Hi everyone, um, let me know if you can hear me before I start chatting away. So if you just want to let me know in the chat, I'd love to hear where you're from or where you are. What anything you want to share with us really, this is going to be a really casual demo and really excited to go over everything that we're shooting today. It's super special. And I just want to give you guys a, okay, I got confirmation, you guys can hear me. So that's great.
Welcome to my studio. I am Jena Carlin, commercial food and lifestyle photographer and mentor for food photographers who want to make a business out of what they love to do. So if that is you, welcome. Thank you so much for coming. And I know some of the the photographers already in the program are here today, too. So thank you so much for coming. I'm really excited to share this live demo with you as well. Before we jump in, get started, I just want to give a huge thank you to my team here and introduce them. So first of all, we have dama. She is joining us from California. And then in the studio, we have Jenn with us and Mercedes. So they are playing a huge part in the demo as well. So I just wanted to let you know that they are here and helping us out today. Okay, so for this demo, actually, for this whole live, we are going to be doing a demo the live demo. And then we're going to be talking about the inspiration. I'll talk about my lights, any sort of set of questions that we have, and during this shoot for you. So if you have any questions about that, during this whole process, feel free to ask any of your questions in the chat or those are question box in zoom this time either way, just throw out some questions. And we'll be monitoring monitoring them. So yeah, any questions that you have along the way there. And then I have a special promo to announce about the program portfolio profit that I run. And then then we're going to have an awesome q&a. So if you have any questions business related to and I know we had a chance to send you some emails that you were able to send some pre submitted questions, so we have some of those to answer. And then also, we have three, three food photographers that are in Portfolio profit that we're going to be introducing as well and talking about their experiences in the program. And I'm so excited to get started.
So first things first, about the live demo, I wanted to share what it was why we chose to do the live demo on champagne and twinkle lights. So I know that a lot of you are probably shooting twinkle lights this time of year. And it's one of my favorite things to do. I actually like shoot it all year round, I have a client that she's Christmas like, all the time, like for sure every month, if not like every other week. So I do this process a lot. It's one of my favorite things to do, because it adds so much sparkle and livelihood and just like joy to a photograph. So I'm really excited to share that with you today. And how to capture those and how to like adjust your settings to because I see a lot of like images coming through, but maybe they're not as glowy. So anything that we can do, I can show you guys a little bit about, you know what I look for when I'm shooting twinkle lights, like what, how much glow. And what are some other things to weigh within your shoot that that we're going to talk about today, because we got some really cool, a really cool lighting setup, we have three lights. But I won't go into that just yet.
So I'll share that inspiration with you first. And yeah, I'll just go ahead and do that now. Alright, so here's the Pinterest board that we made before setting up and designing this shoot. So as you can, as you will be able to tell from our shoot that we're going to share with you. A lot of inspiration came from this but definitely a lot of differences too. So in going through this, we wanted a lot of vintage props, we wanted to see some really interesting textures. And I will say that this is this was the first image that we were looking at when concepting this shoot, and then another one that had a really strong influence I'll say like the top two here that really wanted to tie together would be this one here. So you'll see in a minute how how we use these concepts and created something of our own. I wanted to bring up two photos one was that martini glass with all the propping just something really glamorous and something that's not so on. Something that can't be too dated as far as like this is only for New Year's Eve this is only for Christmas. So I wanted to give it more of a lifespan to the type of image that I was creating. So like I thought about things that could really make a fun photo, in addition to using champagne and twinkle lights, that's not specifically New Year's Eve. So this one I wanted to get, like lots of glitzy glammy stuff involved. We what we're gonna do is a little quite a bit different from the inspiration of course, which is like why as inspiration. But yes, when was that martini glass with the jewels, and then I'm just going to share one more image with you, I'm going to make it large before I share my screen. Okay, so hopefully you got to see that silhouette image. So those are the two main images from this whole mood board that I was looking to that really caught my eye and got the wheels turning about what we're going to create today. So just a few days ago, Jen Mercedes and I were in the studio. And we're collecting props from the prop room and started setting the stage for this so that we would be ready to go right now.
All right, so let me share some of the setup with you and show you how we went from that mood board to our image that we are currently shooting right now. So we have three lights set up, we have the Flashpoint XPLOR, 600 pros, and you can see one of them right here. And then we have a big active box. This is a glow series octo box. And if you wanted to see any of these, you could go on to my blog, littlerustedladle.com to the resource library. So then over here, we have another light that is a strip box. So this strip box is about four feet tall, by one feet wide. And then over here, behind the scrim and we'll show you it later. But there's another light behind the scrim that is a bear ball just pointing straight at this scrim here. So this is like a five in one reflector, one of the biggest ones they make so that it's really nice and covers our whole background, which is really awesome. And let's see a lot of our props, like you saw in our mood board, very vintage, we got some mirrors with a lot of texture, gold nears crystal glasses, champagne glasses, we have a silver champagne glass, and some of the props that didn't make it in but we're kind of nearby, this perfume bottle and then a vintage jewelry holder, and this beautiful velvet ribbon. So a lot of beautiful dainty items. We even have here on the side, a book that has a bunch of music notes in it. It's very old, very precious. And I'm really excited to capture all of this in the shot. And I think it really ties into the mood board. However, this this whole setup is more in the blue realm, so it's going to feel a lot more icy. And that's just one way of it being a little bit more different than the moodboard. Um, as far as equipment, we are using a Canon five d mark four and a 100 millimeter lens. And we're using pocket wizards to trigger off all of our lights, and we are tethering to Lightroom today on my MacBook Pro, and we're using a tether tools cord. And let's see I think that covers the equipment. Of course you can let me know if you have any questions along the way. Or if you're watching the replay, you can definitely DM me any questions that you have about this setup. And I'll share with the camera settings with you in a little bit. I just wanted to kind of let you know what's all involved in the set, definitely the twinkle lights are coming in and then we'll be pouring the champagne later. But one thing that you may not have anticipated are something we didn't really talk about is that we're actually using Mercedes as our model today. So Mercedes if you would like to walk in the back.
So we really wanted to bring out the silhouette action and just give another layer to this live demo because we do have the three lights we have the twinkle lights, but what if you wanted to create a silhouette in a situation like this it gets a little more complex because normally you would definitely turn off all of your lights and then be able to drag your shutter longer to get your lights to glow. So in this case, for our live demo, I wanted to make sure that you guys could see Mercedes so we have all of our lights off except for our modeling light is on on the back hard light that's allowing you to see Mercedes silhouette. Um Let's see. I think we can go ahead and share my screen to show you guys what it looks like. So we did start on we wanted to get this really close to almost done before we showed it to you guys. And so here's what it looks like now. And now that we have Mercedes and I'm going to fire another one. Oops, I didn't let her know. But she's, she's a pro now. Okay, looking great.
I just wanted to point out my settings as well. So here we're tethering to Lightroom, we have a shutter speed of one second, and we're at an aperture of 5.6. And then our ISO is at 100. A lot of times I will shoot my ISO at 100. So that's a great, these are all really great starting points. If you want to just start start shooting your own twinkle lights, of course, every situation is different, you're going to have like maybe some natural lights, some windows coming in, and all sorts of stuff. So but this is just a really great starting point. I'm going to shoot another one give ourselves a little bit more of a warning. So when working with models, it's important to you know, give them instruction. She's been we've been practicing this shoot, so she's almost really right on but I'm going to have you I'm going to have a Mercedes like leaning a little bit more towards it. And we'll go ahead and 123 Great. Oh, beautiful. That is great. Can I have you rolled on your sleeves? Beautiful and 123?
Okay, awesome. That's looking really great. Another really key part of this scenario is that we want her to be as close to the scrim as possible. So I'll have you get as close to the scrim as possible and maybe even touching it with your glass. And then here we go. 123
Okay, these are looking awesome. I love this. Definitely if you have any questions, add them to the chat and or DM me as we go. But you can see this beautiful ribbon. We can scoot in on this a little bit beautiful music notes. Awesome reflections in the mirror. This here was a mirror but the mirror broke out of it. So now this one says tray we're using as a tray but it has isn't really nice textures that we all love. Look at our twinkle lights, our sparkling glassware looks great. I love this silver glass because it even brings in more of our beautiful our lights reflecting back in. And this is just some like, I think or like, oh, I forget what they're called. But like a coin golden or that golden white used to look this kind of dried plant. That's totally awesome. Okay, so that looks great. I'm loving it all. Mercedes did a really awesome job. Let's see, let's start pouring the champagne. So I think I'm going to have Jenn shoot for us. And so we've got our champagne. And if I didn't talk about this already, I'm just gonna grab these. So the twinkle lights that I love to use this actually a big part of like, the success I'm shooting with lights is getting these kinds that are on the cord, because they are not going to cast a shadow. And they're not, they're gonna be less, they're gonna be more hidden, I suppose. Which is great. They look so cute. So, um, one thing that I do want to point out is when I'm shooting Christmas lights, or include shooting these twinkle lights or fairy lights it's one of my pet peeves to keep the wire in a non focused area. So whenever I'm working with a food stylist, or if that stylist and I am or I'm doing my own styling, I always, you know, as far back as I can get them because anything where the wire is showing, it just looks a little messy. So that's just something to keep in mind when you're styling out your shot your shot or your you know, thinking about what you want to do. Like how can you create enough depth in your scene to either put these in the foreground or in the background? Because foreground is really fun too. Alright, so we've got the champagne, we got our twinkle lights, we're gonna have Jen shoots while I pour.
So first we're gonna shoot one just to see where my cool we're gonna see where my bottle lands or what the height I can pour out. So shoot one there and we'll see how much I'm in the frame or if I'm making any shadows. Okay, that's pretty good. I'm gonna go a little higher, so out. I kinda will know where I need to start. So when I'm pouring in, I am going to do, let's see. I'm going to pour it about halfway full. Just to let Jen know. And she'll, she'll keep shooting at different stages. So okay, so here we go. I'm gonna start low and then I'm gonna go as high as I get my spot Wow. Okay, two hander again I afford this with my, it just seems like shouldn't use two hands and it shot a bunch which is great. Let's take a look. Let's share the screen that looks so beautiful Mercedes You did awesome. Thank you for being right on key. look beautiful. It looks great. Oh, these look really beautiful. Even like the motion of the bottle. Yeah, I think that's gonna make a really pretty gif. Okay. Or jiff, whatever you say.
You want to fill the back of this glass.
Yeah, I'm going to fill the back one. I will do it from the other side. And I'm going to tap this front one off first again so it can get bubbly again, and then we'll go so let's Yeah, this is gonna be a little bit different. What's your the screen Alright, so Mercedes is getting back into place. I know that this is a heavy bottle. I'm gonna use two hands this time. And then so what I'm going to do is I'm going to hit it to create a little bit foam but I'm gonna go right to this one so don't shoot me pouring this one. And shoot me pouring this one. Okay, and here we go. Mercedes ready? Okay 123
Again I'll do this one again.
Okay, let's see how those turned out. Ooh, so sparkly. Alright, what I love about these is that you can really see through the champagne right here. It's really gorgeous that one's a good one. Press star some of these as I go. That's pretty that one's not and then we moved so you know what we find to do is Mercedes I'll have you like move during each take? Yeah. Oh, let's see. I already know we got a great image. So I'm not. Now this is just play time. So we are going to syringe this out. So this is just a turkey baster. And no. Okay, great.
Polygon at 10%. Yep, perfect. Yep, sorry, modeling light is turned all the way down to 10% back there which is great.
And then instead of taking these off the set, this is a great way to do this because then we don't have to restyle it we can use our merges that we've have any of the images we've taken previously.
Alright, so we're gonna try and create a whole motion on this. Okay, that's pretty good okay, I'm just gonna look at what worked better when I was. Think I'm gonna pour. I'm gonna look at my pours here and see which one I like better I almost like this. Better. So I'm going to Mercedes I'm going to pour the back one. But I'm not going to have Jen shoot until I start pouring the front so that's when I'll need you to move. So I think hmm, should you start by climate change and then move the four first. Well, that's Good idea. Jen suggested testing out the actions before the poor. Okay, let's, let's do that. Okay, we'll try both ways. So let's just start one way either you. Yeah, just Yeah, bring it up as you go. So here we go. 123123123 I like the lien was it that you're doing 123 and 123 Okay, yeah, let's see okay, where did we stay? Okay, I think that was our that was our last one. Hold that. There's the start of it. It's cool when it comes up. Maybe we can line it up directly with this class. So it looks like it's well shoot. I went the wrong way. Sorry. Apologies. Okay, here we go. Okay, awesome. Yeah. All right, that's gonna be cool. So I will don't want to mess up the lighting. Right? Like I will do more from the front so I'm not blocking the light at all. We're gonna go from this angle, so I'm not blocking any light. Hopefully you guys can see probably not. So you can see. All right, so I'm going to top off the back one. Jenn will shoot one and then I'll start playing the other one. Okay, and I'll I guess I'll say once we all know when to move. Okay. All right. Yay team. Okay. Okay, should that Okay, move Shoot, shoot, shoot, shoot and I'll just keep shooting some say there Mercedes Okay, that's probably a good beautiful Okay, so let's see it backwards. I love the movement Yeah, like you're getting that wave
Okay, that was before so here we go. 123 Yeah, looks like we have to do it again
we'll have to scoot you in some so I'll check that before we all right regroup got me to open the second bottle is that one getting to empty No, I think it'll be good okay, I think it'll work yet
although Could you get me a paper towel with a little bit of soap on it we can wash Mercedes glass so me so that I think I want to end with you without actually looking like you're drinking it
will wash the glass wow that makes bubbles okay
right I will get the next one ready all right, we'll do it again. One more time. Okay, let's check where Mercedes is. Live. You do your final pose. One, two up, sleep down actually Yeah call and 123 very nice final pose. So you can lean in a little bit more and hold the glass a little more dainty. Yep. Great 123
Yeah, that's, that's great. You think you could end there without like you think you could find that spot again? Or should we go backwards Okay, all right. I believe you I need to okay sorry. Okay, let's hear first but spot 123
Okay, good. That'll be good. Jen. I'll have you shoot it from the computers just in case the camera yep shakes so it'll be easy merge. Okay, here I go alright one Okay, here we go again go and then move and they move go they move they move and then finish can you put into your mouth or not? Really? Is it to grow I was just still shooting for the phone but oh yeah. And then well then okay, well more okay okay, beautiful winter curfew coming in all right. That's reassuring fast some of our settings I can see didn't come in so I'll sync those right away
okay
okay, that was the start of it. So let me start this series. So I'm gonna go ahead and hit tab and hit auto sync. And we're gonna make these all threes. So I can keep track of them. Am I gonna take auto sync off? Because it's dangerous to leave on All right, here we go. Let me go fullscreen. So a cooler when I was pouring it from the other side. No, I think I think that's a good line is okay. But anyway, for DOD, it was like for dad who's double stream. So this was a cool one. Yeah, so Okay, so we won't keep all of them because there's somewhere that movement wasn't as much due so sorry, or is it oops Okay, there was the start for if I keep that one maybe we won't keep that one too.
And keep that one that one, honestly, if you like, or another gift if you just crop right into the glass and show that bone going down? Oh, that would be really pretty too. I think I was just watching that part of it. And that Mercedes I'm like, ooh, that's so nice. Oh,
position is lovely. That one will work and Okay, so going back to your starting spot. Okay, and take one there. Okay. And then or one here. Go ahead and then move a little Mercedes. Okay, I wish for that. Okay, shoot one and then go ahead and move on. And then I'm gonna pull this all the way. And then we'll kind of all shoot any more bubbles. Shoot one there. And there. Okay, and then move and shoot. Move Mercedes. Shoot Jen. Move Mercedes and shoot Jen.
Okay
beautiful, started out here okay
okay let's see that again faster cool. Beautiful. Yes, yeah, that was much. All right. I'm so excited to edit those photos all together and share them with you. And definitely if you have any questions about anything, feel free to DM me on Instagram. My handle is @littlerustedladle. And now let's go on to the q&a.
Thank you Mercedes, wonderful job. Okay, so before we jump right into the questions I wanted to share, I guess the promo that's happening this there for the rest of this year, if you wanted to join it be if you wanted to join portfolio profit before the new year, you would be getting a bonus of an extra month. And that is such an important bonus for, especially this year that I wanted to that I wanted to use as a promo because it's such a like busy time of the year and I wanted you guys to feet get that extra month to feel in ease, ease into the program. So that you can really make the most out of it and not feel the pressure of the new year, as we all do with all the goals and everything happening, and just really excited about that promo that's happening, right.
So dama Oh, I also wanted to introduce three the photographer's that are with us today. Can we do that right now before we get started
with the questions? Sure. Do you want me to introduce them?
Oh, that'd be great. Go for okay.
Yeah, no problem. So they have joined us live and they're happy to kind of hang out and ask to answer questions as they come up as well. Sara is joining us from chilly, Minnesota. She's about halfway through the program now and has been seeing real results. So she started seeing results like a month in it was amazing, as she transitioned from a school teacher to a blogger and into a commercial food photographer. So we'll drop her Instagram in the chat in a moment so you can connect with her follow her and send her a DM whatever. She's such a sweet person and her work is truly beautiful. And then we also have Mayra joining us. She's a Chicago native. She has been in the program is also about halfway through about six months and photography is is truly amazing. Make sure you give her a follow as well. She's been really busy lately assisting on commercial sets as well and building her skill set that way. And really just Myra is like our networker. She is out there getting to know people making those connections. And yeah, she's an incredible photographer. So we just dropped her info in the chat. And then last is Neetu, Neetu joining us from Northern California and she's my fellow Bay Area native. Her work has been really incredible all throughout the program. It's been such a pleasure to watch her photography skill develop. She's the person who shoots the most work for sure she is prolific. And we actually all three got to meet me too at our in person portfolio to profit retreat, which was in wine country, kind of a little bit of a inspo for this with the champagne and the wine. We all got to sit down and drink some wine together and take lots of photos. Hey, me too glad to have you shook a lot of really beautiful photos at the retreat as well. And we just dropped her contact info into the chat. So you guys if there are questions that come up and you want to answer those as well. Feel free to unmute and answer so we can get into it. We do have some questions that came in in advance but if you are here live with us and you have questions to that about the demo or about just the food for the business side of Food Photography. Feel free to drop them in the chat and Jenna we'll get to those after we go through the pre submitted ones okay Jenna, you're First, pre submitted question is, when you're pitching a client, and you want to make an irresistible proposal for them, what's something that you always include?
Well, one thing I like to put on, when I pitch is I like to include a little collage or photos of my most recent work right into the email. That way, because people are busy, they don't like to necessarily click on another link. And so I'll try to add some of my most recent stuff that I think is most applicable for what they do. Right in the pitch email. So then that way, it kind of catches their eye before because otherwise, it gets so many different pitches. If they don't see your work right away, they might just scroll right on by. So that is something I like to do.
Awesome. Thank you for sharing Sarah. Yeah,
there is a whole what I was saying before is that that's such a great question. Because the whole process of when you're giving someone your prices and giving them an estimate, and what to include with it, and when to say things at certain points in time is really important on how you are being received from the client and how how your, your, like, how your communication is, is coming off. So you want to obviously be as professional as possible, and making sure that you're checking in with them. And I know a big part, like we talk about this process quite a bit throughout the whole program. So it's like, there's parts of it, and the beginning parts of it in the middle and more at the end. But there's always something to, to add to what you're already doing. So one thing that I want to mention that has really changed has really been an extra something extra that has really moved the needle from like what I was doing before to when I started implementing this, I started seeing like a huge, like way more yeses, basically. So and that has been using the treatment within within your estimate. So I teach all about that. And like module, I think it's like module seven,
I think, but anyway, it's I go through all of my, my processes, and I have I share my document on how I design mine and you know, making sure that you guys are all able to customize it yourselves. But everything that I included, they're coming down to like what I include in my bio, to what I'm like what I'm saying in it, so it's really cool.
Awesome, thank you. I'm sad. Well, we have you if it's okay, I'm gonna throw it we have one more question that Jenna thought would be really good for you. We actually got a ton of questions about pricing as a food photographer, so much so that Jenna did this whole life workshop thing in September, which was really popular. You raise your rates a ton since you joined the program? How How did portfolio profit help you with that? How did your clients react? How did that go for you?
Well, before portfolio profit, I was kind of just, you know, really, when it comes to like what I should charge I, you know, I'd ask out on different Facebook groups, you get a whole different range. But the biggest thing I had to realize, once I start the program is that what my pocket book is is not the same as my clients pocket book. And I Jenna goes through How to Calculate, calculate for your quote, she has a calculator, what costs what questions to ask. And so when I started the program, and I felt like it was the stars kind of aligned, because I got right after I started the program, a company reached out to me a bigger Cheese Company. And they wanted me to do a campaign for them. And I didn't really know 100% How to calculate a quote and I didn't want to be weighed under and I felt scared to be way above and this after going through Jenna's calculator and be able to ask questions to the group I felt really confident sending off my highest proposal yet and they accepted it right away. And so it was just really nice to have that confidence and to know my worth, and to be able to really, you know, be professional when I'm coding because there was a lot of stuff that I wasn't charging for that I didn't know I could charge for. And so it's just really nice to be able to get the you know, get the financial worth back behind your work versus before I felt like I was well I know I was way under charging which was probably why you know larger companies. I As passed over, because no one wants to buy the cheapest photographer, but then also to to be competitive when it comes to quoting. And it's just nice to raise my, I raised my rates a ton. And I felt confident then going back to former clients to and raising my rates and talking to them about stuff like licensing or even how to, you know, I didn't realize even like retouching and like editing that you could, that's something you need to calculate in, I just kind of always assumed that was just part of the deal of being a photographer. But now I've hired out editing before, like with my video work, and it just made me really competent, and going forward of what I need to price and what I can price. And, and not question it, which is nice. And also to then when they come back to negotiate, you can stand firm or kind of know what you're willing to give and take from because, you know, right, what you should be charging and and also to if you have questions on that it's really nice that the program has a Facebook group with all of us that we're always on the call together. So you feel really confident I can I feel confident going to any one of the other people in the program, and I have and be like, hey, you know, what should I you know, what are you what do you charge for reals? or what have you quoted before and visit sound right. And I've done that for other participants too. We just kind of check in with each other, you know, can ask questions, and it's just really nice little community, and everyone is just has each other's back. And that's, I'd say, that's huge, because I've taken other courses before. And I you don't have that it's kind of the blind leading the blind. Versus it is.
Because I've been there. Yeah, I'm bringing others up to where like, I just threw this number out there. Yeah, yeah. And then
you put a question in a Facebook group, and there's tons of other beginners that are answering your question. And you're like, well, where's my teacher, you know, but I think also, to me, being a teacher, I know the value of having a good teacher and a good mentor. And it's, especially when it comes to pricing, it got to the point where I knew I had to join a program because I don't know what I don't know. And if I wanted to really jump ahead in this new career of mine, my second career, I needed, you know, I needed someone to teach me the right way. Because I'm a mom of five I don't have time to do everything the wrong way. I'm, I learned pretty quickly when people say they're self taught photographers, it just means they did a lot of errors. And then, you know, trial and error and you know, a mom of five kids, I don't have time to do trial and error. I want to do things right the first way. And it was just amazing to me, especially that first unit for pricing, where I was like, Oh my gosh, like I am way under charging, and I had no idea like, of what I could charge for so back to your question of pricing. Yeah, that was the biggest that was the biggest thing for me. Yeah. And I've been having so many companies now reach out. And I feel you know, asking me like what is your price sheet and I'm, I don't because agenda is like you know, don't give price sheets custom quote it and so I just go right to the calculator right away. I enter in my numbers and then I can adjust as needed from there but I feel really confident giving quotes and I think that's huge because when you have self doubt of what your pricing yourself that shows to the client, and also to be able to stand your ground to say no, I'm sorry for this. I can't I can't do that. But we can lower the deliverables to try to fit your budget but before before the profit I probably you know I always felt pressure be like Oh yes, I can do that for that for less and then you'd be burned out and then you're like, why did they do that and barely making any money versus now I can like Jenna knows too I can take on less less projects because they're higher price each month so I don't have that burnout when it comes to you know, making a living with photography so that's the biggest thing with the course has just been huge to have that confidence behind you and then when you do question something you have the community behind you to ngema on to talk to you talk me through it so that's been really helpful.
Oh, that was so good. It's so amazing to see you to see you change from school teacher to Blogger and just like actually watch that all happen and have these amazing cheese companies and other big companies reaching out to so cool. Such so thank you for sharing, Sarah. Oh, you're awesome
and I just want to say it I mentioned that we reach out to each other. If you have any pricing question, I was the one who reached out Sarah and she was very patient and she actually shared with me how much he charges her Like particular clients or this client data, and so we are very open and means she was really awesome helping me out. And finally I got got that job because of her.
Yay. Let's thank you for sharing me too. Did we lose Jenna? We have a few other really, really great questions about pitching brand names, photography style, how to get started. All that stuff. So we have a couple of good ones coming in. And Cheryl's question also wanted to know about pitching as well. Jenna, can you?
Can you hear me? Oh, we
can? Yeah. Okay.
Awesome. All right. Awesome. Yeah.
All right. Are you ready for the next question? Or did you want to add something? I'm sorry? Yeah.
Did you ask that? Your pre submitted question? Did we get no, we
still have a few left? Yeah. Okay. Okay. All right. The next one up is what type of portfolio should a new food photographer have to pitch and attract brands? What should the portfolio include?
Oh, this is like, amazing, we talk. I mean, this is like what the whole program is all about. But I am such an advocate to really dig as deep as you can to find your own artistic voice and to let that shine and be what you present to people so that you are creating attract clients that really speak to you. Because when you're shooting for a client that doesn't align with your values, or is not quite the right client that you're after, like, that'll show in your work. So if you start with, basically if you start with your why, and and what you love to do that will continue to enrich your life both with getting the clients that want you and also you creating the life of your dreams, basically just keeping, keep it where you can keep on creating the things that you really love to create. And that is like my number one thing that needs to be in your portfolio is what you want it to look like.
Awesome. Do you have any guidance on the like, a minimum amount of photos or less is more or more is more? Anything? Any thoughts on that?
Yeah, that sounds such a great question. I feel like I struggle with this a lot. Because I've shot for over a decade and love what I do. So it's really hard for me to narrow it down. So I, I feel the struggle on this one. But it is really important to I think what, what I like to see is whatever your galleries are just making sure that they are not so filled up, or repetitive. I think that is the most important part. If you are selective in what you're putting in there, and you feel strongly about it, it can live in there. So there's no like hard and fast rule, but anywhere from like 12 to 24 in one particular area, I think is a good place to start thinking about it. So um, so if you're just starting out, and you have 12 different 24 photos that you love, and you can put them all into a category of food and drink photography, let's say if you start shooting for years and years are just like every day and you accumulate a lot within each category, that's when you can start splitting it up. So you can see I my portfolio, Jena, Carlin creative.com, I think I have, I don't know, maybe like seven different galleries that all range that they'll will have probably around 12 to 24 images in each one. So as long as you're separating them out in a way that makes sense to you and to the people that are coming to your website. That's all you need just to have variety, to be clear on what it is. And that would be my biggest advice for how to lay it out.
Yeah, no, that's awesome. Thank you. The next question we had pre submitted is how do you go about picking a brand name for your photography business? Should it be different from a blog if you have one?
You know that this is something I've thought about quite a bit since having the blog. I started my blog in 2013 and little wrestled lado luckily is fitting for me because you know, it was chosen out of things that I love to do you guys probably I mean, you might know this already if you follow me quite a bit, but I love props. I always do my own set styling, I never do my own food styling but set styling I love and wouldn't give it up for anything. So it's a really big part of who I am. So a little less a little make sense for me. I really encourage you guys to really like think about that when you are like choosing a name. For sure you can choose something like little residential studio. Or, you know, I really like doing my commercial work Jena Carlin career And then my blog is something separate. So I keep them separate, but they, you know, they're linked to each other. So depending on how you want to run your business is really is really how you need to make those decisions. And either one is, is extremely acceptable. So it's really how you feel about it and how you want to be perceived and how, what is your message? What is your voice? And look at it from that way? How do you want to revisit representing yourself and then work backwards? Like what do you want your potential clients to feel? When they look at your work? What do they What do you want them to? Like? Yeah, basically, what do you want them to feel when they come to your page? And start there and work backwards?
Awesome, thank you. The next question we receive is how can this program help a diverse group to focus on each person improving their individuality when it comes to portfolio critique and building the business? Is there a specific photographer style that would most benefit from this course compared to other and I think maybe other styles? If I'm reading the correct the question correctly?
Okay, this question is so awesome, because it's really, what really, what drove me to make this program is to is, is how can I, you know, Coach different photographers, on their style. So the first and foremost and most awesome module is module one, where we really dig into your voice. So that is how anyone who takes the course, Module One is so important, because it's going to change the way everyone else looks at the rest of the material. So all the other 11 modules are affected by module one and how that photographer is taking it in and and then taking the lessons in internalizing them and and then doing the work. Does that make sense? Yeah, so like, they're, they're just like,
light and bright or dark and moody, or cocktail photography? Because would you say that everybody in the program is kind of doing their own thing?
Yeah, everyone definitely has their own style I, we do critiques every other week. And as soon as like, photos are coming in, I can see whose photos or whose without even looking at the name. So I can see similarities and styles within each person's work that maybe they don't even see for themselves. So yeah, definitely like, what I think my background too with shooting so much. Like, product and food and shooting for other clients has really taught me, like, so much diversity within my own portfolio and skill set that, that I'm very confident in. What what whatever you guys want to learn, you know, any specific questions, I can answer those for you. But also, when I'm looking at your module one I know by by me seeing your module one, I'll know how to coach you better because I know what your goals are. And I know more about you. So I know, then, how I'm going to coach you versus someone else in the program for a full year.
Got it. So it starts with their style. Okay. Yeah, that makes sense. Awesome. Myra had to go, but need to is on so maybe need to I could ask a quick question before you have to go to I know Sarah, you might have to go as well. We have a couple of questions left. But before you go knee to what has been the most beneficial part of the program for you so far?
Yeah. So like Jenna was just Just now she mentioned module one that has been when I joined the program, I was so confused. I used to like look around like Instagram, everywhere else. They're posting different photos. And I would I just didn't knew in which direction to move. So the module one Yeah, I know what I want. And since then, I myself, I love my work. I'm proud of it. And I flaunt it, I show it to everyone. Yeah, so the confidence that I've gained and knowing means I was all over the place. I wanted to start a blog. I want to reach out like several brands, not knowing what I'm actually doing. But being focused and improving on what I actually want has helped me a lot. And now like last last few months, I've been working on my network came as well and it's so good and it's just that I was just scared but now I go out on meat food stylist, and they're pretty friendly. They're confident and they means you know, when, when in first module in second module in Jena us like, you know, you reach out to the food stylists I'm so nervous and I was like, why would they want to meet me or work with me but it's not that you know med food stylists who want to do t shirts with me, and they're planning on it so I feel pretty confident now. That's cool. I can't even
imagine you feeling scared when you started because I didn't know you've been but I only know the confident I'm gonna get after it. Me too that I met last month. So I can't even imagine you not doing anything but confidence. It's been really cool to see your work too.
Yeah, it's in progress.
It's so good. I took a sneak I took a behind the scenes peek at one of your photos. There was the the cinnamon one or something. And I was just like, What is she gonna post that so I could share it to my stories? It's so good. Okay, thanks. Me too. We have another question for you. We got this one a lot. How do you get? How do you get started? How do you get started putting yourself out there? They were asking about emailing pitching. And all that stuff?
Yeah, so um, yeah, that's a huge question. Right, though. So it's a very loaded question. And the most important thing that you can do for yourself before you, you even start putting yourself out there is to be confident in your in your voice and what you what your message is. So I know I talked about that quite a bit. But I think it's such a crucial part about someone how the other person is going to respond. Like is this? Is this coming from the heart is this like, I think more than you think our directors want to see work that like speaks to them, and what they are going to be marketing. So more more. So what you may think they want to see they want to see work that comes from the heart, and they want to see that you care about what you do. So just making sure that your messaging is really clear when you are reaching. When, when you're when you're coming up in front of the right people. So I think a lot of people think that they need to, like pitch, pitch pitch all the time. That is not something that we That's our goal in in our program, we are creating work for us that then speaks to be the right people. So we are engaging, we are researching. But cold emails are not something that we start with at all. So. So I think that's a really special part of the program as well. Does that answer your question, Dima? Yeah,
yeah, I think they were just kind of curious about getting started. And saying that they were doing a ton of cold, emailing or cold pitching. And we did get another question from Cheryl in the chat. That's related to this. When you send a pitch email, what wording do you use to offer value to the client and their brand?
Okay, so this is really easy. I don't get any of my clients from pitching. So I don't I don't cold pitch. People, people
that you said you network with friends?
Yeah. Oh, yeah, I will. I will network. Um, I don't do it in a way that's directly pitching. So um, so I will research brands that I want to work with, I will get to know them very well. I will engage with them on LinkedIn, I will engage. Like, I guess I have different strategies for getting in front of the right people that I share in the program. Sure. Yeah.
That makes sense. Someone in the chat, could you tell me your names rebuild studio? That's a lot of syllables. She would like to know, like, if you don't send pitch emails, how did you get your first clients? How did they find you? How did you get in front of them?
Yeah, so I definitely market my work and in other ways. I am marketing all the time, weekly, daily, always many different strategies. But yeah, definitely cold pitching isn't one of them. So it's now marking it number one thing is networking. But it's not to the people who you probably think it is, which I guess you guys all think I mean, just cold pitching. So networking doesn't mean just cold emailing people that are going to be the art directors or like the marketing, the top marketing person at an agency, what what I'm doing is reaching out with the network of people who are who are around me. So like, one of the first things I have photographers do is reach out to food stylists in that area. Or if you're really strong about food styling, maybe you want to reach out to a set stylists or somebody else that you can start working with, to really build your network of people who you can hire to be on a shoot with you. Because that is a huge thing that can make a difference, whether you are shooting for shooting for yourself and your small business, or you have a team of people that you can shoot any campaign that comes your way. So you you you have to network, not just like cold pitch people that you want to work for, but people you want to work with and build those relationships.
Is that kind of like making a name for yourself? In the industry? With peers?
Yes, yeah. I mean, and so you can keep pumping out work, like the goal is to create the work that you want, right? So you got to build your network of people that you want to work with, get to know people. And because quickly, you might find too, that you're working, you know, you try doing a portfolio test with somebody that you guys don't really flow that well. So then, you know, making sure that you are getting to know people in the area that you could call on if you had a job that wanted to book you next week, who are you going to call to help you complete this shoot in the appropriate amount of time. And there's so much that goes into a commercial shoot that, yeah, so definitely being prepared for that sort of thing. So that you can raise your prices.
Got it. That makes sense. So networking with others, and not so much of a focus on cold pitching or getting just emailing our directors, okay. Was wondering how you decided who's selected into the program? Or who you you know, who you thought would be a good fit to work with you?
Yeah, so people that apply, I take a look at their work. And basically, what I look for is someone that has drive, like, are they going to work with me for a full year? Do I see the potential in them? Do I see that I can help them with a particular area that they're working on? So especially, you know, when I'm reading your goals and what you want to achieve? I think well, can I help them? Create this? And then if the answer is yes, if I see the potential if I see the drive, it's it's, it's really those three things.
Got it. And then she was also wondering how many people are in a cohort are in the program at one time?
Yeah, so um, our program is really unique, and that it has a rolling enrollment. So that means that anyone can join at any time for their full year. So this is such an advantage because everyone is coming from a different point in their business anyway. And we all have similar circumstances that come up. So we get to work through everyone's specific questions. They get to go through the program, of course, in do all the modules, but as we're doing the coaching calls, everyone gets to benefit from everyone else's questions, which is so great. And then that everyone is on a rolling. Enrollment, like everyone's coming in a different time, they get to meet more people along the way. And let as you heard the community is such a huge part of both. What makes this program so special as well. So yeah, those those are some really key factors in why we decided to design the program this way.
Okay, awesome. Thank you. And is it a big program or not? Huge, that kind of thing? I think she was kind of wondering like, hundreds of 1000s of people. We've all been in those Facebook groups with 5000 people. That can be really,
yeah, yeah, correct. Currently, we have about 22 people
enrolled. Okay. So small, cozy. That's, I think that Yeah, makes sense with what Sarah was talking about, and me too, as well about actually becoming friends and DMing each other with questions and stuff. Yeah, that makes sense. Yeah. Okay, and that those are all the pre submitted questions. I don't have any others in the chat. Anybody else have a question they wanted to ask Jenna before we wrap up. Also, if you do shoot champagne this week, be sure to tag Jenna we her is cram handle is little rest of data with love, love, love to see your work. We're always so inspired by everybody else's work too. So, hope you can try it. Any other tips or information about the setup that you wanted to share? Like, for example, if somebody didn't have three lights? Could they shoot something like this with natural light? If so, I would imagine with this many photographers on there might they may not all they may be natural light shooters or something?
Sure, yeah. So it's all about? Can you guys hear
her? I can't hear her? No. Okay. Thanks, Greg. I just see Greg's like,
oh, my gosh, I have no idea what's happening.
Okay, you're good now. I am.
I'm sorry, everyone. Yeah, we're not really like changing the setting. So I'm not sure why. But, um, I think the biggest the biggest part of this, you could shoot this with one light, if you were able to like you just had to do more merges on the end. So this is possible with one light, especially to you don't you don't need this side light or the kicker light, you can definitely do something like this with one light. And it's all about how much light you're letting in. So when you are dragging the shutter. But you're getting enough light to make. You're dragging the shutter in a dark space so that your lights can shine. So but that's basically the goals. And you can start with the settings that I gave in the when we're doing the demo. But I do actually want to share, I will show you what it looks like behind the screen so that you guys can see.
Oh, yeah, and we do have an editing question when you're when you're ready.
She can, you can ask it dama
Oh, okay. Kimberly was asking about does portfolio to profit cover editing? And specifically merging. Like you mentioned earlier, merging a couple of shots. Is that something that they might learn in? It's so cool to watch you guys. I'm sorry. I'm sorry. Yeah. So she was asking about editing in portfolio to profit, like, is that something that they'll learn? And then also, specifically, merging photos?
Great question. Okay, before I answer that, I'm just gonna get out of the way. So you guys can see that hard light back there on a C stand. And then just so you know, that window and the other stuff back there isn't doing anything, it was just there. So I have that window kind of set up for other scenarios that I shoot. But okay, to answer the question about editing. So what's so awesome in the program is that we actually, well, I personally will, my team will go through your images, and I will show you how I would edit them and so that you are able to like implement those as you go. So you can, you know, pause the video and implement those, all those techniques that I'm going to be doing and your images and that I do on everyone else. So you're able to watch everyone else's critiques too. So I know that's been one of the most valuable parts of the program from what I've been hearing from the photographers in the program is to is to see how I edit other people's photos and especially their own.
Got it. So you said if somebody submits a photo for critique, you actually edit it to like, you downloaded it and edit and they see you, man. Yeah. So
yeah, so how I critique work on, it's really easy for me to share how you know how to critique it, from me just working on it. So that's, that's what i do i i edit your photos, and you can see what I would do commercial commercially to, you know, to, to make your photos even better.
Got it. So that's like in Lightroom,
Lightroom and Photoshop.
Okay, cool. Very cool. And then is merging? Or how to merge a photo covered either in the critiques or in the course?
Yeah, we talked about that all the time. So, um, a lot in the course as well. Each of my demos that I do, I also have a retouching demo after the actual like, the demo of the shoot.
Okay, so if this were in the course, do you do this part and then also show what you do with the images?
Yeah, yeah. The whole retouching process? Yep. Cool. Yep. Great question.
Claudia wanted to know, can you tell us more about the specs in the program? Like are there challenges due are their one on one meetings?
Yeah, so um, so there are two one on one meetings or they're called milestone calls. So one will happen around three months and another will happen around nine months. But those two milestones and then if you do painful you get what the bonus is an extra one on one call with me. And then I'm sorry, you said milestone calls.
Challenges are like assignments, because you'd have five minutes.
Yeah, yeah. So each module, so every month there will be an assignment. So there's like many assignments, but there is a photo assignment. So there's other things that you have to do kind of like within the course that I prompt you to do. But specifically, photography challenge or not challenges, photography assignments are happening every month. So there are 12. And all of them are amazing. Just like I love going through people's work, who's completing them, I love the exercises of them. When I was doing the demos, I've done them myself. So I just think they're a lot of fun and really amazing to see people's progresses throughout throughout their shooting. I don't know if any photographers are here that want to speak to that. But I, I really love the work that I'm seeing come through. And I know everyone else is too.
Yeah. Awesome. Did you want to say something about that? Sarah, I saw you move your hand.
Yeah, I was just saying how like, for me, when I first started the program, I felt like, well, Jenna did initial critique of my portfolio. But it's nice, because a lot of the assignments kind of prompt to round out your portfolio. So like for right now, I'm just starting all about drinks, because I don't really have any. And I don't have any drinks in my portfolio. So it's nice to like, plan out and shoot and really think about, you know, what would not only match my voice, but also to I know I have that product to fill my portfolio. So if you're someone who's thinking like, well, I don't really have a ton for my portfolio. Like it's nice because the program every photo you do for assignment you can put in your portfolio. So just kind of helps round out everything for you. If that helps.
Yeah, no, I think so. Yeah, let us know if we didn't answer all your questions. There. Greg wanted to know, Jenna, do you clients ever reveal who won a bid or contract?
Um, no, but you could follow the you could follow the company and find out that way. Okay. Yeah, that makes sense.
And food art studio is looking at getting started with artificial light. Do you have recommendations for lights? Is that something that's covered in the program? They're specifically looking at go Doc's. And they're wondering if Go Dogs is good. For color accuracy, lots of things about artificial light.
Yeah, absolutely. So we definitely
does it sound low to anybody else? Sounds really low to me. Yeah. I'm just looking at Greg. He's my canary in the mine.
Hey, guys, I was sorry. I wonder if it's because all snow we got or something? Like that connection is so bad. I don't know. I'm not quite sure. There
we go. Now we can hear you. Okay.
Awesome. Okay. Um, shoot, I forgot the question. Oh, yeah.
Yeah, food art studio was asking about getting started with artificial light, looking at buying their first light wondering about wattage and go docks, and just in general, getting started with artificial light. So do you have recommendations for lights in the program? Is that something you cover? And then do you like go docks? Lights?
Yeah, so we talk all about artificial lighting in the course, I cover it quite a bit. And I do use a few different lights for the demos in the course. And I also have recommendations on my website. Little rest ladle and the resource library. And flashpoint is a version of God acts. So yes, I do recommend them. Awesome.
Great. Thank you. I'm gonna just scroll through the chat really quick and see if there's anybody else. Any other questions? I missed. Anybody else with questions? They wanted me to you have your hand? Go for it?
Yeah, I just wanted to add one thing about the question about the specs of the program.
Oh, sure. Go ahead. Yeah. So yeah, so
means yes, there are pre recorded classes, but unlike the other programs, I mean, it's not just like a lot of YouTube. Videos. Putting together means the information even in the pre recorded videos is like mind blowing. I'm currently on the drinks module. I don't Thank you, Kenny. If you search the whole internet, you'll find those kinds of demos there. I'm like blown out blown away with the information in there. So yeah, I mean, just wanted to add one point.
Awesome. Have you joined any of the live demos that she's done that are just exclusive to PDP members? Yeah, those usually come up to yeah, yes. Yeah. Awesome. And ni two was one of the few who were able to make it to the retreat, which is exclusive to PDP members. As of now, we haven't opened that up to other photographers yet. And that was a lot of fun to watch her shoot, and shoot together. Um, let's see, three will studio still don't know the name there is wondering, is this like a program? If you're Dana is wondering if this is a program that like a good fit, if you want a lot of one on one help? Oh,
I think I'm gonna say yes, even though there's not a lot of a one on ones, I think that there's maybe a common misconception about group coaching calls, because you are able to pre submit questions to the coaching call. So you do get like one on one feedback from me, it's just everyone gets to benefit from it. So, so every other week, where you're having calls, and we dive deep into people's questions, it's so much fun. I think that, you know, aside from the critiques, the coaching calls have been a really powerful part of the program as well. And definitely, I don't think I personally, I think that they're so much more valuable than just one on one calls, because you get to learn from everybody else. And you might have other questions, or you might not even think you have a question around something that somebody asks or is going through. And then you get to learn from that right away. So there's really nothing like it. And it's like I mentioned, you know, they, they're not big groups where you don't get it turned to talk, everyone can talk and collaborate on the same idea and concept, and share their own feedback with it as well as, as well as me just answering it. So I hope that hope that helps. Yeah,
and I can add to that. Yeah, because I know, we just talked about this on one of my milestone calls is that like, half the time when we go into, you know, you're asking for critique questions, or I'm like, Well, I don't, I'm not sure I might not personally have a question and know what to ask, then we get on the critique call. And I have like, a page of notes, because I'm like, Oh, that is such a good question. And like, someone else will bring up something that, you know, I didn't even know I needed to hear and that I implement going forward. Just even about, like, behind, you know, business wise, or, you know, watching someone else's, or is going to have a restaurant shoot, and you know, you're given advice to them on that. And I'm like, and then here I am, you know, about to do a test restaurant, shoot, and I can implement those things. And so the coaching calls are really nice, because, you know, you can jump in at any time everyone is on there together. It's not like you're just watching, like, as big as this is, it's very intimate, which is nice. And everyone gets to know, everyone on the calls. And what's nice about that it's rolling enrollment is that you learn so much from the people even who are about to graduate the program. Like I just met with Hillary, you know, who in the program and she's on the tail end, moving out, I think this might be her last month, but we just went out to dinner and we got to talk about our stories and even just watching like the shot approvals, how we go through that. I'm not even at that point in the program yet, but I had an opportunity to do a remote shoot. And what I learned from watching other people do that live, I implemented right away. So I felt confident even before I should, you know, I got there in the program. So
you talk a little bit more about that, Sarah, I don't that shot approved is like a specific, like a chat like a live challenge kind of thing in the in the program. So could you share a little bit about that? And yeah, I had to do it. Because, you know, some sometimes people think an assignment or a challenge might be stressful, but I see that you're excited about it. Can you talk a little bit about it?
Well, I think it's comes up in Jenna, isn't it month nine, I'm at month like six right now but at month nine is that when you get to that point, Jenna and her team to like a simulation of how to do a shot approval over zoom with your clients who know how to you know, get your shots approved. And that is something I didn't even know existed before the program. And so watching other students go through that and watching how when they simulate being an art director and the client and asking questions and moving stuff. It made me feel confident going into it because I had the opportunity with a real client to Do it. But I felt competent because I saw their interactions and happening live in like a safe environment. And so then when I did it, I didn't you know, in my client asked me to change something or move something, I didn't feel like, oh, like, it's my work, I did something bad. I'm like, Okay, I know this is normal, because Jenna told me this is normal. So it's just that whole confidence. Sometimes you don't realize that, you know, you'll need those skills until you see it on the call. And then you can implement them. So it's nice, it's a nice, it's not too big. And everyone gets to know everyone and you you learn stuff from other people that you didn't know you needed to learn, or the questions you didn't know, you needed to ask. But then you implement them into your own business.
Awesome. Anything you wanted to add about shot approved? Anna. Thank you, Sarah. Yeah,
yeah, absolutely. So it's awesome. Sarah's like, on the other end of it, because she hasn't gotten to that module yet. But it goes a little further and deeper into that whole scenario of having a mock client, I get to really critique your communication with, like, via email, we go through the whole, like, you send me an estimate, I approve that or deny it, or have you worked on something, you send me a treatment, like we go through the whole process about it. And then after the shot approved, you also send a contact sheet and edit your photos as well. So it's really a whole, from like, first email to final delivery of files. We go through a whole sequence of production.
Greg was just wondering about, like, if you didn't win a bed, if you're hearing no. But how can you like, where would you go for that kind of feedback on pricing? If you're, you're hearing No. And the brand, maybe or the art director isn't going to necessarily disclose price information? What what could where could you look for feedback on pricing like that?
Yeah, well, I mean, that's what our community is for. You really, like how I started, you know, obviously, I, I had mentors, but not in a situation like this. So I would look to other people that I trusted their opinion, or people that were also photographers as well as me. So you, I mean, you have to find those people to that you trust is really what it comes down to. And of course, you could ask the client to like, what was it that sets, you know, who are, you know, what was the deciding factor on on the bed, I, you know, would love to, you know, bid for your next time and, like, let me know, and I had all this, like, we have scripts, but
I was gonna have something that you like, okay, so you're kind of saying it's easier to get an answer from a client, or an art director who did hire you, then someone who did it, so to speak?
Well, no, I mean, you can, like, I don't ask everyone like, why they didn't, why they did or didn't write it, you need to appear as professional as possible. But there are some situations where maybe I do, because I felt like really confident about it. And like, so I don't, I'm not saying never do it to like, ask actual client, but how I do I mean, how I learn and grow is by doing it, and then asking people who I trust. So at the beginning, I had mentors, I had people in my network who I was my colleagues. So like, that's where I'm asking my questions. And that that is what our that is what we do. So I'm, you know, like feels like community or profit
in the community. And then also the critiques can they submit pricing for critiques to in addition?
Absolutely, yep. Anything that we cover in the program we can ask a critique on so basically, how I kind of choose like if someone has a question and they are thinking about where to submit it if it's a critique or a coaching call, I think of coaching calls is something that we can discuss and as more audio and critiques or anything visual so if there is a an actual like estimate or like client communication that you wanted me to look through, of course blockout who was for and all of that stuff, but anything visual, you want me to critique and look at that's within the program, of course. Perfect.
Awesome. I don't see any other questions in the chat. Did you have anything else you wanted to add? Are you ready to Oh, me too. Sorry. Question or she wanted to add something.
Yeah, I was the feedback on the pricing question. I just wanted to add my recent experience since like, I've been Doing sending the estimates based on what Jana has provided. So because it's the feedback is different from the clients, because earlier, I will just quote them, okay for this, this shoot three, so and so money, but now, because of the program, I've learned to break down my pricing, and there's a format how I send them. So client actually comes back to me and they say, okay, you know, maybe you can change this price, maybe you can, you know, bring this down, we are not comfortable with this. So actually, because you are giving them clarity on how you're pricing them, they come back and discuss with you that what they are comfortable with and what they're not comfortable with. So that is, you know, I think you get feedback on how you price how you send the quotation as well. Awesome. Thank you for sharing. Thank you.
We had one last question. Come up. And it Dana wanted to know, do you cover lighting setups? Like if we can't get it quite right, in camera? Is there problem solving? And where would that fall in the program?
Yeah, so absolutely. If it's something that you're like working on, and you're trying to problem solve, actually, people have, even if it's, let's say it's something more urgent, like, it's not going to happen, you know, between a critique or coaching call. People have asked those questions on the Facebook group as well. So we have a Facebook user group community, we're very, like, it's very highly engaging. And, you know, we can all answer you there as well. But we go over lighting diagrams, like wildfire here. I mean, we, I love lighting so much. And definitely, throughout the course, I'll have like, like, I'll have you guys like watch a video. And then in the workbook, I want you to write the lighting diagram based on what you saw. So that you can like, critique other people's, like, say you are inspired by someone's image, and you want to know how they lit it. Like you're able to, like figure out like, what type like reading the highlights and the shadow areas to really, you can make those decisions on your own. Because you're learning what lights do, right? It's not just like, me telling you where to put your lights. You're, you're learning what a light does and what situation so,
like reverse engineering it kind of.
Yeah, yeah. Yeah. So I mean, we talk about lighting a lot. But um, but if there's something that you're like working on that you're like, wanting to achieve, definitely Facebook group critique, coaching call that would apply to any like, you could submit that to anyone.
Awesome. Yeah. I think that was the last question we had. Um, what if they had other questions? Where can they like, is it okay for them to contact you? Or? Yeah,
yeah. Yeah. DM on Instagram would probably be the best way. Email is also great. So either one of those two would be fantastic.
Awesome. Okay. Thank you, everybody, for joining us. Sorry for the tech issues.
Yeah, we'll make sure to send the image and the email. So you guys look, look over the final image. I'll have it edited and ready for you guys to see.
Okay. Awesome. Thanks so much, everyone for joining us. Glad you're able to make it.
