Original subtitles

Up until this point, in each lesson, we

have talked about the things that we do

as wedding photographers.

And now we're going to kind of head

into the final stages of the client relationship.

So we came on, and we know how

to prepare clients for an amazing wedding day.

We know how to manage expectations.

And then we learned how to deal with

expectations when the day does not unfold the

way that we had anticipated.

And then we also know how to deal

with those unplanned events.

So what I think I want to do

is to talk about how we've maximized each

of those opportunities to, in turn, help our

businesses by marketing, and then help other businesses.

So we want other people to market their

services by way of our photos.

So that is where we are up to

now.

And this brings us to, I'm going to

get the keynote on, which is the post

-wedding client care and wedding album.

So this right here is an opportunity for

us to close out the relationship on a

high.

So I want to talk about how we

go about doing that.

So I want to keep this presentation as

linear as possible, which is kind of like

my judge.

If you're anything like me, you like to

take notes with different colored pens or highlighters,

add stars, glitter, stickers.

I mean, this is how I do it.

In case you don't have that, we're going

to walk through this as linear as possible

in three sections.

One, I'm going to talk about email, how

I prepare my clients for the wedding album.

I'm going to talk about how I include

my album instructions and what those look like.

And three, I'm going to talk about a

thank you gift.

So that's the trajectory, and that's where we

are headed right now.

So the thing I want to focus on

is this process.

This last in the process is done with

intention.

I have made the decision early on, and

I'm going to talk about this in a

future lesson in regards to pricing.

But I have made the decision to be

a service-based photographer, not a product-based

photographer.

We're going to dive more into what that

means and how that looks like in a

future lesson, but I want to say that

this was done with intention.

This means that product for me is a

part of my business, but it does not

hinge.

Me making money as a service-based photographer

means I'm getting paid handsomely for my services.

And if the client opts in for a

product, then great, but I do not have

a long product line.

I do not have metallic prints or afghans

with photos on them.

I don't have mugs.

I don't have keychains.

We are laughing because we know that these

are options.

We do know, right?

So instead of me getting tied up with

the minutiae of planning out these small things,

I empower my clients with their images to

get that.

Now, the things that they cannot get on

their own, like a wonderful, beautiful album, is

where I want to take the reins.

Now, the album is the only product that

I am hands-on.

So remember, through our gallery, my clients can

order prints, which is fantastic, but again, it's

a hands-off process for me.

The only hands-on product that I offer

in my entire line would be an album.

So let's talk a little bit about what

that looks like.

So the first part of this section is

an email.

Now, what I want to do with this

email is, you guys know I love my

template emails.

So here is yet another template email.

About two weeks after I release the wedding

gallery, so I need to give my clients

time to go through their images, experience them.

I don't want to give them a task

to do, because a lot of the time,

my clients are on their honeymoon when they

receive their gallery.

Not all the time, a lot of the

time.

So I don't want to send an email

saying, here's your gallery, here's your album instructions.

I simply want to say, here's your gallery,

enjoy.

Then they get back, they get settled into

married life, and then I follow up two

weeks after the gallery, and I say, here

is the album instructions for what is going

to happen.

Now, here are my album instructions, and what

I think I hear a lot of photographers

get frustrated with is that there's always some

sort of miscommunication in the process.

Maybe the bride didn't understand, or you didn't

do it effectively.

So I veer on the side of being

a little bit of an over-communicator.

I want to outline everything in advance so

it's super clear, but this goes back to

what we talked about in lessons two and

three.

You want to exceed expectations.

So how do you exceed expectations?

You manage expectations.

How do you manage expectations?

By outlining what's in store.

Now, I have email templates.

You can find, every email template that I

have spoken about, you can find on jasminestarstore

.com.

My exact album template is on jasminestar.com,

but if you want to write one for

your own, then what I want you to

do is walk through an outline.

So I'm gonna talk to you about my

outline, and then you can fill in the

pieces.

Now, in case you want to write one

for yourself, the first thing you want to

do is you want to instruct clients to

log into the gallery and choose their favorites.

First things first.

Every gallery is different, but as you've seen

me work through Pixie Set, I tell my

clients to use the heart icon to choose

their favorites.

So it might seem like minutia to be

like, let me teach you how to select

your favorites, but listen, over-communicate.

Secondly, I want to give permission to choose

photos that they like, not what they think

they should have in the album.

I tell my clients that because a lot

of times in the beginning, I was getting

brides who were saying, oh, well, my mom

really thinks it should be this, or do

you think I should have this traditional photo?

And I was starting thinking, if I'm not

giving my clients permission to choose what they

want, I'm gonna lose them in the process.

Thirdly, review how many images are included in

their album, review the size of their album,

and review how many pages in the album.

Because when these clients booked you, there's a

good chance that they had booked you a

year in advance.

They might not remember what exactly is in

there, so instead of them being disappointed when

they said, oh, I thought I had a

12 by 12, and you said, no, no,

no, it was only a 10 by 10,

you run the risk of disappointing them.

So out the gate, you tell them, this

is what was included.

If a client, so in my albums, I

tell my clients that they can have anywhere

from 60 to 65 images.

Then I say, if you would like to

add more images, it'll be $15 per image.

Now, I know that people will say, oh,

it's $60 a spread, or it's this.

I have found that if I'm not very

specific with my clients, I run the risk

of misleading them.

So if I say, it's $60 a spread,

and a client comes to me and says,

oh, well, I wanna have these 12 photos

on this spread.

Then I feel like I've compromised the integrity

of the overall album, so I said, if

you would like to add 15 photos, it'll

be $15 at each of those photos.

And I'm not that quick at math.

So, but I do, I use my calculator,

and I'll send that to her.

Now, then what I wanna do is, fourthly,

I wanna explain the design process.

We cannot assume that our clients know what

they should be doing.

First things first, how long it takes.

So I say, once you choose your images,

I will get them and make sure that

they're edited to perfection, and then I'm going

to loop in my album graphic designer.

Yes, I tell my clients, I work with

an album designer, and then I explain, she's

amazing at what she does.

She's one of the best in the industries,

and my job is to be a photographer,

and her job is to be a designer,

and she's a better designer than I ever

could be, so she's gonna be part of

this process.

When I tell clients that, they're just like,

oh, great, awesome.

Then I tell her, once I have the

images, how long it will be before she

sees the first draft of her album, and

then I explain, there's a total of three

drafts only.

So I'm doing all of this work in

advance, so that there's never any questions after

that.

Fifthly, when the client is done, I tell

her to please email me.

So when she emails me, then I know

she's ready to officially get started on her

album.

That is the outline.

Then you could plug and chug and put

things as you so choose, and add things

that you think would make it stronger.

So now what I wanna do, is I

wanna show you a sample of my back

end for a client.

This is a recent client album.

This was my favorites folder on Pixie Set.

Now this is Kate, and she married John,

and the things that I like is that

I can download individual photos, or I can

simply download all of the photos that she's

chosen.

So I simply scroll back up to the

top, I press that download all, and it

downloads directly to my desktop.

This makes it beneficial for me, because there's

never any discrepancy what she chose.

She was the one who navigated the gallery

and chose them.

She now knows how many images are in

this gallery, so now we're clear, everything's open.

There was a point in time where I

actually had to write down numbers of photos

that people wanted, I know.

We're kinda laughing, because we've all been there

at some other point in time.

This just makes life so much easier.

So, now what I wanna talk about is

the best advice that I have when it

comes to the album process.

Because for some photographers, especially me when I

had first started, it was frustrating.

I found myself very frustrated.

Now, I tell my clients to start in

the favorites folder.

The reason, anybody wanna take a guess as

to why I'm asking them to start in

the favorites folder?

Anybody, there's no wrong answer.

They're already retouched.

Yes, they're already retouched.

That's why I'm saying, but I don't say

start in the favorites folder because they're already

retouched.

I say start in the favorites folder because

it's the best curatorial perspective of your day.

Included in your album are 65 images, but

if you start there and choose the majority,

it'll help you tell the narrative, and then

you can add photos that you think I

might have missed for sentimental reasons.

So, I'm coaching her to get what I

want.

Which leads me to my next point.

You have to explain why.

If you're saying, choose from the favorites folder,

she may or may not adhere, but by

me saying, from a curatorial perspective, these work

well when it comes to design, add for

sentimental reasons, and all of a sudden, it's

freeing her to say, yes, I agree, you

are good at what you do, I trust

you, I will defer to you.

If we don't explain why, we're just going

to assume that maybe she wants to go

through 800 photos and shoot what she wants.

What I want you to do is focusing

on what this advice means, is that you're

going to start educating your clients, and it's

going to prepare them for success.

Because what happens is, when a client has

to go through all of her photos, what

you want to do is make the process

less daunting.

By simply saying, start here, add this, good.

I'm hoping that I'm going to make it

as easy as possible.

Now, I think that the more that you

educate your clients, the better your albums will

look.

If you are telling them why, if you're

explaining the process.

Sometimes I read from photographers how disappointed they

are at the way that their albums are

being designed, because the photos that the clients

are choosing aren't the best photos.

I have to ask you, what are you

doing to prepare them?

What are you doing to tell them that

this is what you need?

Now, here's the beauty of this.

Feel free to be as specific as you

need.

I know I've now, my business has matured

that I don't have to be as specific,

but if you're getting brides who just want,

you know, 25 formal pictures at the church

of family members, there's a chance you should

start crafting your outline to be, say, anywhere

from five to seven family formal pictures is

great.

Like, make your template email what you need

it to be to start attracting the type

of client who's gonna produce albums in the

way that you want them.

Now, the harder you work in the beginning,

the more enjoyable the process will be.

Now, once the client chooses the images, and

then I edit those images, the way that

I edit would be what I had showed

earlier in my post-processing, how I edit

in Photoshop.

I'm removing flyaways, I'm doing skin retouching, I'm

replacing bouquets or flowers in areas that did

not have bouquets or flowers.

Now, once I'm done with that, I will

get the 65 images and I will send

them to my album designer.

So again, you guys have noticed, I outsourced

my post-processing and now I outsourced my

album design.

So earlier in my career, I had made

a decision to work with an album designer,

and a lot of times people ask me

why.

I had made mention of this earlier.

I had so much to learn.

I had Photoshop, I had QuickBooks, I had

Camera Raw, I had to learn how to

shoot, I had to learn how to pay

taxes, I had to balance my job.

There were so many moving pieces that I

decided I needed to play to my strengths,

not my weaknesses, and my strength wasn't really

a strength.

I was trying to learn photography, but I

wanted that to be a strength.

I knew I never wanted to design albums.

If I could just focus on what I

wanted, I knew that that thing would eventually

come back to me.

Now, the thing that I wanted, my focus,

was freedom.

In a previous lesson, we talked about success.

One of my key components of success is

freedom.

Now, I could focus on my business, or

I could focus on how to design an

album.

I wanted to focus on my business.

I wanted to focus on photography.

I did not want to get better at

something I felt was a distinct weakness.

This is what I want to explain a

little bit deeper.

One of my key components for success is

freedom.

One of my key components for success is

being able to travel the world.

Here's a story where both of those meet,

and it benefits the client, it benefits me.

I hire a graphic designer.

She works, her name is Amy with Albumesque.

We're gonna talk a little bit more about

how the role that she plays.

J.D. and I took a trip, and

we were in Australia, and I'll never forget,

we were sitting on the Gold Coast.

The ocean was blue, the sand was hot,

and it was white, and there was Australian

lifeguards, none of them better looking than my

husband, but they were there, and I'm thinking,

this is enjoyable, and this is the life,

and I promised J.D. that I would

not check my email on the beach.

Well, he was in the water, and my

phone was just there, and I was like,

he won't know, because I internalize my business.

I take it with me, and I said,

in Australia, boo, we're on the beach, me

and you, and that's it, and all of

a sudden, I was like, ding, ding, I

was like, okay.

So I went over to my phone, and

I got an email from a bride, and

she had seen her first draft from her

album, and she was like, I love it,

but I forgot to tell you that this

happened, and this happened, and this happened, so

here are a list of changes that I

need made to the album, and when I

looked, I was like, ooh.

There was like 20 changes to the album,

and then I realized, I don't do my

album.

I forwarded the email to my graphic designer,

and I said, I'm in Australia, here are

her changes, and I went back to reading

on the beach, and my husband was none

the wiser.

I want to be a photographer.

I don't want to be an album designer.

That stress that I would carry with me

for the next five days of our trip,

having to get home and be like, wah,

wah, wah, gotta do my album design, gotta

catch up with email, gotta do this, that's

not the business I want.

I want to play to her strengths.

I want to play to my strengths.

Am I as profitable on my albums as

I could be?

Maybe not monetarily, but time-wise, heck yes.

Let's talk a little bit about how that

looks.

What I want to do is I'm going

to get online right about now, and I'm

gonna show you.

So here's the thing.

Once I send the images to Amy, what

she's going to do is she's going to

arrange them chronologically.

Now, I asked Amy because she's amazing.

I got the images back, and I said,

Amy, let's put together an album for the

Not Dream wedding.

Let's show people what it would look like.

So when I get the images, Amy will

design them for me, and she uses a

tool called Album Exposure.

Album Exposure is fantastic because this is a

way to keep all of the client comments

and amendments organized in a single app.

Now, a couple things I want to point

out is that when Amy sends it to

me, I must first approve it before I

send it to my client.

So I will go, and I'm gonna walk

you through this process.

I will go through all the images, and

if I have notes for her, I write

them here, and I press Add, and then

I will tell her to revise.

Once she revises those, then I send it

to my client.

Like, I can't, I hardly make any revisions

because she does such a great job.

So once I see this, I say Accept,

and then what I'm gonna do is I'm

gonna send it to my client and we're

gonna talk about what that process looks like.

But this is what a client would get.

Once I've already approved, then we send this

link, and I said, my graphic designer and

I finished it.

Here's what you have to do.

Just leave comments.

Now, Album Exposure has a template email built

into the system.

I simply just personalize it with their name,

and it's like, here's your album, and it

outlines all of everything you have to do.

So if Samantha wanted to change this picture,

please change this picture, Add, and then all

of a sudden, once she aggregates all of

her details, she press Sends, we get an

email.

Amy gets an email, I get an email

about what those changes are.

So let's walk through what this album would

look like for Sam and Taylor.

This is a 12 by 12 album.

They would open it up, and this would

be, once they turn the cover over, this

would be the first page.

And we could set this to music, but

I decided that it's just better for effectiveness.

I really, I have told Amy that I

prefer stylistically a lot of white space around

my albums, and if there's not white space,

I want full bleed.

I don't like a lot of mixing of

patterns, and I don't like more than four

pictures on a full spread.

That's max, unless we're doing a dancing grid.

So you'll see the pattern.

Here are four pictures.

Three pictures.

Two pictures.

You guys get the point.

And we have note, I've noted that I

like to keep the color and the tonality

the same within pictures.

So let me back it up one tiny

bit.

See how this picture is lighter than these

pictures?

That's why it's on its own page.

I have a hard time mixing those two.

It's just a personal preference, and she knows

that.

When it comes to bride and groom photos,

I really just like one on each page.

Again, it's a personal preference.

So those are the pictures that I wish

I could do over, but at the end

of the day, will the bride like them?

And I believe, I believe that she will.

So average amount of photos are about 65

photos.

If a client gets 800 images, they're putting

about 8% of their photos in a

wedding album.

So on this page, you'll see that there

is more photos, but usually for reception photos,

we might add more to kind of create

a vibe and what that would look like

overall.

Amy produced that for me and her timeline.

I'm gonna pop back into the keynote.

I'm gonna talk a little bit more about

what that looks like.

You want to play to your strengths.

You want to focus on your specialty, and

you want to focus on freedom.

Okay, so what we want to do now

is we want to make sure that we

want to complete the experience.

So now we have shot the engagement session.

We've shot the wedding.

We've turned around timeline.

We have done emotional marketing.

Now my album designer has the album draft

for me three days, three business days, after

I have sent it to her.

So I am turning things around quickly.

I'm turning around the edited photos quickly.

I'm turning around the album design quickly.

My clients feel like they're being very well

taken care of.

Now when a client makes revisions, the client

will get revisions back in 36 hours.

Now working with a designer has been a

reflective of my brand.

I know that there are other album editing

software.

I know that people can do it on

their own.

That's awesome, and I want you to do

it if it plays to your strength.

Album design did not play to my strength,

therefore I hired somebody to help my brand

improve.

Now once Amy designs the album, Amy's fantastic

because she orders my album for me too.

It is a completely, am I spoiled?

I'm sure I am.

I pay her for it.

I consider her a part of my business,

and that's great because I don't have to

do it.

So she orders my album, and then she

has the album drop shipped to the studio.

When I get it in the studio, I

make sure I go through it, I package

it, and I send it with a handwritten

note.

Now for all intents and purposes, this officially

concludes our experience in a business transactional sense.

I'm happy with it, I'm proud by it,

and I stand by it.

But I have a surprise for them.

Later on that year, I plan to send

them a personalized gift, and so I wanna

talk a little bit about what that looks

like.

Now, these are wooden boxes that I ordered

from White House Custom Color.

This is my print lab of choice.

I absolutely adore the quality that they produce

for prints and products, and they're a perfect

fit for my brand.

Now, in early November, I start getting all,

like I usually will shoot my last wedding

of the year, most of the time, the

second week of November, and truth be told,

that's how it's ending up for this year.

So around the second week of November, I'm

aggregating all of my client's information.

I'm ordering these boxes in the middle of

November so that I can get them in

early December.

But let me show you a sneak peek

into what one of my boxes look like.

Now, this is a five by seven personalized

box, and it has their photo on top.

And inside, it has six five by seven

prints, and they are mounted on a 5

6th of an inch styrene.

So they're thick.

You can wave them, they won't bend.

You can even stand them up on their

own.

Now, I order the boxes in the middle

of November so that I can have them

delivered to me at the beginning of December,

and then I send them off to my

clients.

Why am I sending them at the beginning

of November?

I want my clients to have them on

display when their friends and family come over

for the holidays.

This is another opportunity for marketing in a

printed capacity.

And the best part is that when my

clients receive this, it's not too close to

Christmas so that they're receiving other gifts, but

it's not too far away from Christmas.

Anytime that they receive a gift after December

1st, they are stoked, and it makes them

feel that it was personal and it was

special.

So what we do is we get these

boxes, we order them, we send them to

our clients along with a Christmas card.

But the best part of this situation, which

is always what I hope for in an

ideal situation, is that they share this box

on social media.

If they're getting the box and they can

show the box to their friends and family,

that's a win.

If they share it on social media, it's

a double win.

Now, a lot of the times, my clients

are tagging their spouse in the Facebook post,

and most of the time, people have their

Facebook and Instagram linked up, at least my

clients do.

So if they share on Instagram, nine times

out of 10, they're sharing it on Facebook

too.

I wanna show you a few of what

those examples look like.

So this was from Adrienne, and she writes,

came home tonight to this beautiful printed wood

box full of pictures from one of the

best days of my life.

My photographer and sweet friend Jasmine Starr surprised

me with this gift.

My photographer, hashtag, my photographer is the best.

Hashtag, the gift of friendship.

Hashtag, love my Scott with her husband and

me.

That's powerful.

So between Scott and Adrienne, they had close

to 1,000 friends.

So to be able to run into those

networks was fantastic.

And not only is she saying she had

a great experience, she's actually taking a picture

of the box.

That is a commercial for me.

Rachel Farley, admiring the lovely gift I received

today, she tags me, she tags JD, she

tags her hashtag from her wedding, and includes

her adorable dog.

This is exactly what I want, because when

my clients are updating their status, they're tagging

me too.

Total win.

Now this guy, Brian, guys are a little

bit more shorter with words.

Thanks for the awesome gift, we love it.

High five with me.

And he tags my business page.

And that is okay.

I'm totally fine with that.

But you guys, are you guys seeing the

pattern?

That this is marketing.

Okay, here we go.

Let's talk about this one, look at the

date.

December 20th, 2013, about two years ago.

Cool, here we go.

Thank you so much, Jasmine Starr, for the

most beautiful wood box filled with some of

our favorite wedding pictures.

What a wonderful surprise for the holidays.

You never cease to amaze us with your

talent and creativity, love it.

Cool, look at this.

I did a screen capture of this, and

I didn't realize this until a couple days

ago.

Kirsten Barish Sloss liked this.

I shot Kirsten's wedding in December of 2014.

That wedding that I had showed in a

previous lesson of the Kehoe Designs card, that

was her wedding in Chicago, that will now

be featured in the Knot Magazine Chicago.

Can I say that this box booked me

the wedding?

I don't know, but I think it helped

tremendously.

How much was this marketing investment?

It's about $100, depending on what you get.

Depending on what you get, anywhere from $100

to $150.

If I book one wedding as a result

of this social media coup, I've covered my

cost and then some.

This is the action of what we do

and how we do it.

We tie things up with bows.

So I want to round out this lesson,

and I want you to see the pattern.

The pattern is one, we wanna set our

clients up for success.

The pattern is two, we want to manage

expectations.

And the pattern is three, want to educate

clients to get what we want.

If we are not getting what we want,

we are not educating our clients in the

way that we need to.

So once this is done, once we follow

the pattern, you wanna personalize the album delivery.

And if possible, after the album delivery, you

wanna send a personalized Christmas gift as a

way to drum up end of the year

marketing.

You wanna know what happens at the end

of the year?

Any guess what happens around the holidays between

boys and girls?

Proposals, that's right.

When do you want your marketing naturally as

a coup to happen?

In December.

When are most photographers not shooting all that

much?

December.

So what can we do?

Create the zhuzh.

So, I think this is an action that

will guarantee success.

Not one thing.

All we have gone through all of these

processes through this bootcamp, it is not one

piece, it is a litany of hundreds of

pieces that are all working together.

I think that this litany of the process,

this patchwork quilt, all of this is, all

this is working together, it's prices for what

we can do with our businesses.

Tell me if there are any questions that

you guys have in regards to this right

now.

How to make your client interesting about wedding

album and how to explain the value about

good quality of wedding album compared to one

creepy and more cheap.

Because a lot of time I hear that,

I don't care about good quality, I take

one like a magazine, it's fine.

But I want to try to explain about

the value of a nice wedding album to

have.

So, I don't think that this is gonna

be the answer you wanna hear.

But I'm gonna say it.

If I were to go in and I

were to buy a car, a very nice

car, right?

I already think that by me buying a

designer car is enough.

If the salesperson is trying to say, but

you really need the extra horsepower and you

really need, I was gonna say eight disc

CD player, but who has that?

I mean, the eight track is amazing.

I was gonna say, if they try selling

you on 22 inch rims, it's kind of

like if I don't find value with it,

please don't try to sell me on that.

If my client wants to make a magazine

of her images, do I want that?

No.

But it doesn't matter what I want.

It's her wedding, her curation.

Will I facilitate in the magazine making?

No.

Will I facilitate in a less than amazing,

perfect album experience?

No.

You could do that on your own.

If you want a high-end album, and

when my clients see this, and here's the

thing, if you're not meeting with your clients

in person, I have done this heavily because

I am now booking a lot of destination

weddings.

I blog at least twice a year what

my albums look like.

When a client is deciding, I don't know

if I should have, sometimes we have what

we call our studio fee, our shoot-only

collection, which is us to shoot, and the

client gets the digital negatives.

And then later on, she's like, I'm not

sure if I want an album.

I will send her links to all of

the albums so she can see them online,

so she can see what she would be

purchasing.

I do as much as I can on

the front end, but at the end of

the day, it is my client's choice, and

I will absolutely adhere to that.

I know there are a lot of people

that disagree with that.

It's your first family heirloom.

These are the things that stand by you

for the rest of your life.

We could say this until we're blue in

the face, but I would rather maintain the

integrity of my relationship with my client by

educating her than giving her options and saying,

you can make the decision that's best for

you.

In your experience, are more the client that

pick the album compared to the client that

said, I don't care, I don't want?

Oh, yes.

Okay.

Yeah, I mean, I would probably say nine

out of 10 clients are choosing an album.

Yeah, mm-hmm.

And even when the clients choose to start

off because maybe budget considerations, they'll hire us

for a shoot only.

At a later point in time, like six

months later, once finances are kind of regulated,

they will order one, and I'm more than

happy to facilitate.

Awesome.

I think we're gonna go here and then

here, if that's okay.

I'm curious if you do any parent gifts,

like if the parents are paying, or if

you include them into the gifts at all.

That's a great question.

The general answer would be that due to

my, in the beginning, we talked about defining

who your client is, and I know who

my client is down to a T, and

I also know that my client, vast majority

are paying for the wedding on their own.

So no, I wouldn't be sending, I send

gifts to where the money comes.

If you are in a younger demographic, so

traditionally, brides between around 19 and 25, they're

having their parents pay for the wedding, and

if the money tree, if that source is

the parents, then absolutely I would send something

small.

Absolutely.

Absolutely.

You want her parents talking to her friend's

parents about what they paid you, and how

great of an experience they had with you.

So generally, no, but if you feel like

that's a benefit to your business, absolutely.

Does it have to be as extensive as

a wood box?

No, but anything thoughtful will really go a

long way.

How do you manage expectations about albums where

you have a client who's ready, they've got

their favorites, but yet you're working on the

last two weddings that you have, and I

feel like that's my priority, to get those

finished, edited, returned to the clients, and this

client's wanting you to start working on their

album.

Okay, let me back that up.

Okay, so I am a total, I am

like a nerd to, like I am like

the president of the nerd club.

I listen to podcasts all the time, and

one of these podcasts, I was listening to

a very interesting interview about a psychologist who

talked about relationships and experiences, and you can

go, and the story he had said was,

you can go to Europe and have a

fantastic trip with your spouse, two weeks of

insane moments, and delicious things, and sweet smells,

and beautiful visions, but if on that last

day, your flight gets delayed, and you're sitting

in the airport, and you're upset, and you

missed a meeting, and the babysitter's late, you're

gonna look back at that vacation and remember

the end.

Do not drop the ball.

This is the tying of the bow.

If you had to choose a priority, my

first thing would say outsource.

You can't, if you can't stay above water,

get a life vest.

Get a life saver thing, right?

Is that what they're called?

Oh, I wanted to just go.

I wanted to start preaching.

You're drowning.

I see you.

The definition of insanity is doing the same

thing again and again and expecting a different

outcome.

The longer you wait on that album, the

less satisfied that client will be, and a

dissatisfied client, again, another statistic that I learned,

a dissatisfied client tells eight people, and a

satisfied client tells two.

It is worse to keep somebody upset at

the end of the game.

Let me give you Amy's information.

Albumesque.

Yeah, it's albumesque, A-L-B-U-M

-E-S-Q-U-E dot com, and

you will see she has a 50%

discount for people who want to try her

services for the first time.

If you're buried, at least try her once.

I mean, get a little bit of your

life back at minimum.

That's a great question, and I'm glad that

you're open to reveal those struggles because you

are one of thousands of photographers who are

trying to balance it all.

You have to ask for help.

You do.

You absolutely do.

Are there any other questions?

You guys, thank you.

This section is always kind of like we're

in that last little kind of like sprint

as we tied this up.

I want to thank you guys from the

beginning to the middle and the end.

You guys, I appreciate you.

I hope that when you guys design your

albums, it's now a joyful process and an

opportunity to create lots of marketing opportunities and

happy clients.

Thank you.