Wedding Workshop One | Communication, Planning, & Happy Clients: The Ideal Timeline Planning Guide | Part 1
The Ideal Timeline Planning Guide | Part 1 | Transcription
The ideal timeline planning guide, what is this? Well, this is our planning guide to help them to help you. It’s kind of like that line from Jerry McGuire. You know, where he says, “Help me, help you.” Isn’t that what he says? Or you help? Me help, you? Me, help me? Me help you. No, that’s Barney. My bad. Totally forgot. Okay. The ideal timeline planning guide is a guide that we give our clients, again you can place this wherever you’d like. If you’d like it in a PDF, we’ve given it to you in a PDF format. We’re also, yeah. We’ve given it to you in PDF. I think, we also have it in Excel, too. If you want to modify, do whatever you’d like with it, you totally can. Now, we put our ideal timeline guide actually onto our website. That way we can send our clients a simple link that leads them over to the ideal timeline planning guide. What this is is a resource for them to have so they can start getting a gauge on what a sample wedding day looks like. We’ve given you two timeline guides. One is the first look timeline and one is a traditional timeline. We’re going to talk through each of these right now.
Let’s go ahead and we’re going to pull up the ideal timeline guide. I want to go through these different kinds of key points, mainly so that you all kind of understand why it is that we request the things that we request. If a client asks you, why do you need that amount of time, you can actually say and justify it. Now, hopefully all of you have your hawk eye glasses on, because this is absolutely tiny text. I can’t even read it myself. I’m going to do my best. I’d recommend for all of you that you pull up the slides as we are going along and so you can follow along with what we’re doing here. This is the sample first look timeline. This is timeline zero-one. It is the first one. Now, generally we say like we talked about before that at first look timeline is going to yield more time for photos and also a more relaxing day, hence better photos, more fun. We love the first look. What we’re going to do here is we’re going to lay out the day in a typical fashion so that a client gets an idea that they’re going to need some significant time when it comes to their photography covered. Here is the misconception that I get all the time. I get this all the time.
When a client sits down in the initial meeting, I’ll ask them a question like, “Have you guys thought about the wedding day? Have you thought about the wedding day timeline? Do you know how much coverage you might need?” This is what they do, they go, “Well, the ceremony starts at six pm and then we go into the reception at seven. I need four hours.” I’m like, “Ugh.” You know that sigh. You don’t need four hours. You’re going to need a minimum of probably ten hours. In fact, what I tell my clients is that, “You know what? Most wedding day timelines are going to be at least eight hours. We found that our typical wedding is a ten hour wedding day. That’s why all of our packages start at ten hours. Let me tell you why.” Then we start talking through that. Now, of course, we only bring those things up if they’re interested in talking about the timeline to begin with during that initial meeting. If not, this timeline guide, this ideal timeline is going to give them an idea of what you’re doing with each of these different pieces of the day.
To start us out, we’re going six am to eight am. This is when then bridesmaids start their makeup and hair prep. Then we have the bride starting at seven and going till nine am. During this time, this is a great time for us and we tell our clients this. This is a great time for us to capture candid images of the girls having a good time. In reality, we could trim a little bit of the time off that if the clients feel like budget is a concern.
What we typically will need is about thirty to sixty minutes to capture all the details. The last fifteen to twenty minutes is when we like to shoot the bride getting her hair and makeup done because during that last fifteen minutes is when she’s mostly done. In fact, we sometimes even wait until she’s done with hair and makeup. Then we’ll do simple what we call fake-up shots. Where you have the makeup artist go through and pretend like she’s doing makeup and you get a few shots. That takes a couple minutes. You get beautiful images. The bride loves it because no bride is going to want to use the images of right when she gets out of bed and starts, I shouldn’t say no bride but most brides are not going to want those photographs.
That will help us to get all the detail: the wedding dress the shoes and so forth. Again, if we want other types of shot, clients always have a tendency to cram as much as they can into such a small period of time. Notice that I’ve given them two hours for the bridesmaids to get ready and it could take actually more than that. Two hours for the bride her self to get ready and it could take more than that. I mentioned things like if you want bride plus bridesmaids in your robe shots then that’s from nine to nine fifteen. Not because this is something they actually have to plan but I want them to get that in their head that if there’s certain shots you want plan a few minutes for it. Don’t just bundle everything up in this one hour block and go “We got to get details. I want to get makeup. I want to get all this kind of stuff. I want to get all the girls. I want to get all this.” Plan it out. Give them an idea of what’s needed.
These are really fun. It does require that the bridesmaids are actually ready at the time that you’re taking that photo. That’s why we built this ideal timeline with the bridesmaids getting ready prior to the bride. That way when the bride is stepping into her dress, the bridesmaids might still be in their robes but, at least they have their hair and makeup done. We can use them in photographs helping the bride to get ready and doing these cute robe shots and so forth. If bridesmaids aren’t ready until later on generally they’re not wanting to be involved in the bridal preparation.
The bridesmaids step into their dresses at nine fifteen to nine thirty. Then the bride steps into her dress at nine thirty. This is where it kind of just depends on the bride. If she wants to have the bridesmaids their robes while she’s getting helped into her dress, all these things are going to vary from client to client. I’m just spelling things out so they have an idea.
The bride opens a groom gift and letter again we’re just trying to give them an idea that these things take time. We do bride solo portraits. Why? Most brides won’t even think about doing solo portraits. That’s not even on the timeline. Do I need thirty minutes for solo portraits? No. I could do all the bridal portraits that I need to have in ten minutes. Guess what? If we have thirty minutes, don’t you think I would find a way to use it? I could be getting more shots of the bride. I could be getting more shots of the bride with her girls. I could be doing so many artistic things with that additional time. I’m going to ask for it.
Lastly, we have the bride plus bridesmaids room portraits. What we’re doing is giving the client an idea that depending on when they want us to start this six am to eleven am window is potentially five hours of photography coverage. We don’t necessarily need to start that early. What time we usually start based on most of our clients, they don’t want most of preparation covered. They’ll get the last thirty minutes to last hour. We’ll typically end up starting around this eight am slot. About eight am when the bridesmaids are toward the end we start. We’ll start with a couple candid photos of the bridesmaids. Then while the bride still has another forty five minutes to an hour left to go, we’re doing the detail shots and so forth. We’ll start at eight. We end at eleven. That’s still three hours of just preparation coverage.
One thing I’ve also noted here is bridal preparation is always covered by the lead shooter unless the bride and groom plan otherwise. If they let us know otherwise we will change that. Otherwise it’s covered by the lead shooter.
Moving on to groom prep. Guys don’t necessarily need that much time to get ready. Groom prep starts at eight thirty am. What happens is if the groom prep is happening at the same time as the bride, it’s covered by the second shooter. I love timelines where basically it’s a first shooter can cover both bride and groom type timeline. That’s were the groom is getting ready after the bride. You can go and cover both things yourself. I like that because it provides for more consistent imagery. It allows me to execute my vision on both sides while letting my second shooter shoot artistic angles on both of those pieces. I like that timeline format, although, the majority of time we don’t simply have that timeline.
Typically this is going to be covered at the same time as the bride. It’s going to be covered by the second shooter. Unless of course, planned otherwise. Eight thirty to nine we’re doing the groom detail photos. This is the groom’s shirt. The new outfit. The cuff links. All the details. The jewelry and so forth. We do groom plus groom men prep. This is going to be candid and journalistic imagery of the grooms men all getting ready having a good time. Doing that. We don’t need a ton of time for these different elements. A lot of times grooms men and groom prep is around thirty minutes. It doesn’t necessarily have to be a huge amount of time. We want to give them ideas though.
Then we go groom opens bride’s gift and letter. Again, getting into their head that those things take time. It takes time to open up gifts and letters. It takes time to do champagne toasts. It takes time to get in the robes and do shots. It takes time for all these different pieces that they have in their head and they’re visualizing. We’re just trying to make sure that they understand that it needs to be built into the schedule. Then we have the groom solo portraits. Same thing. We don’t need a ton of time there. Generally, fifteen minutes with the groom is enough. The bride has a lot more detail that needs to be photographed. We ask for thirty minutes with the bride if we can get that amount of time. Fifteen minutes is enough for the groom.
So with the remaining time with the groom and the grooms men what typically we like to do is focus on portraits with groom and the grooms men. We’ll take them out to a location. We’ll go to the bar. We’ll do fun things. We’ll set up something awesome inside the room. Those are the things that most of our grooms want to have. Rather than having just tons of solo portraits themselves, we like to photograph them with the boys. We’ll do fun candids. We’ll do all those kinds of things in a nice area on the property.
We end both these at eleven am. This gives them an idea of what preparation is like. Let’s move on to the pre ceremony portrait piece of the day. We’ve built in here a first look positioning. Why? Clients always build in the first look. Without thinking that it actually takes time to position them. It takes time to position them for the first look. To have that location, to walk the groom out to it, to prepare the bride, to set up all the cameras and video and still and so forth. We build that in so they understand it takes at least fifteen minutes to do this. Then we have the first look. The first look does not generally take more than five minutes. What we’ve done here is we’ve given each other a thirty minute window for the first look on the timeline.
If it take them a little bit longer to get them into position we’re good. We’re solid. We have that buffer built in. Guess what? If we finish the first look a little bit early then we go into couple portraits a little bit early. We get more couples photos. We go into the couples portrait session at eleven thirty and we go until twelve fifteen. This is the early photo session. What we like to have is forty five minutes of this. A lot of the photographs you get out of the first look are couples photos type images. We ask for forty five minutes here although, if I get fifteen to twenty minutes or thirty minutes for the photos after the first look I’m good. I’m solid. I’ve got all the shots that I’d want to have from a must have standpoint. If I have that extra fifteen twenty minutes with a couple I can focus again on getting more artistic shots, more variety, more locations, and more everything. Ask for the time. Let the day of stuff go on and see how much time you’re left with. Without asking for the time, you’re not going to get enough.
Then we go from twelve thirty, notice how we have a little buffer in between each of these, again that buffer is built in as that padding. Simply to provide us with additional time in case we’re running late in each of these areas. Twelve thirty we start with the wedding party and group individual shots. We do that from twelve thirty to one thirty. Once again, we could do this in twenty minutes. We’re asking for sixty.
We go into the family formals from one forty five to two forty five. We could do it in twenty to thirty minutes. We’re asking for sixty. Here’s the other reason why. I want to get photographs with let’s say the bride and the groom and the bride’s immediate family. Right? Then I want to get a shot with the bride and her mom and the bride her dad and the bride and her brothers and sisters. I want to get a shot with the groom and his dad and his mom and separate and kind of like get all those different iterations. The reason why is because if you are wanting to make print sales you need to have those. Those formals are one of the most purchased prints of the entire wedding day. It’s going to be the images that grandma is going to pick. Grandma wants a picture of her son the father of the bride along with the bride. That’s the shot that she wants to put on her fireplace.
Those are the shots that sell the most. That’s where we’re going to make the most in terms of print sales. We want to focus. Make sure that we get tons of these different shots. Make sure we incorporate the entire family. The question is could we do family portraits in a shorter amount of time? Absolutely. If we have the time I’m going to get more iterations. I’m going to shoot their formals list and then I’m going to go beyond that getting shots with grandma. Getting shots with grandpa. Getting all the shots that might not be on a list that I think would be fantastic for them to have.
Going in we have bride and groom separate freshen up. Now the family formals are done. At two forty five we separate the bride and the groom and they’re always going to ask you why that is. Separating the bride and the groom allows them to build that sense of anticipation and excitement before walking down the aisle. A lot of times a couple doesn’t want to have a first look simply because they feel it’s going to diminish the experience of the groom seeing the bride coming down the aisle. Here’s what we’ve noticed. If you separate the bride and the groom, prior to the ceremony and give them thirty minutes, that anticipation is going to build up that excitement is going to build up. It’s going to be the exact same thing that’s going to happen all over again. You’re going to get beautiful reaction shots. It’s going to be fantastic.
Grooms that generally have not had a very emotional first look experience, are grooms that just in general are not emotional. If they cry during a first look, they’re going to cry again when she’s coming down the altar. We’ve found that that does not diminish things. We’ve when we’ve told brides and grooms about this they realize “Oh that one worry that we have is not really a concern. Let’s go with the first look timeline because it’s going to yield a better and more fun day.”
From there we go into the ceremony. We have now the ceremony starting at three thirty with the processional. You can see we give them quite a bit of time to take a little break. That’s the time that we’re going to go shoot details in between those. We’re going to do the details before everyone is seated. Probably people are going to be seated around three fifteen. The ceremony starts at three thirty. We had a thirty minute window to catch the details. That’s all we need. If they give me five minutes, ten minutes with a clear ceremony sight I will have all the details done so quickly. It’ll blow your mind.
We have the processional, the ceremony, the recessional, everything here is pretty straightforward. One thing that I like to mention to brides and grooms also when you’re helping them to plan, there’s certain things that they can do if they keep things in mind, to help you get better photos.
One, remind everyone in the processional, have the bride and groom tell their friends, tell their family, tell all the people that are involved, to look up while they walk because this is everybody’s tendency. They don’t look up. You’re like look up, look up. You don’t have to look at the camera. Look at the guests. Look somewhere else. Just don’t stare at the ground. If you let them know that and they remind people it’ll happen.
Next, for all activities allow audience visibility. What that means is how many of you have seen brides and grooms pour sand into the same vase or ring exchanges or all the things that they could be doing. This happens all the time. This is the altar. You guys are the guests. The bride and groom does this. Nobody can see anything. Now what that means is that the photographer has to run around to the front to shoot them doing that. Where as, it’s much nicer when we can shoot from the audiences perspective and not be such a big part of the day and be so noticeable and running around and doing these types of things. Always let them know. When you guys are putting on your rings keep the hands open. Put the ring on. Allow us to see. Don’t cover each others hands up. When you guys are pouring the sand. Do it towards the audience. Let the audience see what you’re doing. That way we can see what you’re doing.
One other thing during the recessional, one of my favorite moments is the recessional. The bride and the groom they’re so happy. They’re coming down the aisle. Their friends are cheering. They’ve just kissed. This is the perfect time to remind them that hey guys get into it. You guys don’t have to walk down the aisle and be all like kind of “Hey, thanks. Yeah. ” Pump the flowers. Bring them up into the air. Excitement and celebration is going to make for fantastic images. When you get to the end of the aisle I want you to do something. You could bend her over for a kiss. Show everybody how to kiss your woman at the end of that aisle. You could lift her up. You could simply look at each other and then I’ll take a photo of that. Or you could look into the camera.
Whatever you want to do. Think of something to do at the end of the aisle because it’s going to look amazing with all of your guests behind you. You give them that vision. When it comes down to it they’re going to do whatever it is you ask. It’s going to look fantastic. You’re going to have a beautiful high production image that has all these people behind us. It’s going to look like this moment that was just perfect. You were just in the right place at the right time and in your head you go “Yep. I’m kind of the guy that makes magic happen.” I make it happen. If I need to I’ll help kind of push things along to make it better.
By the way, we’ve learned that because some recessionals are fantastic and people do that naturally. The majority of them, they don’t. They don’t realize that those are things. We want to help them to understand what makes for these great photos.
What’s going to happen next from four thirty to four fifteen is they’re going to clear guest to go to cocktail hour. We always tell brides and grooms to allow fifteen minutes for guests to be cleared before you place family formals on the timeline. This is what they do “The ceremony ends at four thirty so we’re going to start formals at four thirty.” Come on. That is not realistic. If you want to do sets of photos on the altar without the whole place becoming a giant receiving line, the bride and groom has to walk down the aisle for the recessional, be hidden for a few moments. The guests need to be cleared out. Then the bride and groom comes back out. If the bride and groom comes back out to the altar when all the guests are there, it becomes a receiving line. At that point, if you start shooing guests over to cocktail hour, well it becomes offensive and the guests don’t like that. They’re going to be basically offended. Give them a few minutes. Make sure that that’s built into the timeline. Here we have extended family portraits on the altar.
The reason why is a lot of times even with the first look timeline, we try to get all the family photos done prior to the ceremony. A lot of times it’s not possible. A lot of times there’s extended family that simply doesn’t come early enough to do those formals. A lot of times we do those shots after the ceremony. We’ll kind of again, have that same list. It’s going to be a quick family session. We’re going to use that fifteen minute time while the coordinator is clearing all the guests out to set up our lights to do whatever we need to do to get ready for the shots. Then we’re going to bring them in. We have our guide that’s going to guide us through our list. We’re going to bang them out real fast.
Then what we try to do is after this wedding party formals at the altar we build in for a few quick shots, say five shots, we’d have fifteen minutes to basically do that. Again, use or reference that timeline guide that we give you that said two to three minutes for different group sizes. Two to three minutes for five to ten people. At six pm we plan a little sunset couples session. It doesn’t have to be a lot of time. Thirty minutes is more than plenty. This is time that the guests are at cocktail hour anyway. It’s time for us to get a few beautiful shots of the bride and groom during that magic hour. Usually they’ll go and freshen up and then go prep for the reception.
Now, during this piece, it really depends on how the timeline is built. Basically, during the wedding party formals and the sunset couples portraits this is our cocktail hour slot. Cocktail hour is from five pm to six thirty. Generally our second shooter is going to cover a few minutes of cocktail getting details getting portraits and so forth. Getting those candids. Then they’re going to move to the ballroom to capture the reception details.
Of course, the reception details need to be picture perfect. If you ask your coordinator, this is what we ask them on every single day. We either ask them prior to or on the day of. We’ll say when is the ceremony site or at what time during the day is the ceremony site going to be picture perfect. We use that specific word because it gives them a sense of visualization that we want things to be perfect for photographs during that slot. They’ll always think differently than when you ask them when can I take photos of the ceremony site? This is across the board what they say. When can I take photos of the ceremony site? The coordinator goes ” Well we’ll have everything set up around one.” The ceremony doesn’t start until three. Right? In my head I know floral are probably not going to be completely placed at one because then they’re going to burn up in the sun. All of the seats and everything might not be perfect. They’re going to have certain things that they haven’t done yet. If it’s the ballroom they haven’t lit the candles yet. They haven’t done all these different things.
When I ask the question the way “When is the reception or when is the ceremony going to be picture perfect?” They think blog. They think magazine submission. They think perfection. Then they go “Oh. It’ll be ready at two forty five. Come at that time.” We do this because when we don’t ask in that manner it’s very difficult to get a solid time. Then when you show up things aren’t ready and you’re sitting there waiting around. You’re doing close ups and stuff waiting for the room to be cleared. It’s a much easier way of communicating. Using those specific words will trigger something in their heads that go “I need this to be perfect. I going to clear the room for them. I’m going to do everything that they want.” It will really work out nicely for you. Nice little golden tip there.
Six thirty to six forty five the guests enter the reception. Our detail shots need to be done at that point. If my second shooter has finished the photographs of cocktail hour and reception details I love for them to join me during the sunset couples session so that I have a second angle on it. If not then unfortunately we just do one angle on the sunset portrait session. Let the second shooter cover the details.
Guest enter the reception. Now at this point we let the bride and groom at six thirty go. I go prep for the reception. The bride and groom goes and they freshen up. They take a thirty minute break. Then they should up. Family and wedding party and couple have their grand entrance at seven. So now they’ve had a little break. Had a chance to freshen up use the restroom. Get their hair and their makeup touched up and so forth. They’re good to go.
Seven o’clock they enter. Seven fifteen we have our first dance and family dances. From here on it’s pretty straightforward. There are a couple notes that I like to give them. For example, ideally when you start the first dance, start in the middle of the dance floor so we get a beautiful grand wide shot. Again, the photographs that you see on our blog, on our website, the photographs that you see throughout, they have gentle guidance throughout. We’re shooting journalistic ally. Absolutely.
It is a little bit kind of coached photo journalism. During the grand entrance this is when everyone has a tendency to do if you don’t tell them otherwise, the doors open and they go “Woo! Yeah!” Then they stop celebrating and then they enter the room. The best photograph during grand entrance isn’t at the door where you have an exit sign, and you have nasty surroundings and all that. The best shot there is the party shot when they are getting right to the dance floor and they’re dancing you can see all the guests behind them welcoming this entire wedding party into the room. Let them know that. Otherwise the celebration is going to happen right underneath that exit sign and everyone of your photos is exit sign dancing. Then they just walk in. Help them out. Help them to understand these things.
Another thing that I wanted to mention was when giving toasts, ideally, you want them to stand next to the bride and groom. So for example from a photographers perspective, it’s beautiful when I can basically have where this TV is say this is the sweetheart table. The person giving the toast is standing right here. There able to go “When I met my bro here we were both in high school and instantly it was a total bromance.” I want that because now I can capture all of them in their expressions in one single angle. We can plan and set up separate angles and have everybody. We can zoom in capturing either wide to get all of them or zoom in to get their expressions as we go.
When they’re thirty feet away and talking across the dance floor that becomes difficult to photograph or photograph it in a way that seems seamless. Where were not just shooting one person then the next person then another person so forth. Again, give them a little bit of guidance there.
We have toasts. We have reception program. We’ll continue. Again, you’re going to shoot things as you go. We’re shooting journalisically through the entire time. Garter and bouquet toss again, tell the coordinator tell the DJ, whoever is running the show let them know ahead of time. I actually want them to toss it this way because I have my lights all set up. When single ladies comes on (sings). If I hear that song again I swear. I am going to hear that song again because it’s played every single time. I love my brides that choose something other than Single Ladies. So what they’re going to do is go “Hey guys we’re going to set up the dance floor shot. All the single ladies come on up. I want you guys to stand over there. I want the bride over here.” The DJ can help you coordinate based on your vision.
How do we do that? Well I usually like the bride and groom to throw … For the garter and the bouquet toss, I’ll have them throw toward the interesting side of the room. Meaning that if I have all the guests on side seated, I want to shoot towards the guests and towards the decoration. Not towards the front of the room where we have the DJ and the sweetheart table and then the wall. That’s not very interesting. We’re going to shoot in that direction. We’re going to set up lights in the back of the room. This all goes down to how we light our reception stuff. That’s part of technique that we’ll teach you later on. I’m letting them know what to do there so that way I’m getting beautiful shots. I have the right lighting and everything is set up.
Going into garter toss same thing. Open dancing bride and groom join. What I like to do is we’ll do a large group shot. I’ll tell the DJ, DJ’s most of them are going to know. Your MC is going to know about this because they’ve done it before. Tell them hey I would love to get a large group shot to get the dance floor kicked off. What they’re going to do is the DJ will say “All the guests I want you all to come to the dance floor. Okay? Everybody come up. We’re going to take a photograph.” The photographers going to stand up. He’s going to get everybody in this photo. We’ll either get on the stage or we’ll pull up a chair. When you pull up a chair be courteous. There’s usually a little seat cushion. Fold the seat cushion up then stand on the wood part of it so you’re not putting your shoes directly where someone would be placing their dress and their bum.
I had someone actually tell me that. She said oh great now I’m not going to use this chair because you just stood on it. That was six years ago when that happened. I felt so bad. This is now policy. If you can’t fold the cushion up, take your shoes off because that happened to me once.
Now we do this large group shot with everybody. I try to get them all riled up. I’m like “Everybody! I want you to all shout on three! One, two, three. Do it again! You can do more!” Get them into it then right afterward you jump off and go “DJ hit it!” And he hits the music and the dance floor is filled with people and the bride and groom is right in the center. Boom. We start getting amazing dance floor shots with the bride and groom just having a good time and everyone’s rockin it. You’re just in the moment shooting. This is all, once again, your guide photo journalism.
After the bride and groom has fifteen minutes to dance with their guests it’s a good amount of time to get the dance floor moving. Everybody’s having a good time. Everyone’s into the open dancing. The bride and groom got it all started and everything. That’s a great time for the bride and groom to step out for just a few moments to do a nighttime portrait session. This is one of those things we’ll ask for thirty minutes but here’s but we actually do. During the dinner time we’ll generally pre light a scene. What that means is we’re actually looking toward nighttime shots and we’re going to pre light and set things up and have a good idea of what we want to do already. Then when we have this moment to take the bride and groom out, we typically will ask for five or ten minutes but if they want more time we will.
Here’s the thing you need to be careful of through. Pulling the bride and groom for twenty or thirty minutes can often times kill the entire party. It makes people think “Where did the bride and groom go? Are they gone? Did they leave?” Often times it just ruins the vibe. You need to be very sensitive to that. If you feel like it’s one of those situations where the bride and groom are a little hesitant to leave, and you feel like it’s going to kill the vibe, pre light a scene. Pull the bride and groom for five minutes. You’ve already prepped the shot. You’ve already done everything. Pull them for five minutes. Get your shot. Send them back in.
If you feel like they want to go out for this portrait session and they want a nighttime shoot you can build a little more time in there. You can take them out. Do the shoot. Send them back and the party should still be going because you have kind of gagged it and felt like this group is going to be popping regardless of if the bride and the groom are there or not.
Often times the group will just be crazy and they want to have a good time. It doesn’t matter if the bride and groom are there. Often times they need the bride and the groom there to keep them going. That’s where a lot of judgement s going to be required. If they need to be there to keep it going don’t pull them for more than five minutes. Which means that you need to pre light and set everything up before you grab them for that nighttime shot.
Lastly, we have open dancing and then dessert bar opens. Late night snacks. We continue with journalistic and artistic shots of everyone on the dance floor. Second shooter’s going to cover the desserts and snacks.
Then finally we have the grand sparkler and confetti or whatever exit they have. We’re going to say that we want them to allow ten to fifteen minutes to set up and to actually get the exit. The exit itself only takes like five minutes. Setting up for it and getting people in the right positions can take up to ten or fifteen minutes depending on if you have help from the coordinator or if your kind of just doing it all on your own.
This is our timeline. Remember that earlier, what time did we start? Seven am on this timeline right. We’re ending at twelve or twelve twenty. How much time is that? If we’re to shoot the entire day, seven to twelve is five hours and then twelve to twelve is another twelve hours. This is a seventeen hour wedding day.
If our typical wedding package includes ten hours then if they want all this coverage they need to add additional time. We don’t do this to make them want to purchase additional time. We don’t do this because we want to up-sell them on more time. We do it because if people want to have this grand and epic vision of a wedding and what they all imagine, this is the actual amount of time that it would take to have a good time to have a relaxing day and really enjoy what’s going on. Of course, a lot of people will shorten this up into a fourteen or twelve or even ten hour block. If you give them this timeline guide before hand, that’s going to significantly change the way that they go about planning their wedding timeline. The more they incorporate from this the better your images are going to be.
- 1.1 Wedding Workshop Part One Trailer
- 1.2 Chapter 1 Intro
- 1.3 The Mission. Consistently Incredible Imagery
- 1.4 The Four Key Skills of the Successful Photographer
- 1.5 Chapter 1: Exercise
- 1.6 Three Tips For Preventing Any Client Frustrations
- 1.7 How Frequently Should You Be Communicating With Your Clients?
- 1.8 Every Client is Your Only Client
- 1.9 Chapter 1: Quiz
The Initial Meeting
- 2.1 Chapter 2 Intro
- 2.2 Know Your Audience
- 2.3 8 Keys To Building Trust With Your Clients
- 2.4 The First 15 Minutes | Part 1
- 2.5 The First 15 Minutes | Part 2
- 2.6 Five Reasons You Need an Engagement Shoot
- 2.7 Discussing The Engagement Shoot | Part 1
- 2.8 Discussing The Engagement Shoot | Part 2
- 2.9 Five Reasons You Should Have Clients Create a Mood Board
- 2.10 Chapter 2: Exercise #1
- 2.11 Discussing the Mood Board | Part 1
- 2.12 Discussing the Mood Board | Part 2
- 2.13 10 Timeline Points to Discuss During the Initial Meeting
- 2.14 Wedding Photography Timeline | 3 Tips On Managing Time Constraints
- 2.15 Discussing the Timeline | Part 1
- 2.16 Discussing the Timeline | Part 2
- 2.17 Chapter 2: Exercise #2
- 2.18 Two Reasons to Create a VIP List
- 2.19 Discussing The VIP List | Part 1
- 2.20 Discussing The VIP List | Part 2
- 2.21 Four Reasons We Love Formals Lists
- 2.22 Discussing the Formals List | Part 1
- 2.23 Discussing the Formals List | Part 2
- 2.24 Discussing Photo Versus Cinema Coverage | Part 1
- 2.25 Discussing Photo Versus Cinema Coverage | Part 2
- 2.26 10 Tips & Reasons to Hire a Wedding Planner
- 2.27 Four Reasons We Love to Promote Using Planners
- 2.28 Chapter 2: Exercise #3
- 2.29 Discussing Wedding Planners | Part 1
- 2.30 Discussing Wedding Planners | Part 2
- 2.31 Chapter 2: Quiz
Prepping for the Engagement Talk Through
- 3.1 Chapter 3 Intro
- 3.2 Post Booking Email & Requests
- 3.3 The Ideal Timeline Planning Guide | Part 1
- 3.4 The Ideal Timeline Planning Guide | Part 2
- 3.5 Preparing For The Talk Through
- 3.6 The Engagement Talk Through | Part 1
- 3.7 The Engagement Talk Through | Part 2
- 3.8 Post Talk Through Confirmation
- 3.9 Chapter 3: Quiz
Engagement Shoot Prep & Communication
- 4.1 Chapter 4 Intro
- 4.2 Preparing for the Shoot
- 4.3 Same Day Location Scouting
- 4.4 The First 15 Minutes | Part 2
- 4.5 The Foundation Posing Framework Primer | Part 1
- 4.6 The Foundation Posing Framework Primer | Part 2
- 4.7 How to Address and Resolve Shoot Concerns | Part 1
- 4.8 How to Address and Resolve Shoot Concerns | Part 2
- 4.9 10 Ways During the Shoot to Build Trust, Confidence, and the...
- 4.10 Four Reasons Why Teasers Are So Awesome
- 4.11 Delivering the Final Engagement Photos
- 4.12 Chapter 4: Quiz
Prepping for the Wedding Day Talk Through
- 5.1 Chapter 5 Intro
- 5.2 Pre-Wedding Talk Through Email
- 5.3 Preparing For the Talk Through
- 5.4 The First 3-5 Minutes | Part 3
- 5.5 The First 3-5 Minutes | Part 3.5
- 5.6 Tuning into Their Vision | Part 1
- 5.7 Tuning into Their Vision | Part 2
- 5.8 Timeline Walk Through | Part 1
- 5.9 Timeline Walk Through | Part 2
- 5.10 Discuss the Family Portraits | Part 1
- 5.11 Discuss the Family Portraits | Part 2
- 5.12 Condensed Itinerary and Information
- 5.13 Chapter 5: Quiz
Wedding Day Preparation & Communication
- 6.1 Chapter 6 Intro
- 6.2 Preparing for the Wedding
- 6.3 Our Wedding Day Arrival Policy
- 6.4 Team Planning Walk Through | Part 1
- 6.5 Team Planning Walk Through | Part 2
- 6.6 10 Ways to Amaze and Impress Throughout The Wedding
- 6.7 How to Address and Resolve Wedding Day Concerns and Case Study |...
- 6.8 How to Address and Resolve Wedding Day Concerns and Case Study |...
- 6.9 Five Reasons to Create a Same-Day Slideshow
- 6.10 Delivering the Final Wedding Photos
- 6.11 Tips On Client Satisfaction, Reviews, & Testimonials
- 6.12 Chapter 6: Quiz
Modern Preset Pack
Give Your Images a Natural, Clean Style
Mood Preset Pack
Warm, Organic, Boho, Wanderlust Style
Crush Preset Pack
Give Images a Punch with Deep Blues
Pastel Preset Pack
Refined Film Emulation
Retouch, Dodge and Burn and Much More