,000 per wedding. Some charge $10,000 or more per wedding. Every business has to start somewhere. In this course, we’ll show you exactly how to set up your wedding photography business from building a website and branding to putting together packages and getting your first client.

If you're interested in using your photo skills to make people happy (and make money), this is a great course for you! We recommend taking the other courses in this series - How to Shoot a Wedding and Posing a Couple for Wedding or Engagement Shoot - for a complete education in Wedding Photography.

Transcripts

1. Course Introduction: Hey, what's up? My name is Phil. Dinner and welcome to the wedding Photography course, Part three. This course is all about setting up your wedding photography business of Kota this course with a good friend. Will Carnahan. He's an amazing wedding photographer. You shot my wedding, and he's taught me a lot about setting up businesses in general. I've set up my own wedding videographer business with because of the tips from him. And he has a very successful business of his own doing film production and wedding photography. So in this course, we're going to cover everything you need to go to get launched and start shooting your own weddings. That includes creating a name, a brand went site, sending your packages and setting prices for those packages so that they sell. And not only that, they sell to anybody, but the clients actually want the mid tier range of prices which could be anywhere from a few $1000 upwards of $10,000. And then we're gonna talk about getting your first time, because what does good is a class if it teaches you how to set up a business, but it doesn't teach you how to actually make that first sale. Well, then give you a basic overview of what you're going to do on the wedding day. Take care of all that business, what you'll have to photograph. And if you haven't take the first course in this Siri's, which is how to shoot a wedding where we walk through an entire wedding and show you how to technically and creatively take photos for each key moment. And then finally in the course will just give you some quick tips on how to be successful, how to compete in saturated markets, gonna succeed with testimonials, social media and lots more so in rolling this course now and I can't wait to see you inside . 2. Project: Pick a Company Name: Let's talk about the project assignment for this course. So the first thing you need to do when you start a business and one of the most exciting things is to create a name. Choose what name you want to go. As for your company in the next few lessons, will will be giving a specific tips on how to pick a name. But just remember, your course project is to choose a business name and then for this project, we have to take it a step further, because picking a name is just not really an actionable step. We want to either create a logo or purchased the Web domain for your company name. So, for example, if my wedding photography company is called Philip Inner Photography, then I will create a cool logo in Photoshop or Illustrator. Or however you want to create a logo and then purchase the website for that company name. Post that a screen shot of your logo and or of the website domain. If you've already built out the website. Great. But if not just purchased the domain name and let us know what the domain is so that we can all check it out, and that is the project for this course. So let's get on to the lessons where you'll actually be learning how to do all this stuff. But keep in mind, start thinking about what you want, your wedding photography business to be called and designing a logo and get that website purchased and created. Thanks for watching and let's get straight to it. 3. What type of wedding photographer are you?: Hey, guys. So the first thing I want to talk to you about is what kind of photography style you're gonna have. I feel like there's really only three types. It's more journalistic glamour and fashion, and then the 3rd 1 would be more traditional. I think it's really important that you kind of discover what kind of style you have. The big thing about that is that will kind of determine your branding that will determine what your photos look like and the term of the type of customer you sort of have. I'm personally more of a journalistic photographer. Within that, there's different fractions of like what you can Could do. I have a cinematic background with, like movies and stuff like that. So my style's journalistic cinematic, um, something I use in pitch meetings and how to get customers and stuff like that. Eso journalistic photography is mawr candids more flying the Wall Mawr? I'm not gonna get in your way. I'm going to just be to the side, taking your photo kind of style, and it kind of lends itself to what's a little more popular right now, especially with a d. I I kind of look definitely like a big plus for you. If if that's your style, glamour and fashion photography or a little different, they're much more posed. Much more, uh, and the magazine type of thing you'd see. Like they're much more like a trash. The dress session, like something that looks really, really posed, really glamour it out. High back lights, like, really glossy. That also tends to be more boudoir type photos. So that's fashion and glamour. Lots of brides tend to like that. If they're in a fashion and they're in tow kind of that Look, the 3rd 1 would be more a sort of traditional look. This is kind of more hard to pinpoint, but photography up to this point, as faras weddings go, are much more posed looks. They're also much more dialed in a Sfar, a za editing. And that goes, um, it's kind of hard to pinpoint, other than it's just always right there. You're right in front. It's just a nice wide shot, a nice medium shot. There's not a lot of cinematics to it on, and you're kind of in their face. I feel like a little more traditional photography comes from film world, mostly because it's just a big, high flash photography. Everything's lit, everything's really wide, and traditional photography is a great look. If that's you're going for, I feel like, um, a mix between the three is really what you want to kind of hit. It also depends on your clientele. I kind of mentioned that you want to be able to present yourself in either a journalistic glamour or traditional way. You're your own photographer so you can build your own real look in your own style in any combination of the three. Like I said, I'm definitely more of a journalistic cinematic. But I do tend to lean towards traditional photography if my client wants that, um, but I really like you get to choose who you shoot and who you don't shoot. And so what they want is kind up to you, and you can decide if that's the style you want to aim for. Um, you know, they're all open to you, and the world is your oyster 4. Equipment you need to get started: Okay, So you decided you want to shoot a wedding, right? So you kind of need the basics to get started. It's not a lot. You don't need a ton to get started. And as you start to build out your equipment, um, and the types of wedding you shoot, that's always gonna be changing and always evolving. The big thing is your starter kit. So let me go through a couple of things that you may need to just get started on basic wedding photography. So one is definitely a camera you're gonna need. Probably a DSLR that's going to really be a lot faster than what you're used to on a mere list camera. I have seen people she with me, airless cameras and obviously the film cameras. But DSLR czar, the way to go, I'd say this is not my main camera. This is my backup camera. Um, I typically use well, like a Nikon D 800 or something of that nature. Um, As you start to grow as a wedding photographer and you shoot bigger weddings, you may need to cameras. Typically, it depends on your lens package. So let's talk about lenses. Um, it's nice to have a mid range lens like a 24 to 70 so you can cover everything. And as you're starting out, that's a great lengths to start with. I think Canon makes a great 24 to 70. Um, Nikon obviously has a good 24 to 70. Those are the two. I'm really gonna be kind of touching on because it was the most popular. But in addition to that, I tend to shoot on a 72 200 which is great for, like, long shots down the aisle or anything like that, and they look beautiful. We'll talk more about that later, but a mid range zoom and then, if you'd like a macro or a wide lens would be helpful to. I also rock a 50 millimeter. I think when you're just starting a 24 to 70 is fine and maybe a 50 millimeter or maybe a longer lines. It kind of just depends on the type of style you're shooting, and also the type of wedding is shooting. If you're shooting a smaller wedding where there's only 20 or 30 people, you can run around with a 24 to 70 and be OK. If you're shooting 300 person wedding, you may need a couple of cameras, and you may need to be moving a lot faster. Something else you may need is media. Different cameras shoot on SD cards or CF cards. The big concept here is whether you want to put everything into one basket, have a big giant 64 gig card. Or if you want to have a bunch of smaller cards and separate each section of the wedding, it kind of depends on your style and how fast you reload your camera and what camera you're using. Really. The big thing is that you have to decide if you're gonna have enough space to cover the entire wedding. If your trigger happy, you may want bigger cards. If you're not trigger happy, you might be fine. Just getting away with a few different cards. The next thing you need is a flash, and again, this is going to depend on your style of shooting if you use more available light. If you're more journalistic, you don't want to be in their way. You might not need a flash, but if you're shooting a wedding where it's too dark, you're inside. We'll go more into detail with that. I don't have a flash on me. But having a flash is really helpful when you want to dio kind of pose shots or party shots . You may also want to pick up a couple of diffusers because a lot of harsh light tends to be more glamour, more fashion. If you want softer light, you need something like this bounce card that goes on top your flash or a Gary Fong Delight diffuser that tends to have a more soft look, which is beautiful, and we'll talk more about that later. Of course, the next thing you know had no is if you're going to be shooting Ah lot and bigger weddings I mentioned before. You may want to have two cameras. I tend to use a camera strap. This is a harness that will hold two cameras on me so I can get to both at the same time. The big thing is, one would have a wide lens and one would have a long lens so you don't have to waste time switching lenses again. This is kind of depending on the size of the wedding your shoes. And if you have a second shooter or not, we'll get more into that later. Of course, the last thing is kind of up to you. A starter kit. It's nice to have a backup camera. I use this Fuji mere Lis camera as sort of a backup camera, and also it can send me photos to my phone if I want to post something socially or text the bride and groom immediately. It's also really safe to have a backup camera, because if your main camera goes down at a wedding, you might be in trouble. So the big thing is to have a backup camera that you can rely on that in case something happens. You drop it. You know, you fall into the water, anything it could go wrong. You want to be prepared that day because that day is not gonna happen again, and you're not gonna have time to run down to the store to grab a new camera. So back up cameras are always a good thing, even if it's just a small muralist camera that you can rely on. So depending on what type of photographer you are and how much equipment you have, you may want a bag or a backpack or a fanny pack or bell or fest. It just depends on how you move and how what's have a photographer your because most of the weddings I shoot, um, are a little bit bigger. I'll use the strap and I'll have maybe like a pouch toe. Hold extra cards to hold another lens, something like that. But you also need maybe a backpack to carry everything in and be mobile depends on the type of wedding issue where you're shooting. Some venues will let me store my equipment in the back in a bag. Other venues won't give me any space, so I'll tend to just carry a backpack while I'm shooting. It just depends on what type of photographer you are. Um, so that's pretty much it. Once you have that starter kit, you build out from there and figure out what you need and what you don't need, what works good for you. It doesn't work. It's all real personal, technical, you know, personality. So that's it. 5. What camera brand is the best?: depending on if you have a camera, not you may be looking to buy a new camera. Or if you're just getting started with your new kit, there are a ton of options out there. Definitely the two biggest names up there are Canon and Nikon. Um, I have a lot of people asking me like you know what? What's better? What's what do you shoot with more? I've grown up on Nikon. That's not to say Nikon is necessarily better or worse than Cannon. It definitely started because I started investing in those when I was a young kid in high school. And once you start to make an investment in lenses, you kind of want to stick with a brand unless you want to make that jump by selling your lenses and all that jazz. But really the two big names Canon and Nikon, depending on how much money you have as faras budgetary goes, they have different levels of cameras. There's also Olympus. There's Fuji there, Sony, Um, you know, I could go on forever, but it really kind of depends on the ergonomics and what you're comfortable with using. Um, there's different cameras with dedicated dials there's different speeds. There's different video verses. Photo really. They're just a tool. The biggest and best photos will come from the person you are and the type of camera men or women you are. The big thing for me is that at the end of the day, it's really just a box with a hole in it. And at the end of the day, it's about where you are. Really. The best camera is going to be the one you have with you when you're in the right place at the right time and you can get to the settings, the fastest you can. That's kind of a bigger deal for me. And I've definitely shot photography on both Canon and Nikon, and they both produce fantastic photos, a zoo, long as you understand what you're doing and you're the right you have the right tool for the job is kind of more what I'm into. I feel like having the right lens in the right position is gonna be more important than the type of camera you have, just as long as you're comfortable, and that you can be calm as an artist and as a business person, really on set and uh, at a wedding 6. Where should you buy camera equipment?: if you're looking to buy a new camera, it kind of depends on where you are in the country. In the world, I have a camera shop that I tend to go to personally because I've grown up there. The biggest thing I would say is to go. If you could get your hands on a physical camera, whether you have a friend or you go down to the shop and just talk to them about it, that would be the best way to try something out. Obviously, spending a bunch of money on a camera I don't like is gonna waste some time if you like to buy online. I've used being age. They're fantastic. There's also Adirama, or you could go on Amazon. Amazon can be a little scary sometimes because you might not know who you're buying from, but I have gotten some great deals on there to be. An agent and a Rama are probably the best places to go as faras equipment and quality 7. Picking a name for your company: so getting out there is a photographer. There's something really important that you kind of got to consider, and that's picking a name for your business. Um, it's kind of the first thing you kind of need to do after deciding that you want to be a photographer or have any business. Really, because it's kind of the structure in the backbone to the rest of your business. It's gonna be on your business cards. It's gonna be on your website. It's gonna be on your contracts. It's gonna be on. Everything is gonna be on Yelp, so it's really important. The biggest thing is first, to decide how you're going to run your business. A faras business. I suggest really talking to a tax person and deciding what's the best for you. If you haven't L. L. C. That might be one thing, and it might need to be a business if you have ah db a doing business as that's another thing, or if you're just gonna be a sole proprietorship, it really depends on what specific and best for you. The biggest thing is to kind of talk to attacks person and really decide what's the best for you. Before you make any moves on a name, As far as picking and name goes, you want to pick something that you're comfortable and confident with. I've had several businesses over the last few years, and sometimes the names may not be something you like on that kind of gets me down sometimes. But at the same time, when you find something that you're really confident in, um, it just build your confidence. And that's really good for being out there and starting a business and being a photographer , there's two ways you can go. You can either have your name as a personal as a personal photography business. William Carnahan photographer, which would then lead to a website as like William carnahan dot com. Or you can have a name for your business. Something like Ah you know, will call Cinematic, which is another company name, and that could be used on your website or on your business cards. It really depends on how you want to present yourself if you're just going to be a photographer, and I shouldn't say just, But if you're just gonna be a photographer and you just wanna use your name and have people recognize who you are? Um, go with your name. If you feel like you want to start a company and kind of expand and maybe, like do other things, it's probably smarter to go with an actual name for your business. The biggest thing you have to keep in mind is that it's gonna be everywhere, and you have to be comfortable with that. It'll be on your business cards like it's it'll be at the top, your website. You also have to maybe check and make sure that that domain name is free because you want it to be easy, easy access for people to get to your website, and then you also just have to be able to drop it with ease. At weddings, you can get more clients. Maybe also check and make sure it's not taken by some other company on Yelp or on the Internet. Maybe Google it. There's a 1,000,000 different company names you can be, um, and you could also have a very common name. So there might already be Ah, William card and photographer out there. There might already be a Philip inner out there making stuff and using that name, So it kind of just depends on a what you're looking to, as far as how you want to present yourself and be if it's already taken or not and, uh, and kind of getting out there and feeling comfortable with who you are as a photographer and what you want to do as your photography business. 8. Launching a Website: when you're getting ready to start your wedding photography business, it's a good idea to have a website. You can start building one once you have a business name. What you've decided to use as faras your name versus a company name. Um, the biggest and best thing to do is to start with a website. Once you have that name, I could teach entire lesson. It would talk take months to talk about how to build a website and like what to do going into detail, how to like, make things easier and present yourself a little bit in more detail. But today I just kind of want to talk about the generalised six of why to have a website and how to kind of get it up and running. And what are the bigger things that you need on your website to be really going? So the first thing is starting a website, right? Um, there's several different ways that you can. You can go about this. You can use a you can build it on your own. After you buy your domain name, you can use different types of programs that have already been set up like WordPress. That's a little more complicated, and you can kind of get into some templates that they have. That might be easier. There's also companies like square space, which is something that we use for my photography business on Ben. From there, there's other websites that are specific to photographers like Zen Folio. Zen Folio is what I have used in the past and has been fantastic. Today I use a combination of squarespace and Zen folio. The big thing is that your website needs to have a portfolio so you can show people very concise. It needs to have a contact page so that you'll be able Teoh interact with new customers. It's also helpful. Have links toe like a yelp or ah, wedding wire or the not if you get involved with those which we can talk more about later and then one thing that people are really getting into now that there's a digital space is having a link to Facebook but also having ah gallery view something that's password protected, something that your client can go to to check out their photos and also something that they can pick their selection. Their favorites, um, Zen Folio does the best job. I couldn't stress it enough How much I love that website. I swear I'm not being sponsored, but they will. How's your raws? They will. How's your J pegs? And if you pay enough money to them to have a subscription for a year, you can ditch all of their logos and build out your own looking website. So it looks like you're separated. It looks like your professional, and it really gets you a really good presentation of after shooting the wedding and even before with your with your page, I think now is in Philly will allow you to build your entire website out. There's cheaper options. I think there might be a free trial that you might be able to check out, Um, but that's really more of a plug and play website that really works well, if you're just getting started, you don't know how to run the Internet. It can be a scary place. WordPress gets a little complicated, but it's very doable and easy. Squarespace is also very plug and play and is nice, but it does have some restrictions. Having a combination of that with his in Folio is probably your best option. Something important to keep in mind about when you're building your website is that it represents you that you have a portfolio on there that's going to really showcase who you are as a photographer and your work. The biggest and first thing that people are going to go to is your website. When they hear about you from a friend or they see a photo, they're gonna click on your website, and that's their first impression of you. So you want it to be who you are, and you wanted to show your best work. Don't put photos you're not proud of on there. Put photos that you are very proud of and that represent you as a person and as a photographer because it's a first impression. You want it to also be very easily accessible. You don't want it to be complicated and be all over the place. The biggest thing for me is to have your slide show a portfolio on the first page, Splash Plage and then maybe have tabs of about who you are and maybe a links page in a contact page that could be the same Page one thing that you can avoid eyes putting the prices on. I've seen photographers put their priceless on if they like. Sometimes it scares potential customers away very quickly if they see how much money that you're actually charging. It also depends on what level you're at as faras prices. One thing for me is I don't put prices on their I say Please contact me for a price list or something like that because it gets the ball rolling and it gets you talking to somebody because you want to kind of put your personality out there and start to talking to someone without having it just to be a cut off immediately. So I don't suggest putting your price list on their have a pdf of your priceless and that are ready to go, um, and also offer a way to connect to someone. So that way, when the email you, then you send the price list and you've already started a dialogue with your customer that you can then either talk them down with or really just kind of engaged as a personal level . That's kind of a choice as a business person. If you want to be connecting with your customers 9. Creating wedding photography packages: as a wedding photographer, you have to be ready to decide what you're gonna offer as a photographer, I've kind of broken this up into two things. Its services and physical product. So I'm gonna just mention what you can offer as a wedding photographer, and then we'll later go into another lesson about exactly how to split all that up in the pricing. But the two things your offer services and product services. So as a photographer, what are you gonna offer? As far as ours are you gonna be able to shoot for six hours, eight hours, 10 hours, 12 hours? You kind of have to decide how you physically want like work as as as a photographer on the lower end, You could be just doing smaller weddings and be shooting for six hours. On the higher end, you could be shooting for 12 hours, adding an assistant, adding a second shooter, you kind of have to decide as far as what you feel comfortable with as your business. So hours second would be, ah, second photographer or an assistant. If the wedding's bigger, you might want to offer a second photographer. If the wedding smaller, you may not need a second photographer. You may just need an assistant, which we can talk more about later. But that assistant can also be a shooter, so you kind of have to decide how you want to run your business and what you want to offer , or if you know any other photographers, if you want to work with them as a so kind of like a business. Also, his services is just kind of depends on if you want to include engagement photos or if you want to include the rehearsal dinner, those air other services that you can provide, which we'll get into more detail in the pricing and packages later. But just decide as a photographer, like what you want to offer and who you are as a business. The second thing would be physical products. Once you take photos, how are you going to get it to them? Um, there's different rules as far a sales tax again. You should talk to your tax person on how you're going, Teoh Price those out. We could get more into that later in the next lesson, but are you gonna provide a CD with all the raw images. Are you gonna provide Internet access to an online gallery where they can just download all the images? Are you gonna provide a certain amount of edited photos verse in a certain amount of all the images? There's different ways to provide images as far a CD or online. A big thing nowadays is that the couple wants to own all of their images, so they need to have the physical data file that can be provided either online or on the disk. Like I said, But you have to decide how many you want to give them. And if you want to give them the Ross Typically, um, we don't our eyes a photographer don't tend to give raw files because there's a little bit of quality control issue. They might go edit them and make them crazy, random colors. And then that might be an ill representation of who you are as a photographer. So you kind of have to control whether you're going to allow that to happen, or if you're gonna be the one editing them and they just get the edited final product. That kind of depends on you as an artist. I know a lot of photographers who refused to let the rods go because they wanna have maintained quality. I know other photographers who trust that they will just given the rods and they can kind of deal with it. It just depends on how you feel and how you want to get your images out there in the world . Another physical product you have to decide that you want to do is Prince. Um, not a lot of people are looking for prints nowadays because they can just get the images and print them at Costco later. But that, again is a question of quality control. If you decide to give them prints, you can decide where to print them. You can decide the quality of the paper, the color. Um, if you don't give them prints, chances are they're gonna take the images and print them later, which could end in bad quality. They could end up from Costco with a random color correction, and then that might be an ill representation of your photography. So kind of again depends on your decision to make quality control a knish. You or not. Ah, lot of times I've known photographers to just give four by six prints where they go and print them so that when the couple goes to go print the photos, they have a reference for how it should look. That's a good idea. In some respects. If you decide you want to go that route, you don't need Teoh again. It just depends on how you want to run your business or not. Those air physical things that you can add in addition to that is enlargements. You could provide bigger prints and add those to your packages, which some couples like to do, where you could pick like five or six photos, where you really dive into editing and make them as beautiful as you can, and you print them out the quality that you want to print them out. Um, again, that kind of depends on, like how much you want to charge and if you want to include those in your packages, which we'll talk about in the next lesson. But it's really kind of up to you if you want. Include those enlargements. The final big product is a wedding album. Their 1,000,000 options for this you can either get one online, find a printer that you like, and you can go build this out. This takes a lot of time in a lot of service. Um, so you may want toe figure out prices Wiese's faras that I know a lot of couples that will just take the photos and they'll build their own books. So it just kind of depends on if you want to deal with that or not, And again, quality control. Will they printed on a nice piece of paper? Will they use a nice printer or not? It kind of depends on how you want to go. So as a wedding photographer you've created a business you need to decide what your business finally provides. Those are some of the things that you can physically provide as a photographer and as a business. And the next lesson we're gonna talk more about how we're gonna price those out, how we're gonna present them and how to really kind of make the biggest sale 10. Pricing for success: Hey guys. So I I think this is the worst part of being a wedding photographer. Its most Because I hate money. And I feel like I love taking photos and being a photographer. And it's something that you have to do. You have to make money like, let's be honest, if this is gonna be a job, you need to start learning how to make money and how to deal with money. It's kind of the union yang of, of of the business on, and it's crucially important because you need to get paid. You need to obtain your equipment, you need toe. You know, really, this is a business, so you need to be making money. I think this is gonna be a longer lesson, So just bear with me. There's a lot of detail here, and there's a lot of philosophy and physical business part of it. I would to film school, so I really have kind of learned as I go, which is really the best way because you start toe, see what works, what doesn't work. The biggest thing here is setting your prices and getting paid. You need to be flexible. You need to figure out how you're gonna make money, what's worth your time and that you're not killing yourself. Photography and getting paid to do photography is this weird place between business and technique and technical and artistry that it's just kind of hard to find that sweet spot and what you're comfortable with. So let's look back at the other less and make sure you figured out what actual things you want to offer and how to spread them out. Um, it kind of depends on where you are. Obviously, in Los Angeles, the wedding photography market where I am is really saturated and prices are all over the place. And to be honest, there's always gonna be someone that's going to be offering the same things you do for a less price. You have to be confident in the photographer that you are and and and show that you're a professional. Make sure that your website looks professional. Make sure that everything is up to par, because that's how you're gonna. That's how you're gonna kind of determine how much you are able to charge. If you don't look like your professional people aren't gonna want to pay you the amount that you're asking for. So your website needs to be, you know, on spot with your prices. Once you've figured out you're kind of market and where you're gonna what prices you're gonna you're kind of gonna aim for based on other photographers around. You can start building out your package. I'm going to kind of throw out some prices for what I charge as a photographer in Los Angeles, in the South Bay in Los Angeles, where the wedding market is saturated. So it may be different in your area. So kind of judge that and look at other websites. You can also kind of send emails to other wedding photographers like you're going to get married and get their wedding prices just to check out. Okay, so I use a basic method of four packages. I have a smaller package at the very low end. I have to middle packages and then I have a higher package. So the way that works is that the very lowest package I'll offer is really just to kind of get in the door and be a cheaper amount. The two middle packages air much more closer in price and product and the final one is a bigger, all in big package that I can offer. My lowest package runs around $1200 that's for 6 to 8 hours. Wedding. It kind of depends. When I first started, I used six hours. I kind of am okay with working eight hours now, so it just depends on where you are. As a photographer, I offer about 200 photos that are edited and that also goes into your time editing. Um, and then I don't offer an assistance. That's just me by myself. $1200. 68 hours. 200 photos Online gallery. I don't give anything physical. The next two packages I start to bump up, so those tend to be 8 to 10 to 12 hours, probably more on the 8 to 10 our side. But I do offer more photos here, so I offer 250 to 300 photos for the smaller of the two medium, and then I'll offer only eight hours. Then I'll get into an online gallery and then, depending on the couple, all tended offer prints. But that gets in the a la carte mode, which we'll talk about in a little bit. The bigger of the two medium, I'll bump up $200. So remember the small one was 1200. The smaller of the medium is going to be coming in around 1600 then the next one would be 1800. Um, you kind of can decide how you want to. Just says, by offering more photos for the for the higher middle one and less photos and the other one and then more hours. So the higher of the middle one will be more like 10 hours more photos, like 300 photos edited. I personally don't offer any physical prints. Um, you can and that you can use that as why the price is going up. You kind of got to figure how you want toe present yourself as faras. What physically you're going to give again. That goes back to deciding what products you have is a business. I don't really like going to print stuff out. I will give them edited photos so that they own the disk or they only online download so they could go print out whatever they need. I'm gonna trust that they're gonna print out good photos. The final package. It really kind of depends on where you are as a photographer. As a business I've gotten up to about 2500 now is the final package close to 3000 on that will offer unlimited time. I think people like hearing that you'll be there from start to finish. I'm used to being there for, you know, 10 to 12 hours, which is fine for me. But it may not be okay with you if you only want to work 10 hours or eight hours. Is a photographer just set that? It kind of depends again on how you want to run your business. My top package. 2500 unlimited hours and I'll probably give them about 300 to 350 photos. Um, and then I'll offer an engagement session at a discounted rate. If I want to start to shoot engagement photos and that goes across the board, you can kind of play with that. So those are the four packages I have. I think the big thing that take away from this is that you have a smallest package that you can get small, quick clients that you're okay with You have to medium packages that they're okay with jumping up just $200 to get that more to get that bigger package. And then the final big packages. The big money maker. If you can lock down a few of those during the summer and making tons of money those air Great. One thing I didn't mention is that the I was out of a new assistant. Depending on how big the wedding is. There have been weddings that they're smaller. They're like, I don't know, 60 people where I'll get a bigger package on and I won't need a second photographer, so I can kind of keep that money for myself. But if I feel like I need extra coverage, depending on the type of photographer you are, I will add a photographer on the bigger package. So that kind of goes. As far as packages go, there's a kind of a deeper philosophy to this. There's also in all a cart mode where you can kind of work in what you want, but it really depends on your customer. Um, I feel like there are a lot of people out there who take photography for granted, almost where they don't kind of rely on your professionalism and your eye where they could be like, Hey, I got my nephew, Billy, who's got a camera. He can just go shoot, and it's fine. I don't know why I'm paying $2500 for this, but you really kind of got to sit down with them and talk to them and tell them that, like, this is your job. This is a profession and you're paying for your experience and for your eye. The little nephew Billy is not going to know where to be, when to be. He may make things look good, like, because cameras out there will do that for you. But you're really paying for the quality of your gonna be there. You're gonna have the right equipment. You're gonna have a good attitude. And your eye is different and better than anyone else's. And it's an individual artist. That's where the artistry kind of comes in. And why photography is this weird place where you're stuck between technology, a business and art. So you kind of gotta find a way to show that you're technically advanced and that you're an artist and because of those two things, that's why you can charge this much money. Um, the best place to do that is when you sit down with the customer and you and you and you show them your prices. And this goes back to why you don't put prices on your website because you want to get in and you want to talk to the person you want to show them who you are. You wanna explain that you're that you're in the perfect spot where you can charge that much money and you're getting this quality and it's just for you. Specifically, the couple that's hiring you is already having a lot of costs, right? There's tons of vendors. There's flowers, there's invitations. They've already spent a lot of money for this one day. Everything after this one day is gonna be materialized into your photos and probably a video. But your photos are what we're most important about, so you've got to remind the couple that that money is going into the future of the wedding . The documentation in 20 or 30 years that day is going to be gone, except for their memories. But it's gonna be physical eyes in a photo on their wallets, going to physical eyes in an album. So that's kind of what they're paying for their paying for the future of that day. Um, we're gonna talk more about how to get your first customer and how to talk to them, but that's kind of in a later listen. But that's kind of something very important when you're talking about Price is you can't really put a price on that. It's kind of memorable, and it's forever. The photos are forever. The flowers are gonna last a day, so you kind of got a use that as to your advantage. I would also say that you kind of have to be flexible in a business as you're growing. It's okay to kind, offer low prices or kind of give them a deal. But you've got to make sure that you're getting paid. But you're getting paid for your time and your feeling like it's worth it, because if you're not getting your own money and you're not making the money that you feel is right to you as what you're doing in a job, it's not gonna be worth in your company's not gonna grow, obviously don't offer very little prices as forever like you're gonna have to do one summer where it's this much money and tell yourself that the next summer your prices are gonna go up. But you got to make sure that you pay yourself and that you keep it consistent and that you're happy with what you're doing. If you're happy and you're confident your photos there could be so much better, So just maintain that kind of thought when you're setting your prices again. This is not my favorite topic as far as money goes, but it's very important and crucial to your business. To grow as a business and as technology changes, you need to be able to keep up with that monetarily. 11. How to get your first client: you're becoming a wedding photographer, right? Your websites up. You got everything going. You're ready to go. You've got your price list. We need a client, right? You need to get somebody. So how do you get your first client? There's a 1,000,000 ways chances are if you're starting to look into wedding photography. People have already asked you or your into photography already or you're trying to get going. The biggest thing for me has really been word of mouth. So it tends to help if you're if you're in the younger kind of bracket and you have friends who are getting married, you have friends of friends were getting married, your friends of friends of friends who are getting married. That's kind of usually how you kind of start your clientele and start your first shoots. Um, chances are you probably only know someone. So get on Facebook announced that you're trying to dio being a wedding photography business . You can link your website there where people can check out some your portfolio. Chances are you might also need to start shooting a couple weddings for free to get your portfolio going or if you have a couple of friends who need engagement shoots. You can kind of do that. So Facebook get on social media. Get on instagram. Get on Twitter. Whatever you're big on in social media, just start blasting out that you are starting to take photos now and you are starting to become a wedding photographer. That's the quickest way that starts the ball rolling as far as word of mouth through your friends and through your immediate social network. If you already have a 9 to 5 jobs, start dropping the hint that, like, Hey, I'm starting to take photos. If you guys need stuff that's going to get you the quickest amount of, you know, pushes and clicks and stuff like that. The biggest thing, though, is to make sure your websites up. Make sure you have someone somewhere that they can go because if you start mentioning your photographer and have nowhere to go, it's gonna be kind of rough, and you want to present yourself in a really good fashion. Um, once you start that going, there's also other ways to do it. There's mixers in your local area, depending on where you live. There's business networking groups like B and I. It's something that I belong to, where you kind of go to every week and you learn how to pitch ideas. But you also start building a network. The biggest thing in freelance work and in businesses. Faras photography goes is networking no workings huge. So as long as you can start meeting people and people start to drop your name to start to see your work, you will start to get work. It does take some time, I would say, as a wedding photographer, it took me about a year and 1/2 to really get cooking. It takes a little time, but as long as you put in the work and you present yourself and you're ready to go, some things will get easier As faras. Once you start talking to people, you want to set up a meeting, you want to sit down at your local coffee shop. If you don't have a place to go, you want to go grab a bite to eat or grab a drink or whatever. As soon as you sit down and talk to someone, that's when you're going to start to really get to know them and really start pitching yourself as a salesman. I think the biggest thing for couples is that they trust their photographer. They have to like their images, of course, but they also want to be comfortable because it's gonna be really stressful for them. And I think that's the biggest selling point for me anyway. So once you get that meeting, you want to just kind of get to know who they are and kind of pitch yourself as a person and as a photographer, bring some samples, maybe just kind of talked to them and calm them down. I think building a wedding is very stressful for a couple, so if you can kind of present that you're the guy, you're the lady, you're you're the calm enough to really be that you there photographer. I think that's the most important thing. That's where you're really gonna excel and make that final sale. If you can present yourself in a great manner and as a sales person, they will love to have you shoot their wedding. Another way to get those meetings is to possibly join it, but this is not working group like I mentioned before, but there's also wedding conventions, and there's also wedding booths. I haven't had a ton of success with those. Those tend to be kind of expensive, where you could get a booth for, like, 600 bucks or sometimes like 1500 bucks where you just set up. And brides are just coming in and out, in and out. And that's kind of like a cattle call where you set up your booth. I don't know those I've gotten a couple waiting from those, and if you can get one wedding off of that kind of pays for itself. But it's also kind of stressful, so it depends on how you want to present yourself and how you want to show who you are. Those if you don't have a network already built up, it might be a good idea to start to get to know vendors and stuff. It's a good idea just to do one to kind of see the entire wedding industry. If you start to build relationships with other vendors like DJs, videographers or florists, or even if you kind of break into a venue, those will also be good ways to get your first customer those air more towards later. Once you've built up a kind of a company, you can use those to keep getting consistent work 12. The importance of contract: it is very important that you have a contract. I just feel like you should really lock everything in because this is a business. This is an important day. There's a lot of variables that could go wrong. It is crucial that you have a contract. Um, I'm gonna tell you some things that have worked for me, but you should absolutely talk to a lawyer about building your contract for you or look into a professional photography union or anything like that. Who has a contract for you. Um, that's gonna be the absolute final word. I'll give you some suggestions, but please do not do anything without talking to a lawyer or anyone that has an actual professional legal contract. Um, what I do is I have a contract that was looked at by a lawyer. Um, it's pretty, pretty straightforward. There are some things that you need to put in there like, um, acts of God, like things that may like, come up or like a death, or like how those things work. Typically, the most important thing for me is where the wedding is. The times, the price and a deposit. The deposit is a big thing because you want to make sure that you're not gonna lose money. If for some reason the wedding gets canceled by the bride and groom, you need to have recoup some costs because you probably could have booked another wedding for that day. Typically, what I do is I do 1/3 of the actual price for the wedding as a deposit to hold the day on. And it's a nonrefundable deposit because you want to make sure that you're burning some sort of money if they kind of cancel on you. But it's also for their protection to you want to make sure that they feel comfortable and they feel confident in hiring you that your professional and that you will be there and you will do what you say you're going to dio. It also is a good idea to keep that contract with you when you go to shoot the wedding so that they're no discrepancies in hours or anything like that. Um, the big deal for me is to have a contract with exactly what you're gonna provide and exactly what you're gonna dio. You don't want to be caught on the other end of having people suing. You are not suing you. I've never had a problem. I've always been on top of things. I have heard horror stories of photographers and couples who don't see eye to eye with their photographer or their couple and things will go awry. So make sure that you get everything written down. Both signed off. They have a copy. You have a copy. You talk to your lawyer. Um and you really make sure that everything is good to go before the wedding day and also exactly what you're going to give them at the end of the day, whether it be prints, enlargements, online gallery, whatever. So please make sure you talk to a lawyer and make sure you get a good contract with your letterhead in your business name so that you're protected. Uh, it's very scary out there, and there are a 1,000,000 variables that could go wrong, and you want to make sure everything is there and ready to go 13. The wedding photographer philosophy: So this is the last video in this section. I've covered a lot of stuff, but one thing that's really important to me is kind of the philosophy of being a photographer, a freelancer, a wedding photographer. More than anything else. The big thing is that what you're doing is is important. And I get a big, like smile when I get to finally present these photos to this couple where this could possibly be the most one of the most important days of their lives. And that's a lot of that's a lot of importance and value that they've put into you. They're putting a lot of trust treated document, something that's crucially important to them. So I would say telling them that and showing them your appreciation for how important this day is to you and to them is kind of a big deal. You're gonna be in their face more than anyone else. Any other vendor, you're gonna be hanging out with them all day. You're gonna be there when they're getting ready. You're gonna be there when their first kiss happens. You're gonna be there when they walk in. You're gonna be behind the scenes. A lot and be that being said, they have to like you, and you kind of have to like them. And you guys kind of have to mesh As a freelance wedding photographer, you can decide who you work with and who you don't work with. A big deal for me is that you want to be happy in what you're doing and make your art good . So if you don't like if you don't mesh well or you don't vibe well with the couple like don't shoot their wedding and same goes for them, they should be vibing and feeling comfortable with you because really, at the end of the day, like we all want to be happy, we all want to, like, do what we love to dio on. And this is your job. This potentially is your full time job. So make sure you you love what you're doing and you and you like the couple you're shooting for because you can decide is your own business owner. So at the end of the day, it's kind of up to you to get that shot as well. The thing about photography is not a lot of people understand it. And not a lot of people understand the variables. Ah, battery could have died on you right before they took the last kiss. You could have ran a card space. You was a photographer. Need to be prepared for that. And if you're not prepared for and you miss something, that could be bad. And at the end of the day, you're not gonna get a lot of appreciation for what you were there for and what you hit. People don't understand how hard it is to be a wedding photographer or be a photographer in general, But if you do miss something, you're going to get all the blame for it. So just be prepared beyond point and understand that this is a really important day for them. And you just need to be prepared and love what you dio as time goes on as you shoot more weddings as you get used to it, it's gonna be automatic, and you won't have to worry about it. I don't want to scare you. It's so much fun shooting weddings, and, uh and you really get to be part of a big day for strangers. Almost so it's really great 14. Taking care of business on the wedding day: shooting photos is really fun, but we do have to get some business taking care of on the actual wedding day. And this could really help you be a better photographer on the day, so make sure you kind of get these checked off. The first thing is well, in advanced at least a week or two in advance. Try to connect with the wedding planner, the wedding coordinator. You want to maybe make a call, she or maybe depending on if you have an assistant or a second shooter, figure out the timeline way beforehand. Sometimes I'll put the timeline in the contract so that I know nothing is gonna go awry. But just as long as you have your hands on some sort of plan and understand that you're connecting with the wedding coordinator and in case you have any questions, you don't want to be texting or calling the bridegroom on the day, it kind of stresses them out unless it's a much smaller wedding, and that's just the way they have it running. So try to connect with the planner beforehand, make sure, and this is very important, and I even forget this, like constantly make sure you talk to the wedding and coordinator a person about a meal plan for you. Sometimes a t end of the day you've been shooting for, like, already six hours and you haven't eaten. You need to eat and you need to be comfortable. You can take food with you, obviously, but a lot of times during the dinner portion of the wedding, there's not much to take photos if you don't want to be like shooting people eating. So I'm usually that's around the time where most weddings will have a plate for. You can sit down in 1/4 and just gobble up. It's mustard. You can take a moment. Take a breath because the more comfortable you are again, the better photos you will take. And that's what we're here to do. After you've collected deposit obviously way before the wedding, you want to make sure you're gonna get final payment at the end of the day. I would not bother soul until the end of the day about that. You don't want to come off like you're just there to get money and your money hungry. You don't care about the photos you want to be invested in the day, make good photographs, and at the end of the day, they usually will come up and pay you. If not, go to the coordinator, go to the best man or the maid of honor, and if they don't know what's going on and you haven't received payment, then you go to the bride and groom. But make sure to take care of that close early in the day and before you leave because you want to get paid and you want to have a say in your contract that you're gonna get paid the day of the wedding. 15. Overview of what to photograph: Here we go. We get to decide exactly what we're gonna shoot on the wedding day. This may be apparent to you. I know it seems like Oh, yeah, of course. I know what I'm gonna shoot. And I'm sure you've been to plenty of weddings. But looking at it from a guest perspective versus looking at it from a photographer, perspective is extremely different. As a photographer, you want to bring your own style, and you also want to make a story, right? So you need to be hitting certain key moments in order to make that story whole when you present them a final gallery. So I want to go over specifically exactly what you should be shooting. We'll go over the how to shoot it in the next section. But right now I want to tell you what tissue keep in mind that every wedding is different. Every culture is different. There are different types of receptions. There are different types of ceremonies and you really have to take it upon yourself, toe. Learn exactly what that culture or session is gonna be like for that particular wedding. I'm going to go over a basic structure which includes some sort of ceremony reception, getting ready and all that stuff. So just keep in mind that when you go to shoot a specific wedding, make sure you learn the culture. I think the one that I'm most usually shoot is the typical American wedding culture. Indian culture is very different. I've shot a couple of those. Also, sometimes Catholic ceremonies could be very different with them moving around a lot. So just know what you're doing. So the first thing would be an engagement photo session. You can decide whether you're including this in your package or not. But that's also a really good time to kind of get to know the bride and groom before the wedding day. You kind of learn the weapons war between you and them, and you get comfortable with them, which is kind of rad. You also get Teoh, discover what works for them, what doesn't work with them as far as like posing goes, well, go. Moreover, that later the first thing on wedding day is getting ready. You have to decide how big the wedding is and how small it is, because sometimes the groom and the bride are getting ready in totally different areas, you need to make sure to have your basics covered. Eso. If you have a second shooter, send one person to the groom and you go to the bride or vice versa. You have to be able to cover both of those. Sometimes if you're lucky, they're both getting ready right next door to each other. And that's really awesome, because you can split your time between the two, so make sure you get them getting ready. Typically, I arrive when the makeup artist or the haired arrives, so as soon as they arrive, I start taking photos. You don't need to be that earlier that sometimes bride and groom's end up being that early . They start drinking whatever I usually arrive when the makeup artists arrives or the hairdresser arrives. That's usually the best time, because that's when they start to get ready. That's when the cool wedding photos of them putting eyeliner on and stuff like that works out. Groomsmen typically kind are drinking a little bit. They don't tended to hole out of that first, so you can start with the bride and then maybe move over to the groom and then bounce back and forth, so make sure you get there for them. Getting ready. Sometimes the bride likes to have the wedding dress being put on on camera again. That's a different situation, depending on the type of wedding. It also depends on if you have another shooter. I sometimes tend to shoot with an assistant or a second shooter who's possibly a female, and sometimes that's a little more comfortable for them to be in a room. For a case like that again, engagement session would be helpful because then you can talk through those things and decide what you want to dio after the whole getting ready thing is over, the ceremony's about again. This again. You need to talk to your coordinator and your couple about how you're gonna do this. Typically nowadays, sometimes couples are doing first looks where they end up seeing each other before the ceremony, where, as in traditional, you wouldn't see the bride and groom until right before they get married. Nowadays, sometimes they're doing first looks, which could happen away from the church or away from all the crowd, and they want you to photograph that cause you want to catch that look on the groom and the bride when they see each other on the most important day of their relationship. So there is that It depends on again. You should talk to your coordinator, so photograph that If not that we go on to the ceremony at the ceremony, you're gonna be shooting candids. You're gonna be shooting the groomsmen up waiting. You're gonna be shooting them. The bride with her father waiting in the background. Those are all very small things, and we'll talk more about that later. But you need to cover the ceremony. Pre ceremony. You need to cover the ceremony and you need to cover them being up in during the ceremony. There's big key moments there. There's five key moments in the ceremony that we want to look at. Walking down the aisle is one really important. Whether the brightest walking down with her Ah, father or someone of import to her you want or him you want to be looking at them, walking down their faces and maybe even a shot from background. The big thing is telling a story, right? So if you're a journalistic cinematic photographer, you want to really be showing the entire world, um, and them inside it. So while the brightest walking down the aisle you want to be looking around, what else is going on? The groomsmen. The groom is seeing his bride for the very first time. That could be a very pivotal photo. If you already had a first look, it won't be as big. Maybe will you kind of have to be on your feet for that. But looking at the groomsmen in them waiting or the minister or priest or whoever you have doing it may also be a good shot. This is also a good time to look at the guests. They're gonna be in all they're probably gonna have their phones out, which is kind of a bummer, but there's a lot of different photos you could be taking during that opportunity. Don't just look down the aisle. Look around you. Another pivotal point in the ceremony, aside from speakers and such is the rings being put on. If you can jockey yourself in a good position to get that ring proving on, it's a great specific detail. Tohave. It's a little different. A different ceremonies. It helps if you have a longer lens like a 72 200. We'll talk more about that later. But you should contact the place that the photo is gonna be that the ceremony's gonna be taken in because sometimes certain churches and places don't let you stand in certain areas , and other times they will. So if you're prepared and, um, have talked beforehand, you might be able to get that in a really good shot. The kiss. This is really big, especially for the couple. Typically, that's one of the biggest photos that they're requested at the end of the day, and it's gonna look the best there, several places to position yourself in and again. We'll talk more specifically on how to do that. But you need to try and lock down that kiss, whether it's you or the other photographer. Just try and get in a position that you can get that photo. But get that photo walking down the aisle together is very fast. It comes right after the kiss, and it's really good time to get them happy. They're relaxed like they kind of just had this big weight lifted off their shoulders cause they're married and it's really a big time for them to just release and be relaxed, and that will come across in photos like like new other. If you can nail that photo, you be great. You be fine because not a lot of people know that. So they're walking down that offer, the kiss, their relaxed, they're celebrating, they come out the door or they come down the aisle. No one else is around him, just you and them. And they're just gonna be and they're going to be smiling and they might kiss again. You just be firing because that's what I do. And I get a lot of good shots at that very, very moment. Typically, it's outside or goes from indoors, toe outside. We'll talk more about how to do that, but you've got to be quick on your feet and know what that's gonna be like and possibly have your second shooter out there to cover a wide and a close, because it only happens once so again, depending on whether you did a first look or not after the ceremony and before the reception, this is typically when we do the post shots. So that's all the wedding party shots with the parents with close family members. Typically, you'll take them away and you'll go do every pose shot. The best thing to do is get a list beforehand. If it's a small wedding, you can probably just accomplish it very quickly. But if it's a big wedding, make sure you have a list. We want the bride and the groom and the groom's parents, the bride and the groom in the bride's parents, the bride and the groom, the groom of the bride's parents like. So there's tons of different options. You can have their You're gonna have the groom in the groomsmen, the bride and her bridesmaids, which you could have done also it getting ready. It just kind of depends on the schedule. In the timing of the day, every wedding is going to be different. So you really got a plan that out? The coordinator should help you with that, but you never know. Another good reason for the first look is you could be doing that also during the first look section. If there's time which will save time later, this is also gets too complicated. If you do that near the ceremony a big tip for me is to get these shots, get those posts shots, either during getting ready or during the first look, or in between the ceremony and the reception. If you do them too close to the ceremony reception, you're gonna have people coming in and trying to get into these shots and these air crucial , important shots. Usually the couple will want pose shots they can put on their mantle that they can share on Facebook. And it's just easier if you're away from other people were done with the ceremony. We got the post shots were going on to the reception to the drinks. I has a wedding photographer at this point. Feel relaxed. All the hard part's done you've got in the ceremony. You've gotten the most pivotal parts. You've gotten the getting ready you've got in the post shots. You can kind of relax and do a little more candid photos. Don't relax too much because there are things happening. But keep in mind, the reception and the speeches are toe happen, and that's usually when they enter as a couple for the first time into the reception area. Those were good shots to get, um, after that, they're going to go right into certain things again. Every reception is different. Talk to your wedding coordinator. Talk to the couple about exactly what they're going to do. Typically, it's the first dance. After the first dance, they tend to do a welcome or thanks. Then speeches kind of start to ramp up. If they're not eating first, you need to get coverage of the speeches you need to get them. Thanking the audience after the speeches. There's things like the cake cutting. Also very important. You might need a couple of photographers there if it's a big one. If not trying, jockey yourself in position to do that. There's things like the garter toss and the bouquet toss. I'll show you a couple examples of those later. Those are some of my favorite shots and one of my favorite things to do. Depending on situation, Um, and there's other different ceremonies, depending again on the culture. There's the money dance that happens a lot. There is the father of the bride and bright dance. There's a mother of the groom and the groom dance, depending again on the couple, but just kind of make sure that you see all those pivotal moments. Ah, good person. That check with is if there's a deejay or there's a master of ceremonies, they will have a list of exactly what's going on. So I usually check in with them like right before the reception, just to make sure I have all my bases covered. So throughout the day, the last thing that you need to be trying to get when you can is just candid photos of guests. Ah, lot of times people like to refer back and look it like the photos of the guests that were there and who was kind of laughing and stuff trying to do too many post shots unless they ask for them. But I tend to sit back with, like, a 72 200 just capture these really beautiful moments of people laughing, people hugging people, saying hi to the bride and groom at the reception. Sometimes I go around the room, get the small kid dancing, just have fun and try to create an atmosphere we're trying to do is collect enough photos to tell a story, so make sure you get what you can to just show the atmosphere and show everything. Um, typically, I look at it like a movie. You want to cover that your main characters and then you want to kind of cover wines and show the entire film a good tip. If you're if you If you've kind of covered everything, you got your candids, you got the ceremonies. You're just hanging out. It's kind of winding down at the end of the day. A good business step is to kind of get some other photos of other vendors. You can take close ups of, Let's say, like the flowers or, let's say, the deejay or the master of ceremonies or even the reception hall. Ah, lot of times you can take those photos and talk to the vendors about Hey, I got some photos of you. Would you like them? You can start to create a relationship that they could then recommend you for another wedding. So while you're taking photos, just keep that in mind and try and see if you can pop off a couple of those things. For other vendors, it works really well, and they're really appreciative to because they need stuff for their websites and their own business. So those are some of the basic things of what to shoot. Now there's a 1,000,000 things that you can be shooting, and you should be shooting that I kind of left out small details like it the beginning. You might need to shoot the rings and the dress and the shoes and all those things. In the next section, we're gonna talk about how to shoot those things that will go more into those small details in each section and also in a breakdown and show you examples of how I shot it and why I shot it and all that. So keep in mind that I be referring to our couple as a bridegroom. Every wedding is going to be different. Whether it's bride and bride, groom and groom or bride and groom. Just make sure to be prepared for any situation. Each couple is going to have different key moments, and you need to know exactly what's gonna happen and be prepared 16. Wedding day equipment check: So we covered what? You're gonna shooting the wedding now? I want to go over specifics and more technical stuff on how you're going to shoot your wedding. Chances are you have a little bit of a photography background, but I want to go over equipment checklists first, basically a day or two before you need to be prepared with exactly what you're gonna have in your kit. A lot of this comes from your starter kit, but you need to also be a couple days prepared in hand so that everything's charged. You got everything in your bag and you're ready to go. I have broken this down into three sections. There is the camera, the media or the film and then lenses and flash. So first, let's start with the camera. You need to ask yourself that you have your camera and it's ready to go, so make sure that you've got your camera. Now, depending on how big of the shoot it's gonna be, you're gonna have one or two cameras, so go over each camera and make sure that you've got a battery to go with it and a strap, or how you're going to support it on the day. Chances are you're gonna have one strap. You re doing a smaller wedding, or you're gonna have the dual rapid straps to do two cameras at the same time. Either way, make sure you have enough batteries that are gonna last you all day and that they're charged. I start charging a day or two before a wedding just to double check and make sure everything's charged and the night before the wedding all thrown each battery just to make sure they're fully charged. Now, each cameras different in each battery is different. So make sure you know exactly how much time your battery is gonna last. A New York camera. Now that you've got your camera taking care of, you may have gone your backup camera. They both have batteries. You need to make sure you have enough media, so make sure that you've got enough cards toe last you the entire day. Now, again, this depends on how you're shooting in your style of shooting. If you're a trigger happy person, you may want more cards than not. If you're not a trigger happy person, you may need less cards. Either way, make sure you have enough cards so you don't have to download during the day. If you have only have one or two cards, you can't afford to buy new ones. You may have to bring a laptop or something like that to dump and download your other photos so you you can have more space. The big thing for me is just to make sure that I got enough cards to set me across the entire day so you don't have to worry about it. Keep in mind that you may be shooting a lot of photos. Go back to again your type of shooting. You could be shooting 7000 photos. I'd say on a good day, I'm a little trigger happy, so I'll tend to shoot around 3 to 4000 photos. I've known other photographers to shoot 5 to 6000 voters. If you're shooting raw images, those going much bigger files. If you're shooting on a big camera like India 100 those things go by so fast. So decided you're shooting on raw, decided you're shooting on J peg and figure out how much space your camera is gonna take up with the specific file size for that tip it card. It could be a little bit of math, but you'll figure it out. So the 3rd 1 is lenses and light. Now, I put together these two at the same time because it really depends on how fast your lenses . Also, you have to know what your venue is. If you're shooting outdoors, you're probably not gonna need us faster Lens If you're weddings from, say, you know, 10 a.m. to 3 p.m. There's gonna be lots of light. If your wedding isn't start til 45 and it's in the winter. You don't lose light really fast, so you need to check your venue and make sure there's enough lights inside the venue. Typically weddings or darker because there's going to be a dance floor and whatnot, so you need to make sure that the lenses you have our fast enough. This is a 51.4 that I use in big emergencies. It's a 1.4, which is very fast for his aperture goes and so allows me to shoot at night, and it always gonna shoot in very low light situations. It also depends on what camera you have. If you have a camera that can go up to a high I s O, you'll be able to shoot with a less fast lens, so just make sure you know your equipment and your prepared for low light situations. If that comes up, it also depends on your style. If your style is a more traditional, full flooded flash look, you can rock a flash on the top your camera and really wash everything out. If your style is more natural light and you're shooting at night, there's not gonna be any natural light. So you kind of got to figure that out. You may need a flash with one of those diffusers like I showed you before, or you might need just a fast lens. If you're doing natural light and it's during the day, you don't have to worry about it's fast. Linda's much so again, make sure you double check all your equipment. Create a checklist for yourself. That might always be the best thing with your specific equipment. I tend to go through each one of my cameras, my two shooting cameras in my backup camera, and I make sure each one of those has enough batteries to last all day. In addition to that, I make sure I have all the media, and all the lenses will work on all of them. Also go through the lenses and clean all of them the day before just to be safe. And I'll look at them again the day of the wedding. Those the biggest crucial things. Because when you're in the field shooting a wedding, he won't be able to go get a battery. You won't be able to go get a card that fast. So again, just check all your equipment, camera, batteries, media lenses and light. 17. Wedding day considerations - day vs nigh: So before we get too deep into exactly how you're gonna shoot stuff, let's talk about whether your wedding's gonna be indoor or outdoor. This is going to make a huge difference in everything. I kind of mentioned just recently that you need to figure out if you're gonna be a nighttime, a daytime, indoor or outdoor based on what equipment you bring. So this goes back to that. So let's talk about light, right? If you're outside and you're a natural light shooter, you're gonna be excited about a daytime outdoor wedding. It's give me much easier. It also depends on your camera equipment. If you're gonna have faster quick lenses, so it goes back to your style. What kind of style are you? Do you want to shoot with a flash, or do you not want to shoot with flash? There are two different ways of looking at it. Flashes have a very specific look versus natural light. You can kind of see the difference between these photos in natural light versus flashlight so you can see the natural light. One is very soft light. If it's coming through a window or something like that, or you can see natural light. If it's coming through just being outdoors and it's harsh sunlight, you kind of gotta figure out your style. This photo is much more of a flashed photo that's diffused, and you can sell that. I'm either using a Gary Fong diffuser or I'm using kind of a bounce card issue. If you don't have any of those, you can bounce a flash office ceiling to create a soft, soft light. Again, this goes back to your style. I know I keep saying that, going back to your style, but it really is. You can decide whether you want that flash soft look or a flash hard look, which is just straight on flash or the natural light. It really depends on the situation you're doing. I really don't like using flash. I'm much more of a natural photographer, natural light photographer. But sometimes I get in situations where we're inside. It's really dark, and I just I don't have the light to make it work with my camera, so it will tend to use a flash, and I'll use natural light when I can, and then I use a flash when I have to. If you're going to use a flash. It's not always nice looking to be fully frontal flash going back to your style. Traditional wedding photographers back in the day used to slam a giant flash, and they was pump a lot of light of you. Some cameras and some film emotions needed that much light just to make it look good back in the day. Nowadays, with the sensitivity in the Esso and the speed of these digital cameras, you don't necessarily need all that light coming from the front. You can get away with bouncing light. Better yet, you can get away with moving the flash from the top, your camera to a side bracket, or even putting our mode on it and putting your flash on a stand somewhere else. This will create a nice amount of contrast in light, as opposed to just a full blown light, which tends to look nicer as contrast e as our eyes Like, um, it just depends on your style. 18. Do you need an assistant or second shooter: So I know I've mentioned a second shooter and or an assistant for when you're shooting. This comes down to really what type of photographer you are and how big your wedding is gonna be that you're shooting. I typically will not use an assistant. I am very much more a lone gunman sort of thing. And that's why I tend to rock two cameras. I only really do that for smaller weddings. If it gets to be over 90 100 people, I will get in a second shooter. It also depends on if we are in different places as faras groom and bride getting ready. The difference between a second shooter and assistant is kind of vast. I would call a second shooter, someone that can shoot a wedding on their own. They're able to go out there and they know exactly what they're doing. They know where to be, and they know how to shoot a wedding on their own. That's the only type of second shooter I would trust. I would not necessarily trust someone who is just the beginning of photographer because you want to have full confidence that you can send them into a situation and they'll come out with photographs there at the level that you're shooting at an assistant is a little different. Assistant isn't necessarily a second shooter, which means their priority on the day is not to be taking photos, their priority on the days to making your day easier. Whether that means cleaning a lens, doing a lens change on your second camera, going and finding the coordinator to figure out what's going on or just getting a snack for you to keep going, they need to be there to basically assist you in making your day better. Typically, some of my assistance I'll give my backup camera to and when they have a chance, If there's downtime for them, they'll go and take photos, which is kind of nice for a younger person. Or someone who's coming up is a photographer because they can kind of learn the business and making You can kind of start to groom them as a second shooter, but you're not giving them the full responsibility, so they're able to play and learn how to be a second shooter. I do this actually with my niece a lot. Who's young and in high school she's really good at at photography, and she's kind of up and coming and building confidence in herself, which is great. And as she starts to learn photography, she's able to understand what she can shoot, what you can't without having that pressure. The advantages to having a second shooter are that you're able to be in two places at once . If you shoot with someone that you have confidence in and you know that they're gonna nail the shot and be along your style, you can send them to the groomsmen while you're with the bride's mates. It's kind of helpful to be able to shoot in two different places, especially when it comes when you come together at the ceremony. You know that's been covered. You can concentrate on the detail shots that you need with the bridegroom when it comes ceremony time. It's really helpful. Have two shooters or have an assistant with a camera, they contend to be shooting the wide shots and the medium shots. What you focus on getting close ups and medium shots this way, your medium shots were charm or common will be covered twice. Your wide shots will be covered by your second shooter. You don't think about it or change lenses, and you can shoot a longer lens and get the close ups. Typically, if I have a second shooter, I'll be honest 72 200 my second shooter will be on a 24 to 70. So that means we're both hitting that 70 range. When we need Teoh, he's bouncing back to a 24 and I'm bouncing up to a 200 we get total coverage. The cool thing about that is that if you sink both your cameras up, as far as timing and scheduling goes, it also works both ways. If you have two cameras, if they both have the same clock, when you import both photos into light room or some other program, it will section them off so that they're all in order. And when you export them to all, be in order and you can tell a story that way. So another reason to have a second shooter is when you're doing bridal party shots or pose shots. If there's a big bridal party and you don't have a lot of time, it's helpful. Toe, have your second shooter be doing once one side of the bridegroom and you could be doing the other side. If you're not doing them separately and you're doing them together, the second shooter could be helping you organize and pose the shot. Or your assistant can be helping and organizing, imposing the shot that's really helpful. If you have don't have a lot of time, you need to keep moving. Or if you trust your second shooter, you can have them post up. You taking the post shots and you could be organizing and making sure that everyone says it needs to be. Obviously, there's a lot of people going on. There's a ton of excitement, so people are kind of looking in different directions and looking for one person to kind of plan things out. And it's helpful. If you can kind of be that person and have a second shooter. Do you need a second shooter on assistant? Ask yourself these questions. Do you need to be in two places at once? Is the wedding too big for you to cover all the events? Where do you just need some help? 19. How much to pay a second shooter: So how much are you gonna be paying A second shooter? An assistant that's totally up to you and how you want to run your business. It depends on how much you're getting paid again. Go back to making sure that you're making money and that you're getting paid. But typically an assistant that I pay depending on how much work they're gonna be doing, I'll go anywhere from like a small six, our wedding at $50 toe like a bigger a 12 hour 12. Our wedding upto like 102 $100 will pay them. Got to make it worth their while. And they gotta be enjoying what they're doing. If they're younger and they're just on their for experience, you can probably pay them less. But just make sure that they're having a good time and they're there and they want to be there and they're doing a good job. A second shooter is much different. They are typically a photographer, so they're going to be probably asking for an hourly rate or a day rate, depending on how long again. Look at your budget. If it's a bigger wedding, your budgets gonna be bigger. So you're gonna be able to pay them a little bit more. Typically, I'll pay a second shooter if it's a smaller wedding, probably around three or $400 for the day. If it's a bigger wedding, I'll go anywhere from about 400 up to six or $800 depending on my budget. 20. Scheduling the wedding day: so we talked about what to shoot. I'd like to go more into how we're going to shoot things, but that really is dependent on scheduling. Scheduling is a big deal as faras. How you're going to shoot it. A big deal about that is the time of day and stars Light goes and the time of ceremony and first look and all that I mentioned before in the previous section on if there's gonna be a first look or not. Um, a lot of times a bride and groom are gonna come to you and ask that they want to be shooting at sunset, which typically means if that's between the ceremony and reception, you need to be at sunset a specific time, and the wedding coordinator needs to be on that. They need to be know exactly when they're going to be near sunset, so you should be involved in those conversations. As faras scheduling goes. If you know they want sunset photos, talk to the coordinator and tell him this is the time when you to shoot sunset. Typically, obviously, it depends on the time of year during the summer time, which is when most weddings are It's really nice to have the time between seven and 8 10 805 depending on where you are in the country to get those sunset shots. So be involved in the scheduling because that's going to determine if you need light if you don't need light. If you need an assistant to hold a bounce card, any of that stuff if they're doing a first look, you want to be involved as faras where they're gonna be and where the sun lights gonna be. You don't want to get yourself caught in a situation where the lights going to be terrible or it's going to be in a place where you won't be able to shoot them. So again, just be involved in those conversations as far as the type of photos that they want, where they're gonna be and when they're gonna be 21. Intro to success: Hey, everyone, welcome to a very fun section in this wedding photography course to wrap up this course will really needs to talk about how to succeed as a wedding photographer. So some of the things he'll be talking about our how to be happy as a wedding photographer but also as a person. Both will and I know that it's really hard to launch a successful business, but sometimes it's even harder to stick with it and to maintain the grind day in and day out to keep it successful. So you must stay happy throughout the entire process and will will talk about that and then Will will give several great lessons on a variety of topics that will help you build your wedding photography business and take it to the next level, like building out an amazing portfolio, dealing with family photographers, building out a presence on line and using social media to improve your business. He'll talk about dealing with saturated markets where there's lots of wedding photographers out there that you have to compete with and lots, lots more. I hope you enjoy this section a lot, and I'll pass it over to will now 22. Being happy - Tips from a wedding photographer: so I want you to succeed. The next few videos are more about you taking your business as a photographer and as a business person to the next level. I want to import on you everything that I've learned from everything that I've shot and just let you have the tools to kind of do that. So let's start off with being happy. Chances are you want to be happy and you've started this wedding photography business. That's a good thing. And if you're successful, you will be happy. But you've got to know that it's going to be hard work, and it's going to take time as long as you're OK with that and you can enjoy what you're doing. If you're not enjoying it, don't do it. If you're enjoying it, keep doing it because that will come across in your photos. If you're happy and you're confident and things were going well, your photography and your art is going to excel, and it's going to pull that in and it's gonna show. And that's when people are gonna love your photographs because your personality, your attitude, is gonna come across in your art 23. Making it a business and sticking to it: you've gone through all these tips and you got all this knowledge and now you're gonna make a wedding photography business. You need to stick to it. It's going to take time. It just is. It took me about a year and 1/2 to 2 years to really get going. And I think if you stick to it and you focus on it, it's going to be successful. Anything you're passionate about and you do with that passion is going to be successful. It just is going to take time. So make this a business. Don't let all the work that you've done go for, not just stick to it and stay with it, and it's going to get better and it's gonna be great. So at times, this may seem hard. Starting a business is not easy. If it were super easy, everyone would be doing it. And I'd say, For the first year, year and 1/2 I had a hard time. I had my lows. But you also have your highs. There's gonna be times where you can't find business where you can't find clients. You just kind of got to keep going. It's been my experience that it will come in due time, and that's why I say to stick with it because it will get better. Um, there's been times where I have been able to find clients. I just got to keep yourself busy and keep yourself positive because it usually turns around . As long as you're taking all the necessary steps and being happy and being confident and you're enjoying it, it should shine through. It will take time, though. There will be a time when you're able to look back after two or three years of doing this and you'll see how hard it was to get started. But you're going to start to feel good after you've gotten two or three clients. When you start building your portfolio and start building momentum, don't lose that. Keep pitching yourself. Keep going because that's the time when you can't stop. You got to keep going. You gotta push through the momentum and keep it going, and as long as you keep that ball running and you keep working on it and you're happy, you're gonna do well, 24. Building out your portfolio: So one thing. If you want to keep succeeding as a business person and as a photographer and as a wedding photographer is, you need to keep building your portfolio. It's really crucial that you keep growing as an artist. Your style is going to change. You're going to start to see stuff that you love, and you're starting to see stuff that you don't like. Keep building your portfolio. What does that mean? That means when you take a good photo, make sure it gets into your splash page on your website. Make sure it gets into your portfolio and take out the stuff that you feel is not representation of you as a photographer. As long as you keep building it and keeping it fresh, your customers are gonna keep coming in. Your clients are gonna enjoy it more, and you're really going to start to grow as an artist and as a photographer. If it stays stagnant and you don't keep adding and pushing yourself as an artist, your business is gonna be stagnant. Your artistry, your style in your portfolio need to keep up with your business because they pull each other up. You can't do it just on one of the other 25. Dealing with saturated photography markets: It depends on where you are around the world, but in different spots of the world, mostly dense areas. Wedding photography is extremely saturated. They're saturated markets basically, like anyone with a camera that are getting cheaper and cheaper can really become a wedding photographer. So you need to figure out how you're going to separate yourself from the rest of the wedding photographers. The big thing about that is like whether it's your personality, whether it's your website, whether your photos air great, whether it's how you treat your customers, whether it's whether you travel or not, Um, Or maybe it's just your general style. Um, you got to figure out how to separate yourself from everybody else, whether it be on yelp or whatever. People are seeing lots of photographers, lots of wedding photographers, and you need to figure that out real fast. Otherwise, your business is gonna kind of suffer when you're battling against other competition. Keep in mind also that other photographers maybe taking business away from you, are not taking business away from you. The thing about wedding photography is we're all comrades were all buddies in this, and just because they may have more work in the new or less work than you. Their style is different, and that style may worry work with a couple, but it's really up to the couple, whether they like your style or not, whether they vibe with you or not. So in a saturated market, sometimes it can be good for the couple because they can decide what type of photography they want. Um, and you need to figure out exactly who your customer is and who your clientele is. If you are more the D I y. Look, chances are the couples that are looking for D I. Y you're gonna go with you. If you are more of the fashion traditional look, chances are these types of couples will go for you, so you kind of kind of have to figure that out almost from the beginning, as far as style goes. But you also have to understand that you're kind of chasing after one style the other, and that involves different types of couples 26. Competing with the family photographers for jobs: So what to do when you're competing with family photographers? I kind of mentioned this in an earlier lesson, but a lot of couples tend to sometimes have a stigma with photography or photographers. Why should I be paying you $2000 or $4000 when I could just give a camera to my nephew and he can take some shots? You have to be aware and be able to tell someone that they're paying for the experience and your eye. You look at a wedding differently than a guest does. You look at a wedding differently than their nephew, Billy does. You have to sell yourself and tell himself that they're hiring a professional vendor, an artist, not someone that's in the family. That just happens to have a camera. Anybody can shoot, but you have to show them that your style and where you can be, blows out any other competition and you have the experience to do it, and that's what you're worth. 27. Working with other vendors for success: part of being a wedding photographer is being part of the larger system, right? There are tons of wedding vendors. It's a big business. There's lots of money going in and out on different levels. It's a good idea to start working with other wedding vendors. I mentioned earlier that you should be taking photos of the vendors to kind of help. Network networking is a big thing. A D J could recommend you. They could be hiring a videographer before they hire the photographer, and they could be recommending you based on their experience with you. So when you're on a wedding shoot, try to make friendly with other vendors. Try to work with coordinators the big ones that are big hires, our wedding coordinators and venues. Those are the two that will suggest photographers before anyone else. Usually a bride and groom are going to a venue and picking a date before anything else because you need a date before you can secure other vendors. If you can get in with A with a venue as a vendor, or you can get in with a wedding coordinator planner where they're driving business directly to you, that's your best possible situation. So if you can work with them as vendors, start there and then work your way down when you're at a wedding, talk to the D. J. Talk to the master of ceremonies. Talk to the live performers. Um, it's a really it's a team effort. If you can all work as a team and even create like a power team of a wedding coordinator, A. D. J. A videographer and photographer and you guys travel together, shooting all these weddings, it's gonna be so easy to start a business. 28. Using social networks to expand your business: social networks are huge right now. There are several social now, except I've found more successful than others. Ah, lot of younger couples air leaning towards Pinterest and a lot of D I Y looks, if you can get your photos and your stuff on something like, Pinterest would be great for you because people will actually be posting that as examples of what they want. And then they'll see that that's you. And they'd be like, Oh, he already made that photo that I want. So let's go with that person. So that's one avenue. There's also Instagram and Hashtags, the more people's Let's see your photo, and the more people see that you're relevant, the more likely you're going to be able to make contact with them, which means more likely will be able to have business. Facebook is another animal Facebook you need to stale, really consistent with. If you have a website and a blawg, be posting those blog's on Facebook. Be constantly posting on Facebook. I've seen a couple of wedding photographers who will have a Facebook page on, and they'll shoot a lot of weddings, but they only updated every two months. Well, when I go look at that Facebook page I'm going to see like, Well, they haven't posted anything in two months or they're really working or not working, and that's a lot of work. I know to be posting something every other day, but that's just the reality we're in now. So if you're gonna have a Facebook page, if you're gonna have an instagram, even a Twitter, you need to stay consistent with it. And that's goes back to just staying on top of your portfolio. If you're adding something to your portfolio every week, you can use that as a post. If you're adding a blogger on your website, use that as a post on Facebook or anything like that. But the more irrelevant you are, the more you're tagging people in, the more your network is going to spread. Ah, big tactic that I've seen on social networks is take like 10 of your favorite foes the day after a wedding that you shot. Take those, edit them, do a basic edit, get them up on your Facebook page and tag people that you met the night before. Those will start spreading very quickly because the wedding's very here. Very now, the couple is gonna let you, uh, show tap into their network. And that's going to spread out very quickly, which could lead to another wedding in the following year or anything like that. So just stay on top of those things and stay consistent. That's the best thing about social networks. 29. Testimonilas - Yelp, Wedding Wire, The Knot: so testimonials have worked wonders for me, whether it's on a wedding website or on Yelp. They're really big deal, I think, probably more important on Yelp than anything else but their websites, like wedding wire and the knot dot com, I imagine as a starting out wedding photographer. If you don't have some capital to start with, you're not gonna be able to afford the not and the level you need that to be at. So I would look more into that as you progress in a business. Um, wedding wire sometimes has a free sign up that you can use. We've gotten a couple hits from that in the past, but again, it hasn't been like groundbreaking. I don't think those air kind of groundbreaking until you have a large portfolio and you have money to put into advertising on those websites. So maybe look at them check amount, but I don't think you need to put money into those right away. Yelp has been huge. We've probably got about 80% of our recommendations, and tons of our testimony was on Yelp. It's great because it's free, and that's for some reason that go to what site for people who look up wedding photographer Redondo Beach eso. That's kind of a cool thing to do is get on yelps. Make sure you have a yelp page, but then make sure you have good reviews. So maybe after you've done your engagement sessions that we want you to practice with or you've shot a couple weddings for free, ask your friends who you shot for to go on there and just give you a full blown review. The more reviews that look good, the more business you're gonna create. And as you progress is a business and you become a better photographer, just ask each wedding person after everything has been done to just leave a review for you , and that's gonna build a lot of business for you. Starting out and it's free. You can also take those testimonials and put them on your website. That kind of goes back and forth between what your style is, how you want your website toe. Look, I prefer not to put them on my website, mostly because I don't like a lot of clutter, and I like to keep things very clean. What we do. One thing is we take the yelp link and we would put it on our website. So you, ah client can come looking website and click on the Yelp page and see that their actual real people leaving comments as opposed to just random words and quotations. Eso yelp again. It's been a great help, Andi. I would try and link up that as fast as you can as Faras company goes. 30. Thank You: Hey, everyone, I just want to say a big thank you for enrolling in this chorus on skill share. Some of you have been with us from the very beginning. With course, one and course to the first course was how to shoot a wedding. And the second course was how toe pose couples for wedding or engagement photos. And so if you haven't taken those courses, I strongly suggest you do. It will help you become a more well rounded wedding photographer. But if you have, I just want to say thank you so much and whether or not you have or haven't just thank you so much for taking this course. Where you can do for me now is leave a review for this course so that other students can here what your thoughts are and get inspired to take this course. And then you can also visit video school online dot com. That's where my block is. I post a lot of free articles tutorials, and I have only other premium courses that you can check out there. So thank you again so much from the bottom. My heart. I appreciate you taking this class and let's go out and take some wedding photos