Say hello via text message and join in the conversation!
From the unforgiving streets of near homelessness to the lush landscapes of Bali, Laura BC's saga is a testament to resilience and the transformative power of photography. Her lens is a gateway to a story of grit, creativity, and entrepreneurial spirit that both novice and seasoned photographers can draw wisdom from. Join me on another MOOD Podcast episode as Laura uncovers the turbulent beginnings of her creative journey, the strategic prowess behind her flourishing photography business, and her bold leap into the world of YouTube, where she bares her soul to help others navigate the choppy waters of a creative career.
Our conversation took many turns, from her time on the the streets of London and into the personal studios of musicians, to hearing how she honed her craft, network, audience and business skills to get her to where she is today - a flourishing, self-made and selective artist.
Whether you're an aspiring photographer or simply seeking inspiration to follow your passion, this episode is a rich canvas painted with the colors of hope, strategy, and the relentless pursuit of happiness. Furthermore, I strongly recommend you stay updated with her endeavours on the following platforms:
Website: https://laurabc.com
Instagram: @laurabccom
Youtube: https://www.youtube.com/@LauraBC
____________________________________________________
Thank you for listening and for being a part of this incredible community. You can also watch this episode on my YouTube channel (link below) where I also share insights, photography tips and behind-the-scenes content on my channel as well as my social media, so make sure to follow me on Instagram, Twitter, Facebook and TikTok or check out my website for my complete portfolio of work.
yoreh.
www.yoreh.co
discount code: moodpdcst.23
My FREE eBook:
www.form.jotform.com/240303428580046
My FREE Lighting Tutorial:
www.mattjacobphotography.com/free-tutorial-sign-up
YouTube:
www.youtube.com/@mattyj_ay
Website:
www.mattjacobphotography.com
Socials:
IG @mattyj_ay | X @mattyj_ay | YouTube @mattyj_ay | TikTok @mattyj_ay
Say hello via text message and join in the conversation!
From the unforgiving streets of near homelessness to the lush landscapes of Bali, Laura BC's saga is a testament to resilience and the transformative power of photography. Her lens is a gateway to a story of grit, creativity, and entrepreneurial spirit that both novice and seasoned photographers can draw wisdom from. Join me on another MOOD Podcast episode as Laura uncovers the turbulent beginnings of her creative journey, the strategic prowess behind her flourishing photography business, and her bold leap into the world of YouTube, where she bares her soul to help others navigate the choppy waters of a creative career.
Our conversation took many turns, from her time on the the streets of London and into the personal studios of musicians, to hearing how she honed her craft, network, audience and business skills to get her to where she is today - a flourishing, self-made and selective artist.
Whether you're an aspiring photographer or simply seeking inspiration to follow your passion, this episode is a rich canvas painted with the colors of hope, strategy, and the relentless pursuit of happiness. Furthermore, I strongly recommend you stay updated with her endeavours on the following platforms:
Website: https://laurabc.com
Instagram: @laurabccom
Youtube: https://www.youtube.com/@LauraBC
____________________________________________________
Thank you for listening and for being a part of this incredible community. You can also watch this episode on my YouTube channel (link below) where I also share insights, photography tips and behind-the-scenes content on my channel as well as my social media, so make sure to follow me on Instagram, Twitter, Facebook and TikTok or check out my website for my complete portfolio of work.
yoreh.
www.yoreh.co
discount code: moodpdcst.23
My FREE eBook:
www.form.jotform.com/240303428580046
My FREE Lighting Tutorial:
www.mattjacobphotography.com/free-tutorial-sign-up
YouTube:
www.youtube.com/@mattyj_ay
Website:
www.mattjacobphotography.com
Socials:
IG @mattyj_ay | X @mattyj_ay | YouTube @mattyj_ay | TikTok @mattyj_ay
I cried a lot. I was homeless. For a while I was sleeping in a hostel room with 15 people. How much do you want it?
Speaker 2:How would you normally describe yourself? Wow, how do you evolve as an artist? When did YouTube come in? Oh, this is interesting. How can you impart advice, then, to beginners who are who need to pay the bills? Every beginner has the same problem, so do you believe that anyone can do it?
Speaker 2:Today was a conversation with Laura BC. Again, like many of my guests, I'm unable to pronounce her last name, so I won't do her the disservice of trying, and she likes to go by her online name anyway. Laura is from Spain, but moved away from her home country purely in the pursuit of a freelance photography career at a time when she had very little other than her camera and a backpack. After some years of hustling in London, laura started getting some more frequent jobs and it was a real pleasure to hear her story of how she went from basically nothing into a self-sustaining photography business. We also chatted about her digital profiles, especially her growing success on YouTube, her equipment, her passions and her methods, not to mention her recent life-changing move to Bali.
Speaker 2:Laura has an infectious attitude and zest for her photography life, and it's hard to be around her and not become positively energized with her attitude. She's such an inspiration and a real joy to talk with, so I hope you find this podcast also enjoyable. So here is Laura BC. Laura BC yes, I'm not going to try and pronounce your last name, but you are known as Laura BC yeah.
Speaker 2:Very warm welcome to the Mupok us.
Speaker 1:Thank you.
Speaker 2:I've been trying to hound you for a few weeks now since you moved to Bali.
Speaker 1:So apologies for that, but I'm really happy that you came on.
Speaker 2:So thank you. I'm going to start kind of as an introductory question which we're going to start with. I'm going to start kind of as an introductory question which will help you just kind of tell everyone who you are and what you do. Essentially, the question is how would you normally describe yourself?
Speaker 1:That's very hard. Well, I'm a photographer. Obviously it started everything as a hobby, I think, like all of us, but then I moved to London and I started to grow as a photographer there. And how I describe myself? Maybe as a versatile human being because, yeah, I went to London just pursuing photography and then I started to grow as a photographer there, finding my niche and trying different photography categories, different jobs, obviously to pay my bills in London. Well, I was doing photography on a site and I went through everything till I found out my niche. Now I can describe myself, I guess, as an artist photographer. I love taking pre-shot from music artists, but I still do other kind of photography, for example, why I came to Bali as well to pursue travel photography and creative portrait photography by Nature, because I was shooting a lot in the studio. So, yeah, I guess I describe myself as an artist photographer and creative director as well.
Speaker 2:Cool. Well, if you could be known for one thing, what?
Speaker 1:would that be?
Speaker 2:And that's a horrible question because I'm going to pigeonhole you yeah what would that be, what is your biggest passion?
Speaker 1:Wow, creativity and freedom. Freedom for me is very related to photography as well. It's one of the reasons why I came here, because I was stuck creatively in London, because I was doing one thing all the time that I love shooting with artists, but for me, photography and creativity goes further than that. So, yeah, I need to feel free creatively to be able to do other things and expand my creativity. Love it so yeah.
Speaker 2:Okay, Rewind. Why photography? What were you doing before and then? What was the thing that triggered this passion.
Speaker 1:That's crazy, actually, because I started 15 years ago. My parents love photography as a hobby, so they do it as a hobby and they were telling me I'm not going to take photos, I'm not going to take photos. I didn't feel attraction for photography and it's like I come with us, come with us, come with us. So once I went to the beach in Sopelana, basque Country, to take surf photography action shots of people surfing there and I had a very bad camera. But then my dad offered me his camera, a Canon 30D, and I was very lazy to change lenses. It's like, no, I will never get into photography, I'm very lazy to change lenses and stuff. But in the end I bought a compact camera. It's like, okay, I'm going to start shooting because I like surf photography. I lasted one week with a compact camera and I said to my mom it's like, I want a DSLR. And my mom I told you, you threw the money away, blah, blah, blah.
Speaker 1:And then I got addicted to photography. And there is something when you shoot and then you want to improve that photo. I don't know, it was weird. I wasn't attracted. But then I took some photos and they weren't bad. And then I wanted to get better. So I got competitive with myself and that's how I started and I was doing surf photography. I was going every morning to see people surfing action shots. And then, yeah, that's how everything started Just being competitive with myself and get better at photography. But at the beginning I wasn't attracted to it. My mom was like pushing me ah, try, try, try. And then now I'm a professional photographer and my parents they barely do it now.
Speaker 2:What do they think of it? I mean, they must be very proud, obviously.
Speaker 1:Wow, this is a very long story. This is a very long story. Now they are proud because I made it, but they gave me so much crap for 11 years for pursuing photography.
Speaker 2:For 11 years.
Speaker 1:Yeah, only 11 years in London. They never believed on me as a photographer because obviously in Spain it's very hard to get photography jobs unless you live in Madrid or Barcelona, in a more creative place. So for them, photography is a hobby. That's it. You cannot make a living out of photography, so they hated me for that. I know it's not in a bad way. They love me and they want me to have a job and have a home in the future, so they didn't do it in a bad way. But yeah, it was very, very, very hard to push through because I didn't have their support. I don't hate them for that. I told them about this topic today.
Speaker 1:But it was very hard, to be honest, and they were the ones putting me in photography as a hobby. They never thought I would love it so much that I would leave home. That's why they hated me, obviously in a selfish way, because they love me and they don't want me far away. So I was the only one in the family who left my country to pursue my dreams as a photographer and they were the ones putting me in photography. But they never expected that I wanted to pursue it professionally, because I actually studied graphic design. So I was meant to be a graphic designer, and my parents wanted me to be a graphic designer because this is what I studied, and then, for me, photography was more fulfilling, so, yeah, amazing.
Speaker 2:Well, what an inspiration Do you think that? Probably, I mean obviously I don't know your parents, but essentially that lack of support do you think that drove you even more to succeed?
Speaker 1:Yes, yes, yes, I was so angry in a way I cried a lot. London was very hard. I mean, I left Spain. Yeah, I left Spain. I didn't have money. I didn't know anyone in London. I was sleeping in a hostel room with 15 people. I couldn't speak English. I was taking notes to call the bank to open an account because I had no idea about anything.
Speaker 1:So I wanted to do it but was terrified and my parents didn't support me either. So it's like I need a bit of support from someone, because obviously I'm alone on this, you know, but I never had it. Obviously, I know if something happened, my parents are there. Out of ego and pride, I never asked them anything and I love that because, to be honest, it made me stronger. But I know my parents are there if I need it. They are not bad, just the opposite. Do you need anything? But if I need something, it's giving them the reason. So I'm just like, no, I'm fine.
Speaker 1:So, yeah, it did help me, but it was very hard as well on me, because it's a very lonely road when you are creative and you don't have people around you. Who is fighting for the same thing. I was very lonely with that. It's like nobody believed on me, just myself. I was trying to make it. To make it to make it working on a site when I was having a full-time job in London, tremendously exhausting as well. So many problems. I was homeless for a while in London. So many things happened and I kept pushing, pushing, pushing and yeah, and I never have this moral support from anyone till I met my friends in London. They are like my family and they cherish me every single day, which is amazing. But the beginning, when I was more lonely, it was very hard because I didn't have the support. But, yeah, out of pride, it did help me, because now I'm going to show you that I can do it. And even when I was making it happen, they would be still like, ah, we have a site in Spanish, pamparaoy, hambre para mañana, which means bread for today. You will be starving tomorrow.
Speaker 1:Like freelance, right, you can have a lot of income one month, and the month after you have no clients. That's the beauty of it as well. But yeah, they are very old school. It's normal In Spain. Everyone has a job nine to five. You make your money. You retire at 65. You know, it's a very common way of living in Europe in general. So I don't blame them at all. It's normal, it's what they know. They were just scared of me not being able to have an income in the future. Now they are very happy with me and they support me and they watch all my YouTube videos and they press like and comment. Now they love it, you know, and they're proud because it's like we didn't support you, like we didn't believe, and look at you now in fricking Bali. So yeah, by West Card. It was very hard and they should be very proud.
Speaker 2:I feel like that is actually quite a common occurrence, where the older generation trying to understand something that's more of a newer generation. Certainly, when you throw in social media, YouTube, vlogging, all that kind of stuff it's so difficult for them to understand. I'm a little bit surprised with that, I guess. But what is not normal or normal but not you don't hear about as much is someone like yourself who doesn't speak English going from one European country to London and throwing yourself quite literally in the deep end. What was it about London? Why go to London? What was that little process?
Speaker 1:It's very funny. That's why I don't know. My life has been crazy, because actually I knew when I was 18 years old I wanted to live my country, just out of the blue. It's like I want to learn English. I want to be able to speak English because it's international language. I want adventures in my life. I don't want to conform myself being in this box in a small town and that's it. I wanted to know more, but I always say to myself I will never live in a place with no sea, because I love the ocean. I need it. So it's like I'm going to go to California yes, california.
Speaker 2:Sorry, how old were you at this point?
Speaker 1:I was 18 years old, but I came way later to London. I think I was 24 or something. So it's like I want to go to California. It's sunny all year, I can learn English there, but obviously it's super difficult because you need to get a visa, blah, blah, blah. And my mom told me La Laura, you don't even know how to speak English, don't go to California, come closer and you try. And then, who knows? And then just out of the blue, I chose London, just because it was close enough. London. Obviously there is a lot of creative. So, yes, I chose London, but I've never been there before, so I never even went as a tourist. I just appeared there. That's insane. Yeah, with my camera back, two suitcases going to King's Cross, to a hostel, and that's it. It's like my first time in London, I'm moving here, so it was crazy.
Speaker 2:That's unbelievable. Had you had a job before then, I was 24. So I guess you'd been working before then.
Speaker 1:Yeah, I was working in the bus country for the bus government. Okay, do you have some? Savings, at least that you took with you, or some type of I had literally I don't mind to talk about money I had literally, I think, and I will tell you why I had that money. I had literally like 4000 euros saved, wow, which is not much to be in.
Speaker 2:London? Obviously no goodness, no way. Yeah, I was very positive. That's like two coffees.
Speaker 1:Yes, in London, yes, nowadays, yeah. So yeah, the money was because I had a car accident. It wasn't my fault, a truck didn't see me and it hit me and, yeah, it was very messy. So they gave me some money and it's like, okay, the universe is providing something at least. So I got that. But, to be honest, I really trusted my capabilities to find a job, because I didn't mind to work in hospitality or whatever, I just needed a job and that's it. And I was working in Pretta Manjar at the beginning. Oh, cool, yeah, after three weeks I found a job. I couldn't speak a word. It was the worst job I've ever had. Oh, less, no, because of what I was doing, because I don't mind to, you know, to make whatever I had to do. But people were very rough with me and I couldn't defend myself because I couldn't speak English.
Speaker 2:Well, London is not exactly the most friendly city.
Speaker 1:It was bad. It's like, plus everyone who was taking the piss, they were foreigners as well. It's like why are you so mean to me when you started the safe way, you know, but I couldn't defend myself, so it was.
Speaker 2:It was in South London where you first moved to.
Speaker 1:No, I was in Bethnal Green in East London and I was working in Kentistown and I was waking up at three in the morning every day in freaking winter.
Speaker 2:From Bethnal Green to Kensington.
Speaker 1:To Kentistown.
Speaker 2:Kentistown.
Speaker 1:So there was no tube at that time. So I got to take the bus at three in the morning to make it at five in the morning in Kentistown every single day. It was so cold in the middle of winter. I was like what the hell am I doing here For those of you watching and listening?
Speaker 2:don't know. Haven't been to London or just the UK generally At this time of the year. It gets dark at four, four, fifteen. It's obviously very cold, very wet very gray and pretty miserable. I was miserable, it's a vast country where it's a little bit nicer. So yeah, the world needs more people like you, who, I think, are willing to just throw themselves in and just do whatever it takes.
Speaker 2:Tell us a little bit about your beginnings there in London, and photography specifically. So your first kind of jobs, how you started hustling, what kind of jobs you had and kind of how that evolved over the first year, two years.
Speaker 1:Yeah, so when I arrived, obviously it was everything about paying bills, because London it's crazy, so I was just having different jobs. I was in Pretzelmanier. Then I put myself into fashion, so I was working as a fashion stylist and I was very ambitious already because it's like, okay, I'm working in this shop, which is more like high street, and then I went to the luxury sector, which was very good. I enjoyed it because I love fashion. And then I started to work on a site as a photographer and everything started actually because I love music, the music industry, and I love going out and have fun and, obviously, run away from my crazy life in London. It was very stressful and I started to go out a lot and meet people. So then I started to shoot in events, so in parties and stuff in clubs. So I was shooting at events. And then I started to meet a lot of promoters and DJs and I started with portrait photography a little bit. So then people started to ask me for press shots for artists. It's like, okay, and that's a bit how I started, because I knew I love portrait photography but I never thought about shooting with artists. And then, yeah, I love the music, as in, I love shooting with artists and that's how I started to shoot with artists, because I was shooting in events.
Speaker 1:And then I put myself as well into fashion photography because, being the fashion industry for so long, I met people and they needed photo shoots for the independent brands. So I was doing fashion shoots. I was doing product photography as well. I was doing a bit of everything, because when you start, you don't have enough clients. I was still working in retail full time, so in my spare time I was doing my best charging peanuts, because for me it's like, hey, it's my hobby, it's good enough. Till then it's like no, if I want to make it happen, I have to start charging. And yeah, I just started to grow and find my niche that way.
Speaker 1:And actually one of the reasons why I love shooting with artists of any kind is because of the story I told you about how I started, because I really admired every creative who pursued their dreams, regardless of external voices. Like everyone has that in the family, I want to become a photographer or a dancer, a writer. People tell you you cannot make it, it's very hard. So people making it happen. That's why I love shooting with artists, because I feel proud of them, like I feel proud of myself for not listening and making it happen. So, yeah, I shoot a lot with music artists or actors, singers, writers. I love shooting with creatives in general, and now it's what I love the most doing, and I don't do much of product photography or even fashion shoots around that much anymore. I don't know that much anymore.
Speaker 2:So it sounds like the portrait photography, and specifically with artists, is because you want you almost like have an empathetic voice with that subject.
Speaker 1:Yeah, a lot and I love it and I love music obviously.
Speaker 1:So for me, the challenge when I shoot with artists not talents, but the creativity I find there is actually listening to the music, because I love music so much, so I really listen.
Speaker 1:It's like, okay, it's colorful music or summer vibes music or dark music, and I try with lighting and the way I shoot with them to represent their music and I love it and I love it. They tell me, maybe roughly, what they want, but normally they come to me and they tell me I love your work because you play with shadows, with RGB lights, colors, and for artists it's perfect the style of photography. So yeah, I think that's why I love it, because creatively it gives me so much, rather than just shooting a headshot, for instance, like I don't know under market shot. For me it's boring, I don't enjoy that because it's just technicality, that's it. But when you can be creative and they tell you, because it's always like this, the DJ comes and it's like, okay, I want this, I prepare a mood board and stuff, and for me it's so much creativity, I can do whatever I want. So yeah, it's amazing.
Speaker 2:Can you offer some like I know we don't talk too much about technical stuff, but some specific tips when you're connecting let's say you, like you said and that's really interesting to me you listen to some music or you listen to an artist that you know you're going to shoot.
Speaker 2:How do you play with the technical aspects of creative portrait, like lighting or settings on a camera, composition, all that stuff in terms of relating it to a specific style or type of music? If it's dark, then would you focus on something like shadows a lot, or can? You, can you give the viewers maybe an example of what you might do.
Speaker 1:Yeah, so okay, there is. I mean, I shot so many different artists like very I don't know commercial music or even a Latin Grammy our winning composer, he works with Kylie Minogue, and so very different artists. But I listen to the music and many times maybe I don't know a DJ and producer. He produced something very minimal and what I consider a bit dark. So I like to play a lot with shadows, maybe hiding half of the face, black backdrop.
Speaker 1:I play with clothing a lot, for me super important, it helps, like I was a stylist. So I always ask them to bring this, this and that because, depending on the lighting, I need them to wear something else and I like moody portrait photography for dark music, for instance. So I play a lot with shadows. They are wearing dark clothing. I kind of hide their identity a little bit.
Speaker 1:Sometimes I play with light as well, maybe harsh lights like red when it's dark, and then for more commercial music, for instance, one of the last artists I was shooting for he does this kind of pop, ambient music, which is very different. So I bought a projector and I projected some mappings, very colorful ones, in the wall with white backdrop, because it's more light. It has to be. You know he I love dark but I cannot put. You know, I cannot shoot in a dark way with him because his music is very light. So I bought a projector and I was using mappings on him, very colorful ones, and I use white, I also use black, but always using a lot of colors and the projection, the mappings, because they move.
Speaker 1:I always try to stop the mappings in the colors. I think it matches the music. It's so weird, I don't know. I think so many years in the music industry in London, I really no hope to listen to music, I mean in my own way. But normally artists they are very happy with what I do. It's like, yeah, like you exactly did it how I wanted, like very colorful and very light, because my music is light and that was challenging for me because I love dark and black backdrop and shadows. But this artist was the completely opposite, but he was very happy with the photos.
Speaker 2:Why do you think you love dark I?
Speaker 1:don't know, maybe I have a dark side.
Speaker 2:I don't know.
Speaker 1:I just feel like so.
Speaker 2:I do as well. By the way, I'm not judging it. I love that style. Yeah, there's got to be something in here that emanates that.
Speaker 1:Yeah, I think the reason as well I love shooting with artists is because obviously you can play with darkness, with shadows and everything. And then I was seeing in London, like other photographers shooting with artists, and I didn't like the photos. They weren't like normal headshots or very bright or very cheesy, which it's fine, it's their style, but it's like I don't like that Like an artist. For me it has to be when you look at the portrait, has to be impactful and actually artists come to me. It's like all the photos you have from artists. They look like such a big artist because they are posing very serious profiles. You play with the shadows and I really like to show the power of a person, the strong side of a person. For example, you shoot an artist and it's laughing and grabbing the neckline or these kind of cheesy poses Like that's a nice, I love it.
Speaker 1:Yeah, it's like it doesn't match the music. You're not going to pose a techno DJ or minimal DJ like doing that. I like seriousness, like represent the artistic side of the person and look serious. So I don't know. Since then, I don't know. I just like playing with shadows because shadows allow me to represent that side. If it's very light, it's harder to represent a serious photo. But when you play with shadows and you hide parts and you insinuate because many times as well, I shoot with artists and in some photos you don't even see the artist. It's maybe a profile and it's or maybe the back with a hoodie, and I love that Like people can see. If people know the artist, people know which artist it is. You don't need to show the whole face. Yeah, I don't know, I just love it.
Speaker 2:I love it too. For me, shadows, playing with shadows gives you more depth. Yeah, and humans are extremely deep and complex characters, whether you're shooting for as an artist, commercially or you're shooting on a personal you know, just a friend or a client for a personal photo, yeah, Like if you're going to represent that. Obviously everyone has their style, but you have to be able to go deeper into it yeah. I love it, and that's why lighting is amazing. Yeah, and you can do photography because you can literally express emotions just through lighting and then all the rest of it as well.
Speaker 2:But yeah, get the light right.
Speaker 1:The light.
Speaker 2:Shadows, light contrast. Essentially, Then it's everything.
Speaker 1:Yeah, it's crazy.
Speaker 2:So when you first started in London living in a hostel, are you able to share, like, how much kind of monthly overheads you had to cover in terms of jobs? A few hundred pounds, a few thousand pounds?
Speaker 1:Wow, I can't even remember, because it was very messy, because I was in a hostel with 15 people. It was very cheap, actually. I don't know if it was 20 quid per night or something. It was extremely cheap because it was like a backpacker's hostel and this was 11 years ago when London was a bit cheaper in that time. So I was in a hostel room with 15 people to don't pay mats and then I was sitting flat. This is the most normal thing in London. It's impossible to afford a flat for yourself. Apartments, yeah, yeah. So I can't remember how much I was spending mats because I was very careful. I didn't have a job at the beginning, the first few weeks, so I was just covering the hostel room, food enough to survive, because I didn't know when I would get a job and I didn't want to come back to Spain and say to my parents ah, you were right, didn't?
Speaker 2:you get any free food at Prada, imogia Exactly.
Speaker 1:Yeah, they did. So I was very happy I was having free meals. I was putting on weight a lot because sandwiches and a lot of carbs. It's like, okay, I need to get out of here, but I was very careful with my expenses. And then I found a flat but to save more money I was sharing the room with another guy, a Spanish guy, I didn't even know, Obviously different beds and stuff, and it wasn't a bad experience, but obviously he was playing PlayStation until one in the morning and I had to wake up at three in the morning to go all the way to Kentistown. So I wasn't paying too much because the room I think it was like 500 quid and obviously between two 250. So it was pretty expensive.
Speaker 1:Yeah, I was trying to survive and then when I was having more income I run for myself. Then another flat, Like I was going, because the flats in London are insane.
Speaker 2:Oh my God, so bad. Electric utilities, transport, food, everything.
Speaker 1:Till I made it to live alone. It took me a while.
Speaker 2:How long?
Speaker 1:To live alone I think six years or so, wow. So I was sharing flats all the time, grinding for that long A lot and obviously you know when you're a creative you really appreciate solitude. And for me, serving flat it was terrible. I mean, I didn't have very bad experiences, to be honest, but obviously you don't have privacy. Then I had like a living room where I started to shoot with music artists that was bringing people to my place and asking permission to my flatmates and stuff to be able to shoot there. That's where I started. I was shooting in a room in a flat chair, so you couldn't afford anything in London. I didn't have the money.
Speaker 2:So when did I mean because I found you on YouTube originally probably about a year ago. When did that come into the I guess, the business portfolio? Or did that just start as a hobby as well? Or was it like, okay, this is going to be part of my job now. Yeah.
Speaker 1:So at the beginning, well, I knew I wanted to be a photographer, but, as a, every beginner has the same problem you don't know which niche you want to shoot. So I was just experimenting. As you said, it was a hobby. I was charging very little and actually people started to come to me on parties. It's like, ah, your photos are amazing because we never believe in our work. So I was very critical. I never thought I could start or start more. But then I started to believe it when everyone was telling me your photography is amazing. Ah, thank you. And I was so humbled because for me it was a hobby and it was very hard to make it. But then I started to have more clients and I was charging, as I told you, very little, and this happened. This is when I opened my eyes. One of my clients, who is a huge DJ, now a producer, like he's doing very well. I remember he told me it's like Laura, this other DJ. He paid, I think it was like three grand for his press shots and it's like Laura, your photograph is better than that photographer. And you are charging me I don't mind to talk about money and you are charging me 250 quid when a client tells you like you are charging peanuts, that's a problem. And since then I got so upset with myself yeah, it's like, oh my God, like actually there are photographers and I saw the photographer is like his photography is very average and he's charging three grand and I'm charging 250 quid.
Speaker 1:So then is when I was like more proud of my work is like, if I want to make it happen, is I'm going to charge double. And actually when I started to charge double, people started to respect me more because people can smell, Can smell your need to make money with photography. And when I was trying to 150, I would get still clients telling me I can you do for 150? And I was like, maybe you know, because obviously you want to make it. But then I realized no, you want to make it, you have to charge more. And I started to charge more. And now my clients are, okay, it's maybe expensive or I cannot afford it, but I'm going to save money and come back to you. And that's the goal as a photographer, people who want to shoot with you, Not someone who is, ah, charge me 150. The first thing about your gear, your editing software, is so many expenses, and travel expenses in London as well. I will be losing money if I charge 150 quid.
Speaker 1:So, yes, since then I realized if I want to make it, I have to charge more. And actually because I was having a lot of bookings with artists and I loved it so much because I have creative freedom, it's like, okay, I'm going to pursue this and yeah, and then I started to grow and then, when I was charging more, people were respecting it because by then, because I was shooting out with artists, I already had a portfolio. So I had my website and then people could see it and I didn't do too much marketing either. By then I didn't even know how to do it. People would come to me. I did a lot of network going out because people knew me and so it was very easy for me. And people came to me because they like my work, which makes things easier because you don't have problems with clients. People come I love your work Great. And since then I enjoy working for myself because I know people allow me to do whatever I want and they are happy with it.
Speaker 2:So when did YouTube come in with that?
Speaker 1:Oh, this is interesting as well.
Speaker 2:Okay.
Speaker 1:Yeah, so this was during the pandemic the YouTube channel. So I was with my ex and I left London. I was living outside London, close to Derby, derby, yeah, in Madlock, like in the middle of nowhere, Love right, and I was super worried. It's like, oh, I'm going to make money now here, and he was like, ah, we'll take you to London, blah, blah, blah. Didn't happen too often. So, yeah, then the pandemic hit and I was pretty sad there, like I was struggling with my mental health because I complain about London, but London gave me so much and I love the craziness, I'm extremes. So the pandemic hit and I was like, okay, who I'm going to make money now. Because I broke up with him and then I came back to London and he's like who I'm going to make money now? That I cannot shoot with people because of the quarantines, the lockdowns and everything.
Speaker 1:So it's when I started to do product photography to be able to have an income. People will send me the products and stuff. But, yeah, I started my channel. It's like I wanted freedom. That's the reason why I made it and I'm here now because I realized, depending on client work, I would struggle and I didn't want to struggle. And during the pandemic. It's like I want to be able to earn money and that's it with my camera. But now, with my camera, I can make money if I have clients and I couldn't have clients. So it's like, okay, how I'm going to monetize my skills online to be able to pursue that freedom?
Speaker 1:And I always thought about that YouTube channel years and years and years ago and I didn't want to put myself in front of a camera ever. And suddenly I don't know something clicked. I know I need to do something. When I was still outside of London and I just started the channel there and I didn't have views, like it was so much work, no views, but every single week, every single week, every single week, educating and sharing my story as a beginner, how I started in London. And, yeah, the channel started to grow, but everything started because of the pandemic and how I saw myself lacking clients. It's like how I'm going to shoot portrait photography if we are in a lockdown? I realized how powerless I was with my camera. So it's like, okay, let's do YouTube, let's try to grow it. So then, as well, this is a big thing, I wanted to have a YouTube channel so then I can choose my clients Because, creatively time ago I used to take so many jobs no, food photography even I did Like I don't enjoy it, but it was money, so now I can afford to be okay.
Speaker 1:I just shoot with artists, which is what I love the most doing. I don't need to do this gig because I have the income online and creatively. Super important Because as a photographer, I'm sure you know like if you are forced to do something you don't like to do, even if it's with a camera, it kills your creativity a little bit. It's very dangerous. It's very dangerous because when it becomes your job, it's very dangerous. You have to be careful of what you shoot to, don't you know?
Speaker 2:How can you impart advice, then, to beginners who are you need to pay the bills, right? I mean, it's such a difficult trade-off. I've got to pay the bills, but I don't want to lose the passion for what I'm doing.
Speaker 1:And.
Speaker 2:I want to do my own stuff and I want to do my own photos and projects and stuff. I mean, where do you start as a beginner? I mean, how do you balance that?
Speaker 1:You don't balance it.
Speaker 1:I was all over the place. I was photography, product photography, one event at night on a Friday in a club somewhere in the middle of nowhere, everything and on my channel actually encourage everyone to do everything, because having versatility is going to save you as a photographer, because at the beginning you don't have maybe people don't know you, you don't have enough bookings or what you want. So don't be picky. Just take on board everything that comes your way, because you're going to learn a lot, because I did that way, for example, during the pandemic, because I couldn't make money on my YouTube channel it was a baby channel.
Speaker 1:By then I started to shoot product photography. So if I wouldn't have known how to shoot product, I wouldn't have survived in London when I came back in the middle of the lockdowns. So people were sending me the products and I was shooting that. If I would have been a star born and I would be no, I just shoot portraits I would be like, okay, yeah, how do you make money now?
Speaker 1:So I encourage everyone as a beginner, to try every single niche and try to be versatile, because that's the way you're going to find your niche as well by trying many of them, and always is going to be one when you want to be like oh my God, I love this photo, I want to get better at this, and it happens naturally. I think, at the beginning, when you're a beginner, you struggle a lot to try and to find your niche. But you cannot decide a niche till you shoot within many. And I did. I did travel, I did product, I did events, I did food photography, I touch everything and you learn a lot and then you find your way without even realizing it. I think it's great.
Speaker 2:Yeah, a lot of people, I think, will worry so much and we talked about this off air but worry so much about what style should I have and what niche should I go into, and you know it's kind of overwhelming.
Speaker 1:Overthinking as well.
Speaker 2:I mean, is that the most popular question you get?
Speaker 1:Yeah, and I can relate completely. I used to journal a lot I will come back to it because I think it's very good and I was only time writing these questions. What niche should I choose? So what do I like to shoot the most? And then I have a massive list. I love travel photography. I love artist photography. I love so many niches. It's like why the hell I got to choose one. So.
Speaker 1:But then you see all the advices from big photographers Niche down, niche down. It's like how the fuck you want to niche down. So, yeah, I think it's better to do the number thing when you're a beginner and just find out by yourself, because social media is very damaging in that way, because you get influenced by many people and then you are not listening to yourself, you are listening to others. So many times in my videos I say it's like don't listen to me If your situation is different. I'm telling you my experience so it can help you to understand yours. But yeah, I struggle a lot with my niche because I just didn't want to focus on one. So, yeah, you will find it with your YouTube journey.
Speaker 2:Why the education side?
Speaker 1:Well, basically because of how much I struggle in London and how alone I was, what I told you before about my family I know how hard it is and how lonely it is when you want to pick a camera and you want to shoot and everyone is looking at you like what the hell are you doing? You know, like it's a hobby, like you're not going to make it. It's very hard. There are amazing photographers out there, like my dad. You're going to London. There are incredible photographers, blah, blah, blah, and it's true, but there is also a lot of work, you know. So there is a space for everyone.
Speaker 1:So I felt so alone and by then we didn't have YouTube or things like that. Like when I started 15 years ago, there was nothing, just me, my camera and messing up every time to learn. There was no Peter McKinnon and all these big photographers to teach you anything. So it's like I just want to teach what I know and share my experience and, in a way, try to support people, and this is something I do a lot because I didn't have the support, like even if I'm a stranger for them, because obviously they don't know me personally, but I receive so many messages and emails very thankful because, like you, really inspire me and motivate me, sharing your experience, because my husband is saying I'm too old for this or my kids are telling me I'm crazy. So many people have those voices there and I've been there.
Speaker 1:So for me it's like I want to educate people how I started in London and how you can make it happen, because I had nothing in London no, the language, no people, no job, like I didn't know anyone. I didn't go to the studio, I was shooting in my freaking bedroom. So it's like you can make it happen. Because people think, ok, I want to become a photographer. I had to rent a massive space, buy a million lights, and they see it's very impossible to achieve. But that's why it's my experience. It's like, guys, I started in a bedroom with one light, a very affordable one, and then you grow little by little. But people see these big photographers and they think like they have to jump right away to that state. So I don't know. Just because of that, I wanted to help other creatives because I didn't have any help and I know how hard it was for me.
Speaker 2:So do you believe that anyone can do it?
Speaker 1:No, I mean I would say, if you really want to, yes, sorry, like many people, so many people get stuck in their own head. Ah, because for you it's easy to say it's like no, it's not freaking easy to say Like. I didn't know even the language. When I arrived to London and I ended up being a creative director of a fashion company for a millionaire family in Chelsea, I started making sandwiches in Preta Manjera 3 in the morning.
Speaker 2:With no English, Great sandwiches by the way, yeah, exactly.
Speaker 1:So it's like I'm not saying, like I'm not saying this to be like, yeah, I'm proud of myself, but it's like, how much do you want it? You know, like I know, for some people it's easier than others, depending on which country are they living, but for me it's like, okay, I didn't have photography in Spain, I left to London. You know, for me it's like you have to find yourself. I don't know how to explain. If you are free, like, you can do whatever you want in life, and now it's so accessible for everyone.
Speaker 2:I think it's never been easier. Yeah, I think you have a phone now that you could start being a photographer on your phone and make money from it.
Speaker 1:Yeah, and you have free courses, YouTube like free, yeah, free. When I started, there was nothing free Like it's like.
Speaker 2:Now it's way easier than when I started, and if I made it, they can as well, but with that I think brings a lot of people who don't, who want it but don't like really fucking want it. I mean with you, it's obvious, Like you moved countries, learning you like and worked 24, seven. For how many? Years because you just wanted it. So I think that's important to provide context Like, yeah, I believe anyone can do it if they really want to do it.
Speaker 1:Right, and that's the same with a lot of things.
Speaker 2:But people do see people on social media, on YouTube go oh yeah, I can do that. Well, I want to do that, and then they you know a couple of months and they fall by the wayside, but you just got to really want to do it and want to enjoy that process.
Speaker 1:Yeah, otherwise you're never going to make it. It's like YouTube so many people. People think that you're going to post a video and it's going to go viral and you're going to make it happen. No, I've been posting videos every single week with no views and it's so much work and I didn't have views.
Speaker 2:I know that feeling.
Speaker 1:Yeah, all week working like crazy and then 10 views.
Speaker 2:Yeah, all that work and effort into the production, but at the same time you're learning about yourself how to do things.
Speaker 1:Exactly, you learn.
Speaker 2:Hi everyone. Before I let you continue with the podcast, just indulge me for a few minutes. I want to briefly talk to you about my new brand, yore. Founded with my business partner and photographic artist, finn Mattson, we are proud to bring you a new artisanal jewelry and specialty coffee brand, yep. What on earth do they have to do with anything? Well, they're both our passions and they've always been another artistic outlet for me, now for over a decade. For those that know me, coffee and jewelry have been my other obsession since I was young, and I am a qualified SCA coffee specialist. So when I met Finn, some of you might have listened to my podcast with him. When we barely knew each other, our love for art and jewelry had a home, and that home is Yore.
Speaker 2:Yore is about the art of intent for everything that we do. Our intention with the label was to add a touch of celestial elegance and artistic expression to our visual narratives. Every piece is a statement, a reflection of your unique story and purpose. It's not just jewelry, it's a wearable piece of art that speaks volumes. Picture this Silver or gold adorned with an actual piece of lunar meteorite, making every piece as unique as the moments we usually capture through our lenses. From limited edition lunar jewelry pieces to finely crafted 925 sterling, silver and gold rings, pendants and chains there's something for all of you in each of our unique designs.
Speaker 2:We're also committed to the environment as much as possible. Our coffee in our barley showroom is direct trade, organically produced and locally farmed, minimising impact on the environment as much as possible. Our packaging is all sustainable and our jewelry recycled other than the moonrock, of course Proudly eco-friendly. In both packaging and jewelry production. You can feel good about looking good. And to top it off, we offer worldwide shipping, ensuring that a piece of lunar beauty can grace your collection no matter where life takes you.
Speaker 2:And if you ever find yourself in barley, please come and visit our house of yore. Our cafe and community driven art house is a haven for creatives just like you. And before we head back into the podcast, please just take a moment to explore yore's collection. As a special treat for you, my wonderful audience, yore is offering an exclusive discount. So head over to our website and use the code in the description for a 10% discount of your jewelry purchase. The link in details are all in the description. So thanks so much for listening and I'll let you get back to the podcast now. Tell us how you have grown. I mean, you're nearly 100,000 subscribers, which is going to be amazing.
Speaker 1:I'm very happy.
Speaker 2:How have you grown, in your opinion? Why do people follow you? Why do people subscribe?
Speaker 1:to Laura BC. So at the beginning I was very bad on camera. I considered that People say, no, you were good. That was terrible. But then when I started to relax a little more and be more Genuine I guess because there are so many YouTubers, they are two states I teach ABC and that's it. But when I started to open up about my story we've been talking about now, people started to relate more. So people loved that I serve my beginnings.
Speaker 1:I think too many people are so imperfection on the time, so people can feel discolored. It's like, okay, how I get there? But I saw them actually during the pandemic. I did a video, super genuine.
Speaker 1:It's like, guys, I'm gonna show you how to do a comfort photography studio with an IKEA core temple and one backdrop and one light. And people started to subscribe a lot because that's how I started in London. Like in a mini studio I had, I did that hack and I started to shoot with artists there. So people started to see on me. It's like, okay, this is not trying to be like, oh, she's perfect. All the time I achieved this. I have this studio. No, it's like listen, guys, you're a beginner, this is how I started and I made it happen. You can too.
Speaker 1:So I think people subscribe to my channel, first of all, because I teach a lot of the things people don't teach, which is actually how you get your first client, how you lose the fear to shoot, because many people are so terrified of shooting portrait photography, which is normal Because you have to be a bit of an extrovert as well. So I talk about these things people don't cover. People are amazing out there, but they teach, maybe technicalities or which is great, but many people have other problems, which is like how I lead someone in a photo shoot, how I lose the fear, how much do I charge, or when do I start to charge. All these questions I had as a beginner is where I started to teach, and people are relating to me and actually teach this, because I never found that information anywhere. How much should I charge?
Speaker 2:Especially with the charging one, because I really struggled with that. No one could tell me a definitive answer.
Speaker 1:I know there's not definitive answer.
Speaker 2:It depends on so many things. Let's hone in on that quickly, because if there's any takeaway I think beginners can take away is where do I even begin with charging clients, photography, go.
Speaker 1:Wow, actually I'm working on a course.
Speaker 2:And I know you've got videos Okay. I'm working on a course I know you've got YouTube videos about it because I've watched them.
Speaker 1:I will say the main thing, obviously, because when people ask me, laura, how much do I charge? Just like, are you serious? Like how the hell am I going to price your words?
Speaker 2:Okay, so general bits of advice.
Speaker 1:Like there is a lot of points. That's why I was doing this course, because it's going to help many people, because I struggled with that. I thought how much do I charge? And then I was charging 150 pounds and you lose money charging that. So the main thing would be first of all, if you are a beginner, you're going to have to be realistic with the quality of your photography because otherwise you're never going to know how much to charge. Then another advice is check maybe people around you studios or other photographers how much do they charge? Because in London, for example, we get paid more than in Spain, so you always have to match the prices in your area. So I always give that advice. It's like, okay, maybe check photographers around how much they charge, check their quality and compare yourself to them a little bit. So be very objective and maybe ask familiar friends how your photography is if it matches the other photographer, and then charge accordingly. But then there are so many factors Like, for example, the client.
Speaker 1:I don't charge the same to every client Because, for example, as I said, I'm an empath and more with artists. So when it's a local artist, like a young artist, you know, like they don't have much budget or stuff like I don't mind to go a bit lower, but when it's a huge artist it's like, okay, I'm gonna charge my normal fee, so it always depends on the client. I work a lot as well with independent brands, fashion brands and I charge them less than to big brands because I like to help people as well. So there are so many factors, but the main one would be taking your area how much more or less is the photography? And then be honest with your level of photography and maybe go lower than that.
Speaker 2:That's a really, really good point actually to be able to, and that this kind of ties in with critique and accepting feedbacks Like you have as a beginner. You have, and it's really difficult I found it very difficult.
Speaker 1:I mean, would you give me a photo of this shit? I'll look back them now. Yeah, they were fucking shit.
Speaker 2:So to be able to receive that feedback from either professionals, friends or family like. I said that is like stepping stone number one, because then you can kind of place yourself within the industry somewhat and then you can start comparing and then you can start looking at what other kind of similar level photographers do. Right, but do you charge on per project or per hour?
Speaker 1:I like per project. Many people yeah, you know this like many people charge per photo, per project or hours, like for me. I like to over deliver and this is great because all the clients I have I don't look for them. I was very busy with my YouTube channel. My private community is like right now I don't want clients because I'm already struggling and clients would come to me word of mouth. So when you over deliver, people come to you.
Speaker 1:So what I do is transfer project, maybe a press shot package, I charge whatever, but then I don't limit the hours of the photo shoot. I know it's gonna take maybe two hours, but I tell them if it takes three or four, I don't mind, because it's gonna be my portfolio as well. I want good shots of you. I don't limit the outfits. In London, many people, two outfits, no, I want creative freedom. Bring a lot of outfits and we try so people can see I love photography. So I charge by project and then sometimes I over deliver and it works better because you're gonna be more comfortable. The model artist or whoever is not gonna feel pressured. So when you say two outfits, two hours, I'm sorry, I cannot work that way and the other person is gonna feel like, okay, I have to pose, I have to get it right, because you know the time is gonna run out, so I like to charge for projects. I totally agree.
Speaker 2:Yeah, it's everyone. And a bit more of an ease the set price, off we go. If it takes eight hours, 10 hours, it takes two hours.
Speaker 1:Enjoy shooting, and you're gonna be enjoying the whole way.
Speaker 2:Yeah, get in the flow. And then, while you're shooting, you think oh, I thought of something else and we'll play with this.
Speaker 1:Yeah, same.
Speaker 2:Well, I think talking about over delivering, because many photographers I sit across from they always say that, like with projects, with client projects, over deliver because A you might just have something in the back pocket.
Speaker 1:If they want more, you go. Oh, actually I got more here you go.
Speaker 2:Or you just over deliver. Anyway, they're impressed and they will work with you again. I think you over deliver on YouTube as well, I mean your videos like they're so full of. They're just full and production quality is excellent.
Speaker 1:You get so many points across and it's fucking free. Yeah, you know, yes, I know it's insane, but that's just the world we live in now, people.
Speaker 2:Well, what do you mean? It's not free. Yeah, you know when an ad comes up.
Speaker 1:I've got to watch an ad yeah.
Speaker 2:Oh my.
Speaker 1:God, I find that so annoying. It's like are you serious? Yeah, Like you complain because I put an ad that you can skip in two seconds. Yeah, and I give you the value of a course of 3,000 pounds. Yeah. It's like are you serious? You're not going to support me even watching a freaking ad of two seconds.
Speaker 2:Yeah.
Speaker 1:It's so unfair because I would love them to see them. 15 years ago, when I started, we didn't have anything. It's crazy, yeah, that's crazy.
Speaker 2:What is the biggest critique you've had? Let's think about YouTube specifically, I mean you must get lots of comments. I haven't read all your comments, but there must be some kind of, certainly when you first started. Maybe some comments in there, like you know, negative comments, or is there anything that come to mind that may have actually helped you in the long run? Not off the cuff, shitty comments, but maybe some constructive negative comments that have helped you, or that you've been proud of, to absorb.
Speaker 1:Yeah, to be honest, I'm very lucky because I was expecting yeah.
Speaker 1:I was expecting, like more haters, because they always say, no, how do you know you made it on YouTube. When you have haters always yeah, I have a few, but they don't bother me, but they never know. They're also happy with what I do. Just many people tell me I speak too fast. That's something I absorb because I know I do that but I cannot change it. So I tell them, because you can actually slow down on YouTube the speed of the video. So, yeah, you can actually put it to play for two or minus two.
Speaker 1:So then, people can put me to talk slower, so you are speaking like this.
Speaker 1:Yes, I tell them that this is who I am. In Spanish I speak even faster. It's like it's very hard for me because in the moment I don't script. I script my videos a little bit, but I don't have a teleprompter. So basically I had to pretend, yeah, I had to pretend the camera is a human being, which is hard enough already, and then I had to remember every single point because it's educational right. So I don't want to miss any point. So while I'm explaining something, I'm already thinking in the next point to don't forget. So for me it's hard enough to focus on that, to actually think as well about my speed when I talk. But that's a very good comment actually, because I had to pay attention to that, but it's very hard for me to so?
Speaker 2:do you memorize the basic construct of the script and then add lib around that? Basically?
Speaker 1:Yeah, I struggle so much.
Speaker 2:You're an actor essentially, in that respect, right, you're acting to the camera.
Speaker 1:Yeah, so I struggle. Some People don't tell all my videos, but maybe a video of 10 minutes I take two hours to record.
Speaker 2:Oh, tell me about it and I go, oh my God that shit and they send that.
Speaker 1:I get so angry and I procrastinate about my videos because I literally suffer in front of the camera. I would love to have a person and talk like I'm talking to you, but when it's the camera, the moment you are looking to an object, it's very hard to be normal.
Speaker 2:It's really weird.
Speaker 1:You know that I still struggle with it. Yeah.
Speaker 2:Probably why I don't do so many of the longer form tips and tricks videos.
Speaker 1:Yeah, I struggle as well with the camera.
Speaker 2:I just I mean fees in here a lot of the time helping me, so it helps.
Speaker 1:Okay, yeah.
Speaker 2:But when I'm on my own, like looking at the camera, it's just weird.
Speaker 1:It's so weird I don't know who I'm talking to.
Speaker 2:Yeah, I guess eventually you get used to sounds like you haven't yet, but I haven't.
Speaker 1:I mean, I guess I'm better. Everyone says that, but no, I used to struggle so much and I suffer so much when I record.
Speaker 2:Did you style yourself on anyone Like you were going to photography in a minute, but YouTube wise, where the inspirations that you looked at and go? Oh, you know, I want to build my videos a bit like this, I want to look like this. Was there any inspirations with that?
Speaker 1:To be honest, no, specifically. Obviously, I've learned from the big ones Peter McKinnon and all these people but I didn't want to be, for example. A big mistake of many new YouTubers is copying, and it's very common. No, because you think. Okay, he made it or she made it.
Speaker 2:He or she's done well yeah.
Speaker 1:So they copy. You see that a lot. For me it was like no, I just want to humbly teach what I know and try to help and see what happens. Obviously, I really wanted to improve my filmmaking skills, be role, this, that. So I was watching a lot of tutorials. So I always wanted to, because obviously educational can be quite boring as well, because it's just talking, head, talking, talking, talking, and I hate editing that because I find myself boring, even though the other person is taking. Value for me is freaking boring, it's just me talking. So I always try to record B-roll, to try to put B-roll on top.
Speaker 1:So, it's more digestible.
Speaker 2:Stock footage.
Speaker 1:Yeah, yeah, it's like I'm trying to do something different. I'm still finding my style. That's why now I'm in Bali and I'm going to have more creative room, because in London I was recording my studio all the time studio studio and I'm recording my studio in my studio every day. I'm still recording my studio every day, so I cannot go out there to do yeah, it's like I cannot do anything. I cannot do so fucking different. Yes, it's like I cannot go outdoors to shoot with a model and making it more dynamic. So it's like in Bali, it's going to be amazing because I can do creative photography in a rice field somewhere and, you know, bring more fun to the tunnel.
Speaker 2:Yeah, if you were to narrow down on one thing that's contributed most to your growth on YouTube.
Speaker 1:To grow when I was a beginner and nobody knew me make searchable content on YouTube.
Speaker 2:Searchable content.
Speaker 1:Searchable searchable things that people can search.
Speaker 2:Because YouTube is like Google. Yeah, it's a search engine.
Speaker 1:Yeah, exactly, so you put how to do this, how to do that, how to create a home photography studio. That one made me grow a lot, so I was playing with that. It's like, where can I teach that I know people are searching for. So it's like, okay, I know about this and people may be searching for that. So I did searchable content and educational content, because people look for that. So I was doing a lot of how to do this, how to blah, blah, blah, how to like this, how to use one light. So that's how I grew.
Speaker 1:But then what made people mistake is just sharing generally how I am and how I grew in London and my struggles, because many people made a mistake of showing perfection on the time in social media and people don't like that because it's like we all have problems, we all struggle. If you see someone perfect all the time, you don't relate that much to that person. But when I started to show my struggles and how I grew in London and how I had nothing, people related to that Because we are all humans and we all struggle. So that's why people stick to my channel and, yeah, I think that made me grow. People just want authenticity.
Speaker 2:Yeah, exactly I think we're past the stage of social media, where people just want to see perfection.
Speaker 1:Now we're through that and it's kind of like we want to see the imperfection.
Speaker 2:That's why TikTok is so popular because they see the real lives. I don't want to talk about TikTok, yeah, good. So photography in terms of inspirations, who did you look up to when you began? Who do you look up to now? Who do you kind of refer back to for that kind of that soul and that inspiration?
Speaker 1:This is weird because for me it's like I look at a photo and I don't necessarily look even the name of the photographer Like, I have my inspirations. I will tell you in a minute but since I started that was just myself, my camera, what I wanted to do and explore what I liked. And then maybe obviously you see in social media photos or you see some inspiration out there, but I didn't feel like I had a photographer that inspired me in particular. I do have my favorite ones. So, for example, vivian Mayer we were talking about this before. I love her. Roness. She was a street photographer and nobody knew her work till she died. And so one phone, all that's kind of common thing, yeah, posthumous popularity.
Speaker 1:After people died, people found out that she had so many films and developed and then she became famous.
Speaker 2:She's amazing.
Speaker 1:Yeah, and it's like raw documentary photography street photography in New York and Chicago, and I love that kind of photography. But then, for example, I studied creative direction for fashion in London, so we studied a lot of fashion photographers and I started to don't like fashion photography too much because I see fashion photographers and they are very big and I look at them. This is a very unpopular opinion. People may jump on it.
Speaker 2:It's gonna be in the highlights go.
Speaker 1:Yeah, because people are like I love fashion photography or this fashion photographer is amazing and they have so many followers and I look at the photos and I'm like what is creative about this photo? It's just a beautiful model. There is nothing apart of a beautiful model. So I was like I was a bit disappointed with fashion photography when I went to London and it's all about having contacts. I don't like the industry at all.
Speaker 2:Also, can I just jump in there, the model, the stylist, you already like 80% of the way there Just press a shutter button, nothing.
Speaker 1:I saw big photographers on set because I was actually recording a video for Ben Sherman and it's like, okay, like there is not much you can do, I prefer the BTS shots I did from the artist I was shooting than actually the tutorial shoot they shot because it's nothing creative about that.
Speaker 2:But then we're gonna get loads of comments now from people. Yeah.
Speaker 1:What are you talking about? What are you talking?
Speaker 2:about. Well, you know what you're talking about. You've done it.
Speaker 1:Yeah, and I wanted to be there as well. I wanted to do fashion. But then I saw how dirty is the industry. Like I've been published in Vogue magazine for free, Nobody paid you. Like people are literally dropping photos for free for the tutorials to take it for free. It's like there is no merit. There is no merit whatsoever because they're not even booking you. You are throwing free photos. I was very disappointed when I saw this thing a little bit.
Speaker 2:But one of your inspirations is fashion photography.
Speaker 1:Yeah, mario Sorrenti is called, is Italian American and yeah, I was doing this course, so we were doing research from various fashion photographers and they all were like, okay, celebrity models like beautiful photos, studio, amazing dresses, as you say, it's all about the stylist. But then Mario Sorrenti was the only photographer I saw. Of course there are many more 100%. That played with creativity a lot. So I saw shots from him like using architecture and the post like super weird posters of the model to frame. I don't know how to explain. Like it was very creative. It was okay, maybe the dress, but then the way he was leading the model to pose to match with the architecture of the background he used to fill the frame. It was very structural, very abstract.
Speaker 1:And actually in the class we all had a project to expose our favorite photo. Everyone looked at me weird because the photo is selected. It was so freaking weird. Everyone is like why you selected that so abstract? You couldn't even see the model. It was a crazy dress. You couldn't even see the face of the model, Very weird pose and nobody understood. It's like for me this is amazing Because I kind of can't see what is going on in his head. It's like I see why he was doing that. I don't know. I always think the way you shoot, the way you lead the model, the way you lead it talks a bit about what you have in your head, and I don't know. I love the way he shoots because he always do weird poses with the models and I find it very different to other fashion photographers.
Speaker 2:There's a skill in the direction, isn't there?
Speaker 1:As part of a photographer if you're doing both at the same time, yeah.
Speaker 2:And your third inspiration.
Speaker 1:So I forgot the surname because I'm not good to pronounce it George.
Speaker 2:George Hammond yeah.
Speaker 1:I mean, I've been looking for a long time on Instagram. That's what I told you. Like there are huge photographers well known worldwide. But for me, now I appreciate talents like him. Like okay, he's big in social media but it's like I don't know how to explain. I see so many photos I love and it's from photographers. They are not recognized and I feel that is so unfair. It's like that's why I don't look at big photographers. I look what I see and if I like a photo, you may be my favorite photographer and George the photos. It's crazy. I keep something because my mom knows photography as well and I saw her because it's not that into social media. My mom like, oh my God, how did he do that? And I enjoy so much and it's crazy, his photos, the drone photography, he does it's crazy.
Speaker 1:And the way he edits it's crazy.
Speaker 2:There's a lot in the edits. But there's a whole skill in itself.
Speaker 1:Yes, this is crazy For me. When people tell me I salute in the edit, it doesn't matter, it's part of the skill. Yes you have to edit the photo. I'm sorry.
Speaker 2:Yeah, I used to get a lot of stick from people with that. You know they could tell either. My photo was set up or you know obviously used. Yours are amazing Like they are like perfect. Your work is amazing, yeah, yeah.
Speaker 1:Plus, you do something very different. Yeah, and you don't see photographers doing that anymore Many years ago maybe, but now what you do like showing the culture and portraying people, but like it states like preparing the light and you're gonna tell a story I don't think there is many people doing that.
Speaker 2:Yeah, it's very good. I don't know. That's why I'm still doing it.
Speaker 1:Because like you.
Speaker 2:I love all photography, Maybe not product photography and maybe not fashion photography either. But pretty much every other niche, every other style, sub-niche, whatever you want to label them as, but that's a strength I love all of it. But so I've always doubted, like which path do I want to go down? What do I just always come back to? And it was always that. Plus, I didn't see many other people doing it, so there's a lot of people that don't like it, but those people do really like it.
Speaker 1:And that's enough for me. You have to stick to it Like.
Speaker 2:I used to get a lot of stuff oh, you edit. You know you shouldn't be editing. What are you talking about?
Speaker 1:You have a people. Oh my God.
Speaker 2:Integrated in photography. You're editing as soon as you pick up the camera, because you're choosing what goes in that frame.
Speaker 1:Yeah, exactly, but you have to edit the photos. That's part of the art.
Speaker 2:Even if you film, you're editing the photo Exactly.
Speaker 1:Yeah, and everyone does like documentary travel photography. You know, like I love that doing that, but many people do it. But what you do is literally know, I want to portray this person, I'm going to tell the story and I'm going to make the photo the best I can make it. And yeah, there is no people doing that and it's great yeah.
Speaker 2:Couple of kind of more educational questions. I think, because certainly with you so good at educating and providing your story and I think that's one reason, by the way, why you are growing so well on YouTube is that you encompass your story in the education side of it?
Speaker 1:I guess yeah, Because it's so easy.
Speaker 2:I really struggle with it. Oh, you know three tips for this, and you should do that, but because you live and breathe it and the way you produce your videos is a story from start to finish.
Speaker 1:Yeah, thank you, that's amazing.
Speaker 2:But let's get boring for a little bit. Give me a couple of tips and tricks. Do you think no one really talks about that much?
Speaker 1:The first one is related to what I said before, because everyone talks about Technicism, code to Edit the basic knowledge, but the first one is to don't listen to anyone unless they are supporting you in your path.
Speaker 2:OK.
Speaker 1:Yes, and this is something. When I say it on my channel, people is like thank you for saying that, because actually my husband says I'm too old for this. My kids say this, you know, and that actually really limits you. Yeah, because for me, obviously I pushed through, but it was very hard to push through when you didn't have anyone that believed on you. So don't listen to people who tells you you cannot make it. Just push through regardless, because many people feel overwhelmed already with the fact that they had to take a camera and learn it.
Speaker 1:If, on top of that, people around you is telling you ah, why are you going to bother? There are so many good photographers out there they don't want to take the camera. You know it happens. I see all my subscribers struggling with that and nobody talks about this and is psychological basically. So that would be one tip Just don't listen to anyone unless they are supporting you, and if they are not supporting you, that's fine. Take your camera and go out there and shoot and keep learning. Fuck them all, yeah, fuck them all, literally like literally, and the more they're going to give you shit like, the more you have to pursue what you want to. You know to show them, because there is a space for everyone in the photography industry. I was terrified as well.
Speaker 1:Yeah, it's like London is like oh, london, you have so many jobs, yeah, but the competition is crazy. The photographers in London are insane, but then you have a lot of work as well. So I encourage everyone to do it and don't listen to voices, because it's overwhelming already to learn photography enough to also listen to the people ah, you cannot make it, it's just a hobby. Blah, blah, blah. So that would be one tip, and another tip this is regarding portrait photography would be because I have so many introverts asking me this. It's like I'm an introvert, how I'm going to become a portrait photographer? And I think you can make it, because I'm not an introvert, I'm an extrovert. I think everyone can tell. But yeah, like at the beginning, I was terrified to shoot with people as well, because I didn't have the knowledge enough. I was scared to feel stuck in the studio and the client would see that the awkward yeah.
Speaker 1:You have to feel confident and it's fake it till you make it in the studio. So I feel always like confident, even if you messed up. Don't be nervous, don't be quiet or we talk like practice, because everyone tells me everyone struggles with this. How do I make a portfolio? I'm terrified to shoot with people because they want to jump start to shoot with clients. Don't do that. Shoot with your sister, your brother, with family friends, because when you are shooting with them you're going to learn how to lead someone. You're going to see maybe problems you can solve later. So shoot, start shooting with friends and family also to get a portfolio or collaborations with models. Don't charge and so you don't have the pressure. And then, when you trust more of your abilities, you're going to feel less nervous.
Speaker 1:To shoot with someone who is paying you Because you already know you feel stuck and what you have to do, because you already experienced that A beginning mistake is jumping. I want to work with clients. No Like. First you have to shoot with people you feel comfortable with, because I understand it's very intimidating. I never wanted to be a portrait photographer Is the niche I didn't want to touch when I was doing self photography because I thought it was very difficult. I don't want to shoot with people so hard, making them pose and making them look good Like never in my life. I would think I would be a portrait photographer, and now it's what I enjoy the most doing.
Speaker 2:So, yeah, practicing a lot, I think in what you were talking about which I would just kind of add. But make the same point I see a lot of portrait photographers certainly starting out not managing expectations of the subject. So if you're using friends and family, definitely start with friends and family, even self portraits, just so you kind of know the flow of being in this room. Do a self portrait in the same room that you would do a portrait with a client or a friend and family, but also practice learning how to explain to them what's going.
Speaker 2:You said don't not talk, right?
Speaker 1:Always talk. Silence is not good and it's awkward for them. So if you're constantly, talking.
Speaker 2:That just puts you to talk about fucking anything. There's my fee, my wife she's brilliant at that because it allows me to focus a little bit more on the creative, what I want to get, and fees, kind of the icebreaker, and yeah, that's good. But obviously a lot of people don't have that luxury but that and managing the expectations. So saying to that person definitely if you go from friends and family to models, who there's always models out there that want photos- yes, exactly, and you just have a collaboration for it.
Speaker 2:So you can practice. But when they come and say I'm just practicing, I can't promise you anything amazing, but like, just let me practice on you and hopefully you can get a few good shots. So their expectations are not like exactly. You know this is going to be a top professional shoot, but just if they know that you're a beginner and that you're just trying and testing it's fine, everyone's OK with it. But again, it's just that. Managing expectations, yeah. Third tip Do you have a third tip?
Speaker 1:Yeah, you mentioned self portrait photography. Yeah, and this is for me. Oh my God, I don't even know how many times I say it on my channel and many people ah yeah, but you look good in your self portrait. It's like I post my self portraits but you don't need to learn with self portrait photography. I learned portrait photography with myself. I didn't even know I wanted to get into self portrait photography because for me it was OK, I don't have a model. I was still in Spain, and when I learn portrait photography and I don't have a model, it's like OK, I'm going to practice with myself. And then I fell in love with self portrait photography to express myself. But self portrait photography, you can learn a lot.
Speaker 1:Many people feel intimidated with studio lighting. It's like do self portrait photography? I still before every photo shoot. Many times when I want to try something new, I experiment with myself. I put the camera there, I put the light and I'm thinking about and then I start to shoot. Yeah, so then the day after is like OK, this idea, I know, is going to work. Practice with yourself Like this is the best tip ever. Nobody's watching. So even if you mess up a million times, nobody's watching you and then you're going to be able to learn about lighting. It's like, ok, if I put the light here, let's see how it looks. Ok, I don't like it. You learn by yourself. You don't need a model, you don't need to practice with someone else or bother into finding a model. I always say this many subscribers is like ah, but you know, I'm not photogenic. Who cares? Nobody's going to watch the photo, just yourself. Just post it and that's it. But I think it's amazing. It's how I learn portrait photography with myself.
Speaker 2:Wonderful Great tips. Yeah, yeah, definitely agree with all of that. What equipment do you use? Touch up on it. I know you changed Sony this year.
Speaker 1:Yeah.
Speaker 2:People see a lot of your equipment setups on YouTube and stuff which I think is amazing, because some photographers don't like to kind of share that stuff but give it to people.
Speaker 1:People love it.
Speaker 2:Give us a quick insight into what you use now in terms of your back, your gear.
Speaker 1:Yeah, so I mean I love Canon. Like people make this competition within Canon and Sony is like I moved to Sony. I have videos about this for some reasons because now I do video as well and I think the Sony cameras are incredibly versatile and very easy to change between programs and stuff to shoot video, photo Like. It's very quick. So versatility that's why I tend to Sony by love Canon as well, and people get stuck into which brand is better. They are all freaking amazing regardless of which one you choose.
Speaker 1:Yeah. So when people people got even upset with me oh my God, canon is better, it's like, don't be that way. Like I didn't change Canon because I didn't like it. I love Canon. I didn't want to leave Canon.
Speaker 1:But then it's like, ok, I'm going to take Sony because actually I have the Sony a seven or five and it has everything I need for my YouTube videos, for photography. I need versatility. So if I wouldn't have a YouTube channel, probably I would be still with my 5D Mark 4 on his a DSLR. I was very happy with it. I love that camera because it's big and heavy and I love it. So I didn't want to say it necessarily, but I use now the Sony a seven or five as my main photography camera. And then I have my blogging camera, which is the Sony a seven C, which is quite tiny, ok, so it's easier to blog around. Sometimes I use the Sony a seven or five to blog and stuff. The Sony a seven C is perfect. Those are my go to cameras. Then I have obviously the drone, the GoPro, blah, blah, blah.
Speaker 2:Lighting Sorry, lighting.
Speaker 1:Poof lighting. I don't even have lighting anymore, because I came here.
Speaker 2:OK.
Speaker 1:Yeah, I brought the brand. I don't know if you know is written Z June. It's like a Japanese brand because I started to collaborate with them for YouTube and I love the brand. It works and it's affordable. So I'm not like very fancy about lighting and I was using Godox affordable as well, yeah. And then then I have to talk about Elin Chrome, because I do have a reflector from Elin Chrome and at the beginning, when I was a beginner, I thought it wouldn't make a difference, Like I can have something affordable on that set. But then when I came back to London I have to rebuy all my stuff because I have dispensable stuff in Spain and it was very expensive to send it to London because of Brexit.
Speaker 1:Now you have to pay a lot of taxes.
Speaker 2:Of course yeah.
Speaker 1:So it's like, ok, I'm going to rebuy stuff, but the cheap version because I already have dispensable stuff in Spain. But then when I came back to Spain and recorded a video with Elin Chrome, I mean it's amazing because now I was using new wear. Ok, like very affordable Amazon purchase as a reflector. It does the job. So my subscribers love that advice because they don't need to spend a lot of money to start. But there is a massive difference within good gear and bad gear and in reflectors. I invest on Elin Chrome. For me it's amazing. I have a huge one is one meter diameter and the one is a deep octa box and it's crazy how it soothes the skin and everything like it makes the difference. Good gear, yeah.
Speaker 2:Yeah, I don't think the the lights themselves are that important.
Speaker 1:Yeah, but the soft box is that diffuses, yeah, light. I'm not bothered. Which brand do you use for light?
Speaker 2:It depends how the light is spread, how soft you can get it, and some are just better than others. Yeah Well, these are Godox, but I usually have a photo.
Speaker 1:No, I don't, yeah, well, I have two pro photo lights.
Speaker 2:One I take is kind of my on location light because it's I saw. Smallish, it's good, and I have a 135 cm soft box which just about fits into everything when. I travel and most rooms for intimate portraits.
Speaker 1:No, lighting is so affordable. Years ago you had to spend a grand to on a light. Now, with Godox and these small brands, as you say, you don't know the touch much difference. It's better to buy a good diffuser.
Speaker 2:SD cards are more expensive.
Speaker 1:Sorry, sd cards are more expensive than I thought oh my God, almost 400, quid I paid for mine.
Speaker 2:I just broke a 512 gigabyte one yesterday. Oh my God, that's crazy.
Speaker 1:They're so expensive and it hurts to buy SD cards and SSDs Hard drives yeah. Because you don't feel the reward. What is a camera? You're excited.
Speaker 2:Just storage, but when you?
Speaker 1:buy it. It's like, oh my God, I said 400 quid on this. It's very expensive. And now recording videos 4K. You need capacity A lot of storage.
Speaker 2:Why are we not evolving in that space yet?
Speaker 1:Why are?
Speaker 2:we not just basically got an SD card? That's that big and an SSD that's that big.
Speaker 1:That's tiny 3,000 terabytes and traveling. You travel a lot as well to travel with all the hard drives and SSDs and SD cards. It's crazy, I'm cool guys.
Speaker 2:Speaking of evolution, what does the future look like for you? How do you evolve as an artist? What is your idea of evolution as an artist of?
Speaker 1:photography. The idea of evolution is just keep experimenting. So this is one of the reasons I came to Bali as well, because I was feeling stuck. In London I was doing creative portrait photography. I could get fashion shoots, but I love traveling, I love landscape photography and it's like OK, maybe I can combine landscape photography with also creative portrait photography by outdoors, in nature, rather than in a city like I was doing. So for me, evolving is experimenting. I'm learning every single day, like every time I'm like I'm productive, I'm not doing something. I like to watch tutorials to improve my videos. Because I love filmmaking, I want to get more into it. I want to be able to merge photography and video in both, maybe for BTS on my channel, like do a nice B roll of the model in a beautiful landscape and then take amazing pictures. So all this combination. I couldn't do it in London. So for me, evolving is keep changing countries.
Speaker 1:It's like everyone is like oh my god, you left Spain for London, now London for Bali, what's next? But now I can do it, right? I don't have any attachments, so I'm just pursuing my creativity and what it fulfills me. So, yeah, I think you have to change your creativity. And evolving is that it's experimenting, because many people would say to evolve is become better at what you are doing. And for me, it's not necessarily that. I think it's experimenting other things, because when you're a creative, I mean the possibilities are endless. So it's experimenting. Maybe you don't like it, but at least you tried it. And evolving is trying different things.
Speaker 2:Yeah, yeah, that's a good way of putting it. Yeah, is there a path towards such a thing as success and if so, how do you define success?
Speaker 1:Oh, this is something very interesting for me, because when I arrived to London London, I mean, it's proper matrix Everyone status and do this, and what do you do for a living Status?
Speaker 2:games all the time.
Speaker 1:It's all about that. I was a creative director.
Speaker 2:How have you got and how big is your house?
Speaker 1:Yes. So success when I was living in Spain, it would be working for a huge company. Okay, for my parents success is that, and it was for me because it's what I knew. I worked for a big company or, you know, in the field of photography, maybe become a big photographer to be published in this magazine. But then, when I arrived to London, I think that is so freaking overrated. It's like success is not that because I became a creative director and I was very proud I'm a creative director.
Speaker 1:I hated it. I was in shooting, I was leading the photographers, I was hiding the photographers, I wasn't shooting. And then, on top of that, I was working for a company. So the CEO of the company was telling me how she wanted the things to be done. I didn't want that Creatively. It was a killer because I didn't like the way she was doing things. I wanted to do them in another way, but I couldn't. And then I was impressed in the shutter. So it's like status is nothing, it's not being successful, even if I'm earning a lot of money. I quit that job and my parents were like crazy, oh my God, you are quitting that job. The salary blah, blah, blah. People think success is a good salary and working as a creative director in a good company, for instance. For me. No, I quit that job.
Speaker 1:I went solo traveling to South America to kind of put my shit together and when I came back I'm going to put myself with the pressure of making it as a freelancer and with the pressure of not having money to pay my rent, to move my ass, to get clients and become a freelancer. And, yes, some months I was doing amazing and some months I was struggling, but for me that was success. I had less money. It was a roller coaster.
Speaker 1:I was struggling sometimes, sometimes I was very good, but for me that was more success than being a creative director, because I was doing what I wanted, I was having the clients I wanted, I had creative freedom and I was my own boss. So I decided when I wake up, I decided when I go to bed. So for me, freedom is success. Doing something you love is success. It's not working for a big company or having a lot of money. I was like having way less money after being a creative director and I was way happier, because success is whatever makes you happy and freedom. For me it's super important.
Speaker 2:Emphasize on freedom. Last two questions I guess as we wrap up. One is from our previous podcast guest. So we kind of copy a tradition from Steven Bartlett.
Speaker 1:Yeah, I love the Diary of a Sea. That is just such a good idea. I love that podcast.
Speaker 2:So Miquel's question, our last podcast guest.
Speaker 1:he asked I'm scared now.
Speaker 2:It depends how kind of deep you want to go here. What was your lowest point and what did you learn from it?
Speaker 1:Oh wow, Personally, or my career.
Speaker 2:Anything you want.
Speaker 1:Well, my career would be what I just said, so I'm not going to repeat myself Would be becoming a creative director and then realize I didn't want that. I would go to Ecuador, travel in solo and put my shit together and become a photographer for real, and then, personally, it was a breakup. Obviously, in London many years ago it was very hard because, yeah, I was living with some friends and it was friends of my ex-boyfriend as well.
Speaker 2:Oh.
Speaker 1:Yeah, so it was very complicated because I would go at home and he would be there, my ex, with my friends. So it was a very toxic relationship. So I needed to break up with him because it was toxic but I was still in love, so it was very hard. But, yeah, for me it was one of the darkest periods in my life in London. I had to break up with him, loving him, move flat with the strangers and leaving my friends behind, because I couldn't break up with someone I love if I have him in place all the time. So, yeah, it changed job. I changed flat to go to live with the strangers in London and I broke up with my ex after two years, almost three years, and that was very bad for me emotionally. But then, yeah, it made me stronger.
Speaker 1:I was so bad and so miserable that I broke free of my ex, my house, my job and then I cannot reborn. It made me stronger. I was so miserable. I was like I don't want to be like this and I always say when you are going through a bad period in your life, there is always a reason for it, always, always, always. And I've been very bad, like in very bad situations and I don't regret, because thanks to that now I can stand more things in my life. So I learned a lot from that. Sometimes you have to break with everything to reborn and, yeah, since then I started to grow a lot, so, yeah, Good for you.
Speaker 2:What advice can you give photographers and videographers specifically? Let's call them creatives to maintain a decent level of mental health.
Speaker 1:This is very complicated.
Speaker 2:Maybe just some kind of little practices, maybe routines that you do or something that we found help to you.
Speaker 1:Okay, stop scrolling. This is the best advice.
Speaker 2:Brilliant advice.
Speaker 1:I keep doing it myself and but it's not like I keep doing it because you're not in a toxic way anymore. You know when I was a beginner it's very toxic. When you're a beginner, don't spend time consuming content and scrolling and compare it to yourself, to others. You're going to be so confused and so discolored With.
Speaker 2:the intent is different, depending what your intention is with that scrolling?
Speaker 1:Yes, am I getting inspired. Or am I?
Speaker 2:comparing and resenting 100%.
Speaker 1:I say that in a video exactly what you say right now Because many people go there and they just punish themselves or they just find it as an excuse to don't pick up camera. And you see so many photographers. They're very good already. No, if you're going to feel inspired, go for it. I do that constantly but then if you're going to compare yourself to others and it's going to put you down, don't do it.
Speaker 1:I think social media can be a blessing or a course. It's crazy. Yeah, social media for mental health. Don't compare yourself to others. Stop scrolling unless it's too far an inspiration in a healthy way, and do what you love. Don't be conditioned by people telling you because maybe even someone may be supporting you. Don't do this kind of photography because there are not too many jobs, about this niche, for instance, don't listen to that. Or if you listen to that because you want to make profit obviously we all need to eat. If so, you always do something creatively that you like, because otherwise you will end up hating it, hating photography, and that's not the goal.
Speaker 2:Wonderful, wonderful advice. Totally agree with everything. We're going to end with another diary of a CEO tradition we're going to do a lucky dip Okay. Tradition, but we're going to do a lucky dip of these conversation cards. So if you just pull out anyone and hand it to me and I'll ask you a question.
Speaker 1:I'm scared.
Speaker 2:Okay, I'm going to rephrase this a little bit and give you more of a chance. The original question is what five entrepreneurs that are alive would you have for dinner? But let's say, what three photographers that are alive would you have for dinner?
Speaker 1:Wow, have dinner with them, like hang out. I don't know, this is so hard. Wow, I don't know.
Speaker 2:Actually that's probably a difficult question, because we've already talked about your three inspirations.
Speaker 1:Yeah, exactly so like them, that's it. No, but it's what I said before Many times. I mean, this is going to be very polemic as well. So many times big photographers you don't learn that much from big photographers. This is what I think, because I work with very big photographers in London and it's as you say all they do is press in the center. They have the light technicians, the stylist. You are looking and you don't learn that much. You learn more from the light technicians than from the photographer. So is what I say I admire more like photographers like George Kyle and these people, because, you know, it's like I feel them like at my level, like we are just people who love traveling, who love taking photos and that's it. We don't intend to. Of course, we are growing as a photographer, but we don't intend to appear in a magazine. We don't have big teams behind us to you know.
Speaker 1:So I guess you know any photographer really who loves yeah, who loves what I do for a living, and we are hustling together, like I think that's the best inspiration. It inspired me more to see someone that is hustling like me than someone who has it all already and has a whole team behind. Of course, it's great as well. I'm not going to say no, but yeah, just people, simple people like us, like we came here to Bali to try to make it happen and pursue our dreams.
Speaker 2:We're hustling with the podcast.
Speaker 1:So thanks so much for coming on. Thank you for having me. I'm very happy.
Speaker 2:It's been an inspiration more than anything.
Speaker 1:Thank you.
Speaker 2:And I've certainly taken a lot from it, and I'm 100% sure that all of our audiences will be able to take so much away. So thank you for your time. I know you're really busy at the moment.
Speaker 1:It's crazy.
Speaker 2:I really appreciate you yeah.
Speaker 1:Thank you for having me, because nobody asked me questions like this before, so it really helps me to understand my work and my career and myself. It's like a therapy creative therapy. So thank you so much, it was great. Thanks so much, and we look forward to welcoming you back here if it's for a shoot, just for a coffee, or the second episode of the podcast. There's so much more we can talk about, but for now, until next time, thank you so much. Thank you so much, thank you.