10 Things I HATE about Photography (and how I cope with them)

Do what you love and you'll never work a day in your life...is a LIE. I have my dream job, and there are still many things I hate about being a photographer. So I've outlined the top 10 things here and most importantly what I do to cope with them to achieve success.

Episode Transcript

Speaker 1 (00:08):
Hello, What is up my friends? This is Jason Lanier
with Jason Leoniro Unfiltered. I cannot tell you how excited
I am to be back with you guys. It has
been a very very long time. Whereas the kids nowadays
would say, it's been a minute. I get taught all
these interesting words by the youngsters of today, sus cap.

(00:33):
I mean, all this stuff that they teach me is
is pretty funny. It's been forever since I've done a podcast.
I mean I checked today. This is episode what is
this today? Let me check my little show notes here.
I actually wrote them out because I want to do
a good job. So this is podcast episode twenty eight.
And when I went and checked today, it's been a

(00:54):
freaking year. Can you guys freaking believe that? Now? Because
it's been a year, I'm gonna do completely commercial free podcasts.
So if I screw up, it's just making it into
making it into the podcast. Kind of like I just
screwed up right there, but it's just making it into
the podcast. I hope you guys enjoy this. I hope
you love it, and let me know your feedback. Go

(01:16):
to Jason len here dot com slash podcast and let
me know what you think. Like I said, I'm not
gonna cut it, so you're gonna listen to when I
take drink breaks. No, I promise not to leave for
too long. But no, I'm not gonna leave the microphone.
But if I got to take a drink break, or
if I gotta, you know, look at the birds out
out of the window from my office, then I might

(01:37):
just do that. But regardless, this is gonna be a
really fun episode because I'm I'm most people know me
for being a real positive guy, and I'm about inspiration
and cheerfulness and clearly I'm happy to be be bbbb
just this is what you get when I do it uncut. Clearly,
I'm happy to be back doing a podcast. It just
brings back so many fun memories of all the podcasts

(02:00):
that I've done over all these many years. And you know,
as I speak right now, one thing I'm telling myself
is slow down, Jason, slow down. If I slow down,
I won't make mistakes. I can speak, I can speak
more articulately like this, I can be much better. I
can be a much better speaker. Clearly I'm not doing

(02:21):
this as well as I should. But I even have
some sound effects that they've put onto this podcast form
that I use that I subscribe to. They got a
bunch of funny ones here. You guys can cheer for me,
you know. Just it's all on my head. Of course,
maybe I'm just talking to myself, but hopefully there is
enough you guys still listening to these podcasts that you

(02:42):
enjoy it. When I check my statistics today, I've been
paying for the subscription service that I do this with forever,
and you guys are still listening to the podcast, which
is great. I was actually really surprised at how many
of the older episodes you guys are still listening to.
And so because of that, because of your beautiful, beautiful loyalty,

(03:02):
I am going to pay you back as best I
can with today's podcast. So this will be uncut, commercial free.
I don't need, I don't need the little ad revenue
that comes along with the podcast. So I'm just happy
to be here with you guys. And so, as I
was starting to say, most people know me to be
a really positive inspiration kind of a guy, and and

(03:24):
yes I am that. So people do ask me, are
there things that bother you? You're always so calm, you're
always so collected, and so clearly I am an excitable guy.
I clearly, even speaking to this microphone, I'm an excited
person who loves to express myself. But yeah, I get

(03:46):
down and stuff bothers me. And so this podcast is
about the ten things I hate about photography, the ten
things I hate about photography, but most importantly, what I
do to cope with the things? What do I do
to cope with the things that I freaking hate? Because
you know, when people use that phrase, you know, do
what you love you and never work a day in

(04:07):
your life. Bull crap. Whoever said that was selling somebody
some snake oil they were, That was a pipe dream
in somebody else's marijuana bong. That was a joke, okay,
Because yes, it's enjoyable what I do. I love what
I do. But to say that it's not work, dude,
you're smoking some serious chronic I mean, you are crazy

(04:29):
to say that it's not work. And I'm not saying that. Like, clearly,
photographers and creatives work hard, but there are things that
we hate unequivocally. There are things that we hate about
our jobs. Even when you work for yourself, there's things
that you hate about your job, and so I wanted
to share those things with you today and again the
things that I do to cope with them. And there's

(04:50):
ten things that I have there in no particular order,
but but I hope you guys enjoy this podcast today.
I really do again. Drop me your feedback at Jason
lin com Slash podcast. Let me know what you think.
And if you guys like these, then you know I'm
gonna continue to do them. But you know, as life
gets busy, and you know, so many times people write

(05:11):
on my videos or they write on my post or Jason,
thanks to you and your team, thanks to this and that.
And I do have some amazing people that I've worked
with over the past year and many years for that matter.
But I've had some amazing people that I've worked with,
you know, Alyssa and Sophia and Christian, my man down
in Ecuador. I smile when I think of that little dude.
I love my little I love my guide down in Ecuador.

(05:34):
But all of these things, and I've had people who've
helped me and just some amazing folks in my life.
But I understand something. This is a one man show.
I edit all my own videos. I edit all my
own pictures, I do all of my own social media,
I do all of my own podcasts. So it is
a one man show. And because of that, it's it's

(05:55):
a lot. It really is a lot to try to
keep all of this moving in synchronicity. And so regardless,
I'm super excited to be back on here and doing
this with you guys. So I'll give you guys a
quick update on what I've been doing for the past
freaking year, and then we'll get onto the ten things
I hate about photography and how I cope with these things.

(06:16):
So see I slowed down, and now I am much
more articulate with my speech. See see how that works.
That's that's something that you were taught and you practice
as a speaker, as a public speaker. So if you
just kind of slow down or let your brain let
your mouth catch up to your brain, then usually things
end up turning out in the positive column of your presentation.

(06:37):
So i'd remember that when I did my TED talk.
In fact, I haven't even mentioned my TED talk that
I did a year ago. It was almost a year.
It'll be a year in like five days that I
did my TED talk, and you guys don't even know
about that if you're only a podcast listener, because I
didn't talk about that in any podcasts because after the
Ted Talk, I didn't do another podcast. I got busy
with life. Life got crazy. So anyways, updates updated da

(07:01):
See if I don't think they have a little sound effect,
they only have I'm looking at They got some weird
ones like lightning and thunder and a bell. What's this bell? One? No? No, no,
no no, I don't need to go back to school.
Sorry about that. So they got cheering, and they got
lightning bolts and people and what is this? Okay, that's

(07:22):
like x X file stuff. Okay, I'm gonna leave that alone. Okay,
So I gotta stay focused. Anyone who knows me knows
I can move around like crazy. So I am gonna
stay focused. I'm gonna slow my speech down, and I'm
gonna do a good job at this podcast. I'm committed
to doing a good job. So I hope you guys
enjoy this. So with that being said, updates steps Am

(07:44):
I doing my steps? It's funny I used to post
so much about my steps, the ten thousand steps a day,
And to be honest with you, I thought people would
get sick of it. Jason. We don't need to know
about you and your damn steps. Go ahead, step your
fat ass anywhere you want to step it, go ahead.
But we don't need to know about it. But you know,
as I tour the country and as I go other places,

(08:05):
everyone well not everyone, but a lot of people that
I ask me about it, which is super cool, even
though many times I look like a complete deranged person
when I'm doing my steps. I mean recently, I was
in We're in Kentucky, Alyssa, Sophia and I. We went
into her family restaurant because she's rich, and those two

(08:28):
are sitting at the table drinking, and I'm walking around
this big, beautiful restaurant doing steps. This is something that
you'll see anywhere. I do it in ihops, anywhere, movie theaters.
You want to get a kick out of things. If
you see some crazy dude walking around in a fedora
walking around all of the steps during the trailer to
a movie that's yours, truly, that's how I get my

(08:49):
steps in. It's if you try to live a normal
life doing ten thousand steps in a day when you're
somebody who edits a lot. It requires you to find
some creative ways to be able to get these steps done.
But that is a very long winded way of saying, yes,
I'm still doing them. I haven't missed the day. My
good friends, I have done six hundred and eighty seven
days in a row and the things at the ten

(09:13):
thousand steps a day. What it's really helped me to
accomplish is in my journey because I've lost over one
hundred pounds, as many of you might remember, it's helped
me to not get any weight back, even on the
times where it's hard, because when you're traveling and on
the road, it's very difficult. It's very difficult to eat,
to eat exactly what you want to eat, and many

(09:35):
times you're eating when you don't want to be eating,
or not eating when you want to eat, so on
and so forth, and so because of that, yes, I've
done my ten thousand steps a day. Again, if you
see some crazy person walking around in a fedora and
you're wondering what in the world they're doing, and they're
probably looking at their phone at the moment, and that's
not because I'm on social media or whatever else. I'm
on the fitbit app watching because I'm a crazy person

(09:58):
at times, and that's me wh watching the steps go
up every one or two steps. I'm watching as I
walk because somehow it has this calming effect on me
of seeing that progress that tends to help my chaotic
brain be soothed a little bit to understand you're getting
closer to reaching your goals. So at any rate, yes,

(10:19):
I've still doing my ten thousand steps. Thanks so much
for watching. What have I been up to the last
freaking year. I've gone to Ecuador a couple of times.
I've toured around the United States some of my events
on my own. I've done some with roto light and
a Master of Lighting to with roto light, I've been
doing photo woks and other stuff, and I've just had
an absolute blast. I met so many of you out

(10:40):
there who are probably listening to this. We had so
many people show up for the Master Lighting tour, and
it's just such a blast to be able to do
that with all of you. And I was so blessed
to be joined by Alyssa and Sophia on that trip,
just two amazing people and creatives. I couldn't have chosen
two better people to have on that trip with me

(11:00):
and we did that for two months. That was just incredible.
That was what May through May June, and we ended
in early July. And then I've been doing some other
stuff my own photo woks. I've been doing some photojournalism.
That's another thing. I got really big into the photojournalism,
going down to the border doing some of this other stuff,

(11:22):
and I still want to get back to that and
do that. That was a lot of what my ted
talk was about was about some of that photojournalistic work
that I that I've done. So that was a lot
of fun. I've uh, and I've just been going into
abandoned buildings and doing what I do. Mister mister crazy
mcg you over here. So I've had a lot of fun.
And uh, you guys who have followed along have seen

(11:44):
some of this, and yeah, I'm the One thing to
that note is if you're not seeing the videos, you know,
algorithms and I'm going to get into this in a minute,
but algorithms on Instagram, YouTube, whatever else. I'm still producing content.
So if you sometimes I hear from people and they say, hey,
I haven't seen your stuff, it's there, just go check.
I don't know what the gods do with these algorithms.

(12:05):
But it's still there, so definitely go and check on that,
and you guys will see videos and reels and pictures
and all all that. So and you know, I've wracked
up a few feting speeding tickets along the way. I've
wracked up a few speeding tickets and maybe a couple

(12:25):
of different states. But that's been the severity of my crimes.
It has been. It's been a relegator or capped at
at speeding tickets. So super super fun. Well that's a lie.
It's not fun to get a speeding ticket. But but hey,
you know, I got lots of places to be what

(12:46):
else to tell you. I am also excited, guys. I
have workshop schedule. It's gonna come out in this month.
This is November first, yesterday was Halloween. Just dropped the
Halloween special. Make sure to watch it on YouTube or
Instagram if you haven't seen it already. But yeah, I
just did a I'm doing a workshop schedule, the first
full workshop schedule in many years because of obviously COVID

(13:10):
and all that, you know, aram My ged and stuff,
and so I am doing my first full workshop schedule
around the world in twenty twenty three, so look for
details on that. That's at Jasonlinner dot com slash register
you can find information about that. And I'm still doing Patreon.
I have never stopped doing Patreon. So if you're interested

(13:30):
in learning online with me, seeing how I edit, see
all of that stuff, you can go to patreon dot
com slash Jason their photography. You can join me live
on a zoom session and ask questions as I edit
and as I critique your images, or you can also
watch when I post the recordings of those sessions. So
if you're interested in that, make sure to go to
Jason Lenner or patreon dot com slash Jasleonner Photography. It

(13:52):
was interesting. One of the things that came up on
one of these Patreon chats was someone said to me, hey,
you know, I want to come to one of your workshops,
and they were I won't mention the person's name just
because I don't have the permission, so I don't want to.
But the person was saying, yeah, I go to Africa
and all this stuff, and I'd love to go to

(14:13):
Africa with you. And she had described her Africa excursion
and I said, well, you know, just just in all fairness.
You know, when I do Africa, it's not in tour
buses and you know five star dinners. That's not how
I do. What I do. I get into cars and
I travel and I kind of explained it, and the
people on the Patreon are like, well, Jason, yeah, that's

(14:34):
what we want. We want that Jason Linear experience. And
I said, but do you do you really? They said, yeah,
we do. I said, okay, well, I'm more than happy
to oblige and help you out with some of that stuff.
So anyways, guys, look be on the lookout for that.
Just as a heads up if you're listening to this,
I am going to be doing some events coming up

(14:56):
here in Toronto. I'm going to Canada for the first
time since COVID, so about three years. I go to
the Profusion Convention and I'm doing a photo walk and
then up there. So you can find all that information
out at the Jason Leonard dot com SASH register. And
I'm also doing an event here in Los Angeles at
the end of this week, November sixth, so you can

(15:18):
join me for that. So I'm going to take one
of my most much anticipated drink breaks hold for one
moment Okay, let's get to it. The ten things that
I freaking hate about being a photographer and what I

(15:39):
do to cope with them. You guys ready, Okay. I
don't know if you guys love or hate that thing,
but it's given me. It's kind of cracking me up.
So I hope you enjoy it all right. So Number one,
import times. I freaking hate importing images. If you tell
me that you're a photographer and you love importing images,

(16:01):
I just think you're a liar. I don't believe you.
I hate it. I absolutely hate it the entire process,
especially if you're a Mac user. Since they don't put
any freaking you know, card slot on their computers, you
have to have a separate dongle. Then you have to
put your memory card in, and then if you use
now please don't start with me. Sony users with Capture one,

(16:24):
I don't want to hear. I don't want to use
Capture one. If you love it, great, I don't. So
this is for most people who use light Room. But
when you import your images through light Room, it's like Adobe,
you know, flips you a middle finger and says, you know,
we're just gonna make it slow. Just to make you
want to, you know, jump off a cliff really, because

(16:46):
I don't get it. If you import your images and
you sit there and you just import them directly into
light room and you're having it read right to your
hard drive and write them to your hard drive, it
takes forever. I mean forever. I'm shooting with the Sony
A seven four, so thirty three megapixels. We're not talking

(17:06):
some massive FUJIGFX which overheats like crazy. That's another thing
I've done over the last couple of years. Last year,
but it's not a Sony A seven R four which
doesn't focus too well. But people have already heard me
say that. And it's not even the new R five
but their AI that's coming out. I mean, in other words,
just not some sixty four megapixel monster that takes forever.

(17:27):
I'm using a MacBook Pro. It takes forever to import images.
So how do I cope with it? I honestly the
best way to do it, And this is I'm not
the only person to know this, But if you do
struggle with this and you hate it as much as
I do, one thing that you can do is when
you plug your memory card into your computer, don't import
it directly into lightroom. Just take the images, click on

(17:51):
the you know, the click on the memory card and
find the image files, the raw files, and just copy
and paste them over onto a folder onto your hard
drive wherever you want to store the images. That is
about three times faster than importing them directly in the
lightroom because light Room's stupid. And so then once you've
copied and pasted those over to your hard drive, then

(18:12):
what you can do is inside of light room, you
can go to import the images and then when you
import them from there, what it will do is give
you the ability to just hit import the images, but
you are just adding from that location, you're not copying them,
and that saves an insane amount of time and sanity,

(18:33):
lots of sanity. So what I tend to do is
do that, and then I'll go do something, you know,
go cook a healthy choice or I really can't call
it cooking, and I maybe warm up a healthy choice.
But you get my point. That definitely is on the
first thing that I hate about being a photographer, and

(18:54):
it's something that we have to do all the time,
so it definitely can be very very frustrating. Number two,
export times. I hate export times. If you're exporting in
this entire wedding again back to light room. If you're
exporting an entire wedding or a big event you have
multiple collections, or you're exporting a video file, which I
do all the time, it can take forever and so

(19:19):
and again I'm talking for normal photographers. I know there's
people listening to this that are gonna tell me that they're,
you know, Bill Gates's, you know, illegitimate kid. I don't
know if he has one, but if he did, that
they have all this these supercomputer somewhere and they're able
to import everything instantaneously. The world just works that way. Oh,

(19:39):
by the way, another thing, I hate air drop. I
hate air drop. I love the concept of air drop
when it works, but it only works about ten percent
of the time. But that's another that's another topic. So
at any rate, what do I do to cope with
the export frustration that I feel with final cut or
light room or whatever else. I do my steps. Seriously,

(20:01):
I'll seriously export an image file or a movie, especially
if it's going to take twenty minutes, and I'll go
and do my steps, and I'll tell you what it's
pretty awesome because just that's one thing I do love
about the steps guys, and for those who are trying
to improve their fitness, and if you know, if you're
like me and you have issues with your joints and
you can't sit there and do really really hard workouts,

(20:23):
one thing you can do is those steps, and it
really is life changing. I'm not going to go on
and on about it because I do think that people
get sick of it, but one thing I can tell
you is that if you take any time where you're
just sitting around doing nothing, and you contribute that towards
moving around and doing steps, it will improve your health.
And that's helped me a lot because I'm a kind

(20:45):
of person that doesn't like to wait for things. So
when I'm waiting, whether it be the DMV airport baggage claim,
export times on my computer, whatever it may be, I
do steps and that's helped me in two ways. It
helps me do something instructive for my body physically, and
it helps set my brain at ease so I feel

(21:05):
like I'm doing something because I have the kind of
brain that feels in turmoil when it is not being productive,
lack of production is my is my insanity is. It's
my insane place when I feel unproductive or I feel
like something's not moving towards a bigger goal. It really

(21:28):
I struggle with that. And so one way that I
really work on that is the steps, because I feel like, hey,
it's exporting, it's taking forever. I hate the computer. I
hate this. I hate that. Doing those steps helps put
my mind at ease. It really does, and that's why
I've loved doing it. That's why I've continued to do it.
So just food for thought for those out there who
may struggle with something like that. Number three memory cards

(21:50):
that fail. Okay, now some again. Now the you know,
the step child of you know, Steve Jobs. I don't
even know if he has kids. But you guys get
my point. These techi people out there who know everything
about computers. I'm not making fun of you, guys. I
wish all of us had as much knowledge as you do.
But you're gonna tell me this, use this, use that,
use that whatever. I'm telling you. I haven't had a

(22:12):
memory card company that has never failed on me. I
don't have one. I don't care if it's Sony, I
don't care if it's Lexar. I don't care if it's
sand disc, I don't care if it's whatever. I haven't
had a memory card company that hasn't had a failure
on me. That's pretty catastrophic when you're out there shooting
and your memory cards fail on you. Especially dude, this

(22:34):
freaking Sony A seven to four. I love that camera,
but that mother freaking camera drives me nuts. When a
memory card, you know, abandoned ship on that damn camera,
all hell breaks loose. I was shooting a shoot with
Alyssa and Sophia in Louisiana as some abandoned chapel. Pretty
awesome shoot, black wedding, you should check it out. And

(22:56):
that the freaking A seven four stop working just because
a memory card, and then it kept say and unable
to read the memory card, please reinsert. So then I
reinsert the memory card. They say the memory card can't
be used. Dude, I had to send this stupid camera
into Sony just to get them to fix it. It's ridiculous.
So how do you get around that? A Either I

(23:16):
have a cursed A seven to four or that's a
that's a you know, reoccurring problem with many A seven fours.
I don't know, but it is. It drives me nuts.
It drives me crazy and less. I feel like I
can only use one memory card in the A seven four.
It drives me crazy. What I do? What should we

(23:37):
all do to get around filled memory card issues? Is
always try and shoot with two cards. I hate doing it.
I do. That's why I mentioned it. I hate shooting
with two memory cards. I hate taking up the space,
I hate all of that. But but it is what
it is. I can tell you one thing that has
really been beneficial to me is I used to go
through a ton of memory cards because I would film
all of my YouTube videos and all of that content

(23:59):
on my Sony mirrorless. And so I've switched everything over
to iPhone for my videos, whether it's and of course
a drone which is a dji. But I've switched everything
over to my iPhones for video production iPhone fourteen pros,

(24:20):
and so because of that, it gives me the ability
to go through a lot less memory cards. So I
really don't even need to change your memory card on
my A seven to four. But man, does that drive
me nuts? It drives me crazy, drives me mother freaking crazy.
Number four locations, photographers and these damn freaking locations. We're

(24:42):
so secretive. We pretend it's the Illuminati, we pretend it's
Da Vinci's mother freaking code about locations. So we were
all secretive on these locations, right, That's one thing. It's
one thing. If you do all the hard working, you
don't want to tell people where something is fine, don't
want to tell them, don't want to share, don't want
to play with your toys in the sandbox. Fine, I

(25:04):
get it, But you know what, don't be a d
bag and post false information on the internet which leads
people to wrong locations. That's being a d bag, it
really is. And that has happened to me. I went
out to shoot some abandoned drive in movie theater in

(25:27):
I can't even remember what was that damn thing, Mississippi
or something, And there was information online. And that's how
you know, a lot of the people who like me
go and search some of these irbex locations. You go
to some of the more blighted areas. That's one way
to find them, and the other ways you well, you
look online and see what other people are found. Now again,

(25:50):
many people don't want to tell you where it is.
And that's one thing. But when you purposely put bad information,
that's really being a very bad person should be spanked,
spanked severely by the creative gods out there. Because I
was in Mississippi trying to find this drive in movie
theater and somebody had a real charming sense of humor.

(26:13):
They really did, They really had a really charming sense
of humor. And this person put the address to the
police department. Well I'm laughing now, but damn dude, I
was out there with a model named Anna, and we
went and we drove all the way out. We must
have driven a couple hours to get into this area
and then to be driven and all the way you

(26:34):
go is to a police department. Not fun. See, it's
one thing. If you look up these locations and you
drive there and it's been torn down, it's not there anymore. Okay,
I get it. You know where we live in a
gentrification world where everything needs to look pretty, which is
complete bull crap. How about our past? How about heritage?

(26:55):
How about authenticity? How about not just ruining everything so
everything looks like a freaking carbon coppy clone? Cutout? Good lord,
I'm tired of the way everything looks I was talking
to a lista about this recently. How how the freaking
everywhere he goes, like, all the houses look the same.
It's boring. It's boring. We don't even have our architecture

(27:18):
these days is not anything like it used to be.
It's boring as hell. You. I mean, we went and
we were trying to break into the Tennessee State Penitentiary
and there are some corporate big wig get bought it out.
I hate these corporations, by the way, but some corporate
big wig bought out the Tennessee State Penitentiary. And so
all these people in suit and tires are going in,
probably just to eat, you know, some cafeteria food in

(27:42):
the former you know, cafeteria of this penitentiary. Oh jolly good,
Oh this is delicious food. Oh yes. Meanwhile, there's real
people like us. Somebody's gonna get offended at that, but
there's real creatives who want to actually do something with
that space and we can't. By the way, this would

(28:02):
be number eleven because I didn't even include this on
the list. But how about these stupid companies who charge
so much money to go into these locations because they're
only charging for Hollywood. Meanwhile, us meager creatives out there
who want to shoot some of these places and get
into them, we can't. It's like twenty thousand bucks. It's ridiculous.

(28:24):
The greed, the absolute greed. And so I have no
problem with capitalism, but I do have a problem with greed,
and especially when you put a pause and you put
a big dent into creativity. I am telling you, this world,
as insane as it is, without creativity will just be
an absolute crap show. And I'm putting that mildly. It

(28:47):
will be a crap show. The world without creativity is
a very dark place dark. So if you continue to
stifle creativity, if you continue to stifle free speech, if
you continue to stifle the things that people do to
build this world up, this world will become a very

(29:08):
dark place, even darker than it is. All Right, that
was the bonus one. Okay, So what do I do
to get around these these these jackasses who post these
bad locations and do it just to jerk around with people. Well,
download the serious XM app on your phone, or download

(29:29):
a lot of podcasts. Hopefully mine is one of them.
But download some podcasts because honestly, it can get pretty frustrating.
And one other little tip is typically the way that
it works is if there's one abandoned location, there's typically
others that are going to be somewhat near that. So
just keep snooping around see what you find. You might find,

(29:50):
you might find a gold mine. Social media number five
trying to figure out these mother freaking freaking mother algorithms. Okay,
if you're listening to this and this doesn't make you
want to blow your brains out, I don't know what

(30:10):
won't because or what will because these things drive me insane.
See I was saying this for years, for anyone who's
listening to me, for any extending amount of time that
Fate wants. Facebook bought Instagram. It was doomed to fail
because we all built on Facebook. And then Facebook wasn't

(30:32):
rich enough, so they just said f you, and then
they let our content go out to zero point five
percent of our audience. Then they bought Instagram and Instagram
Everyone's like, yay, here, let's do one. Everybody was Instagram
was like this, and then I said, Instagram is going
to do the same because Mark Efferberg, Because man, that

(30:56):
guy's a piece of crab. Mark Zuckerberg sat there and
just say, hey, how can I be more? How many
more billions can I possibly make? Oh? I don't know.
I only have fifty billion. I really think I need sixty. Again.
I don't have a problem with people making money, but some,
I mean, this is some. It's just come on, guys,

(31:16):
this is ridiculous anyways, So social media trying to figure
it out, trying to figure out who If I post
at six fifty nine am, is that better? If I
post after a Sunday? Ooh if I edit my post?
Does that ruin it? Oh? If I post at night,
if I post it the day, if I post the midnight,
if I if I if I do a dance on
my tippy toes before I post, and that'll help, but
get more traction? Oh if I boost a post? No,

(31:40):
that doesn't work either. What can I do to make
my social media work? Honestly, the truth is just keep posting.
It is such a lottery out there nowadays. Just keep
posting and don't get discouraged. It's so discouraged if you're
anything like me, it's so discouraging to work so hard

(32:00):
on a post, on a picture, on a video, on whatever,
and you post it and you're like, yo, like, hardly
anybody likes this, and you take it personally, you're creative.
You're like, man, I worked hard at this. I didn't
think it was garbage. But it's not that, guys. I mean,
some some stuff is pretty. I'm some stuff. Yeah, let's

(32:22):
just keep it wrong. I mean, some stuff is that
some people post is questionable. But the point I'm getting
at is if you post good content and you've used,
you've been used to getting traction, and you're no longer
getting a lot of traction, you are not alone, is
what I want you to know. It can be a
very frustrating process to continually post and post and post.

(32:46):
And you're like and and I And some of the
people that I work with they struggle with this too.
I mean they're like, Jason, this person, when you post
this person, when you post that person, you know, it's
frustrating this person. And I'm like, and I tell them
the same thing I said, Dude, it's not you. It's
freaking Facebook, it's freaking Instagram, it's YouTube. And so just
keep that in mind. Just keep that in mind. And

(33:07):
you know, it is very interesting with Elon Musk just
having recently purchased Twitter. It's very interesting because you know,
I don't know what he's going to do with Twitter,
but it'll be interesting to see because if he opens
it up and he says he's really gonna let people
see the algorithms, it is very interesting to see and
hear what those actually looked like. Because you heard about

(33:27):
you hear about shadow banning and stuff like that. And
if you think you have a good account, but it's
very getting very little traction is that because the algorithmic
gods out there have cursed it, have said you shall
not have followers, you shall not have likes. So just
keep that in mind. Just keep posting and just keep creating.
And my fervent belief is that somebody out there who

(33:50):
needs to see it will see it. And I do
believe that. And there's so many times that I post
that I'll get feedback, direct messages or comments on the
posts and people say, man, I needed this today. And
if you kind of go for that outlook that approach
with your posting on social media. I know it's frustrating
and I struggle with it myself, but just create, Just

(34:14):
keep creating, my friends, just keep going. That's number five,
number six. Again, these are in no particular order. Packing
up at the end of a shoe, good goodness, gracious,
I hate packing up at the end of a shoe.
It's either hot or it's cold, and in all accounts,
you're exhausted. So I hate it. I hate packing up.

(34:39):
And so what and what I started doing when I
was well, what I did for a long time as
a as a photographer. And I think I'm not the
only one who does this, by the way, or used
to do it. But you know, a lot of us
just hook all of our crap and it's not really
packed up as well as it should be, so we
either break it, lose it. Stuff gets moved around and
you get home and then and then by the time

(35:00):
you drive home to your hotel or wherever you may be,
you're even more tired. So how do I get around that?
And this has really worked well for me. When I
take first off, I used to take every single piece
of gear out that I planned on using. Well, then
I ended up pulling out gear that I really didn't
need because I didn't use it because I found another purpose,

(35:23):
another objective, another directive for the shoot. So what I
started doing is only taking out what I need that moment.
And then on top of that, let's say if I
pull out two different kinds of lights, a goot ox
and a road of light, right, and I pull out
the two lights. Let's say I get done with a
road light. I don't need it anymore. I would just
leave it normally sitting on a light stand or whatever else.

(35:44):
If I'm in the same shooting location blah blah blah.
Now I'll just put it away, and I'll put it
away where it belongs, pack it back where it belongs.
If I know that I'm done with it for the
day or for that shoot location and I'm not going
to touch again, I'll just put it back where it goes.
And I've that's really helped me because or same with
a light stand or a modifier. If I set up

(36:04):
a modifier, if I set up a big you know,
octobox or something, and I know I don't need it,
or a reflector diffuse or whatever it may be, and
I know I no longer need it for the shoot.
Let's say the lighting has changed. Let's say whatever reason,
I don't need it anything longer, I start puttingtuff away
as I shoot, and you know I used to think, well,
I don't want to stop the flow of the shoot.
I don't want to stop shooting with the model. A
lot of times it's a great break, you know, the

(36:26):
model gets a two three minute break while you put
something away. And then when the shoot is done, it's
great because you have a minimal amount of gear to
put back, and more importantly, you're putting it back where
it belongs. You're putting it back safe, you're packing it properly.
And then and let's be real, I mean, when you're
not tired, or you're not in pain, your legs are

(36:47):
hurt or whatever it may be, your back hurts from
carying around a backpack or whatever it may be, you're
going to do a better job. And so as I'm
putting stuff away as I'm shooting, I'm doing a better
job because it's less than I putting back each time.
And it's also I'm doing it when I'm in a
better physical and mental state. So that's really helped me.

(37:07):
That's really helped me quite a bit. So that's just
a little tip. I hope that helps. And then when
I get back to the hotel or my home, I
love it. I really do. I love it because then
I get back to my hotel or my home and
I just drag my bags into my house and I'm done.
I don't have a ton of things sitting in my
jeep or sitting in my truck or whatever it may be.
And I recently did a shoot with Shalinee out in

(37:29):
the desert, and I mean it got dark fast, and
we're at an abandoned place in the middle of palm
that looked like some meth head's house. Truly, it looked
like that's where you drop bodies. And those are the
kind of places you know, I like to hang out,
and so, you know, following this concept and putting everything away,
it really made it better once we were once it
was time to go, especially since Shalinie if she's listening

(37:53):
to this, Shalini you know, changed her flight and she's like, Jason,
can I go home tonight? And said to tomorrow, and
we're Palmdale if you know where Lax is from palmds
like an hour and a half. She's like, can you
get me back down on time with your driving? And
I said, I don't need I don't need any more
speeding tickets, sister, Thank you very much, and so it

(38:13):
was good that we were packing up along the way
because then everything was accounted for. And over the years,
I really have broken things because or misplaced things, or
something will get chipped or freight or whatever it may
be because I didn't put things away properly, and or
if nothing got broken or whatever else. When I get home,
if I'm very, very tired or in a lot of pain,

(38:38):
I'll leave stuff in my car, which isn't very smart
when you're leaving expensive gear in a car. So I
no longer do that. I now take things in and
so on and so forth. And so that's that's one tip,
and I hope it helps some of you guys and
ladies out there. All right, So what's next on my list?
Number seven? Travel requirements as a photographer? I other freaking

(39:00):
hate that we are held to such different traveling restrictions
or requirements versus a normal traveler. Now again, if you're Hollywood,
if you're going to film Lord of the Rings and
you're gonna go fly one hundred people into a thousand
people into New Zealand to go, you know, kick it
with the hobbit. That's fine. The country, the municipality, the whatever,

(39:25):
should make a good amount of money on you, because
that movie's gonna make a billion dollars. Okay, But if
you're a little dude or a little gal like me
and you love just being a little creative out there
and doing what you do, and then they're slapping these

(39:47):
huge restrictions on you to travel into their country and
work in their country, and they want these these visas
and everything else that are just really prohibitive, very difficult. Hey,
they're not. It's not just the expense, it's the it's
the difficulty in obtaining them. And you're like, dude, I'm
going to come to a convention for two days. I'm

(40:07):
going to meet some photographers. We're not some multimillion dollar company.
We're just photographers. We just love taking pictures and making
people happy and creating stuff. That's all we do. I
had a funny story in this I went into a
certain country. I won't say which one, but I went
into a certain country many years ago with my buddy
Vandon rest in peace, my good man, and I went

(40:29):
in with Vanon Vannon is a. He was a big
boy hillbilly, I mean he really was. He called me Hollywood,
and I called him he'll Billy. Those were our nicknames
for each other, So I don't say that in a
derogatory way. Those were our nicknames for one another. And
we went went into a certain place and they were

(40:49):
looking at us. And just because I had a backpack
with me weather gear, but just a backpack with me,
this customs agent was giving me the third degree as
to what I was doing in the country. Now when
I we don't lie. I don't tell them that I'm
there to sell roses or there to go to the
running of the bulls. I tell them I'm here to
take pictures. I'm a photographer, it's what I do. Or

(41:10):
you're gonna sell any of these pictures, I don't know.
I mean honestly, when you go and you take a
picture of the rolling Hills of Scotland or the Pyramids
of Egypt, to make money on any of those prints,
to actually make a profit back from selling a print
from what the cost is to go there, good luck,
mother freakers. Good luck. That's why I have such a

(41:32):
problem with these countries doing this, because we go there
just because we love it, even though many times it's
a losing proposition from a financial standpoint. That's just a fact.
Ask anybody who's traveled as a photographer. Those are some
stone cold facts. Okay, So we go there because we
love it and we just want to see it and
we want to capture it, and if, by some Hayley's

(41:54):
comet chance, we sell something from it, we're still not
going to be ahead. Well, anyway, I'm there with Vandon
and they're giving me the third degree just because I
have a backpack on. And finally he says, well, who
is this? Is this your assistant? See now, you guys
are a company. And it was so funny. I just
looked at the guy dead in the face. I said,

(42:14):
he's my boyfriend. He should have seen Bandon's face. You
should have seen it. Classic. He's laughing from heaven right
now because he knows it was funny. And he looked
at me, and I just looked at him like, Vandon,
we are more than brotherly love right now, okay. And
then I just I just put my arm around him

(42:35):
and he smiled his big country boy grin, and the
customs agent kind of looked at us like really, and
he led us through. So the lesson from all of
this is, truly, how do I cope with this? A.
You can take a big, handsome man with you somewhere
and claim he's your significant other or be which obviously

(42:58):
that's not really gonna work. I did it, but I
wouldn't count on it working again. Pack as little as
you can, I guess, as the bottom line, when you
take a lot of gear, you're gonna get asked a
lot more questions. I was in Dubai, just the amount
of batteries that I brought with me flagged me. Just
the amount of batteries I was in Ethiopia, just the

(43:19):
fact that I had a leatherman with me flagged me.
Anything that you do when you travel with any sort
of larger amount of gear. Try getting into Cuba with
a lot of gear. It is tough. It is tough
as hell. So the best thing I can recommend is
travel with as little gear as possible. Just take what

(43:40):
you need and nothing nothing more. To that end, Number
eight is traveling with gear. As a photographer, it's frustrating
because they limit you on your lithium batteries, which everything
is a lithium battery these days. Everything right gone to
the days of double a's. I mean, it's just from

(44:01):
our lights to our cameras to everything it's lithium batteries.
And then they say you can't check lithium batteries, so
you have to bring it on board. But then they
limit our carryons. Well, if you've got to go to
OXS eighty six hundred and you've got an extra battery,
and then you've got some roll to lights, the two
vmount batteries, and then you got a couple camera bodies,

(44:22):
you could easily have a backpack full of just batteries.
That's tough. That's a tough place to be, Okay, So
what I really recommend is when you're traveling, a travel
with as little as you can. As I said before,
but even more importantly, and I'm not gonna say that,
when I pack my rollers and stuff, I leave them

(44:43):
in there and I take the risk. I'm not gonna lie.
I take the risk of them pulling the gear and saying, hey,
this hays lithium batteries. But honestly, I have been doing
that for years. There's no other way for me to
possibly do it. And honestly, back to Hollywood, I don't
believe for one freaking minute that they make a Hollywood
production company take all the lithium batteries and keep them

(45:04):
on board in the cabin. I don't for one minute
believe that, not for one So my lithium batteries for
the most part, are checked because there's no other way
for me to possibly do it. I have two carry ons.
I have my backpack and I have my computer bag.

(45:24):
Because my computer bag has my hard drives, has my
computer has how I'm going to function as a business
on the road, and it also has the in my
hard drives to be able to import images and work right.
So that has to be with me. And then I
take as much camera gear as I possibly can in
that backpack. Usually it's three or four lenses, a light

(45:45):
or two usually like a smaller light like a GODOCS
E eighty two hundred or a rod a light like
a Neo three something like that. And I mentioned and
two camera bodies usually and I can fit that in
a backpack. And the reason I mentioned that is because
with is because I always I have had my gear lost,

(46:07):
or excuse me, my check bags lost. Now they've usually
been found, but I had one story where they lost
my check bag and it was in Russia, no joke,
not not joking. They it was kept in Moscow for
a month. That was my big roller bag that I
that was checked, that had gear in it, that was
in Moscow, lost and found. I'm shocked I got that
one back. I had to drive down to a warehouse

(46:29):
and yell at Delta to get it back for me,
and that took a month to get back. Another one
was every time I've gone to freaking Sweden. Sweden loses
my gear like crazy. Every time I go to Sweden,
they lose my gear every time. And so I guess
the biggest advice I have is that I that I
say to myself is when you go to a place,

(46:50):
always think what happens if they lose my gear? Can
I do a minimal shoot if needed? And that informs
how I pack, It informs what I take, because if
I at least take enough to be able to shoot,
then I'm in a good place. At least I can
do a bare minimum because a lot of these places
I go, I'm speaking, i'm presenting, or I'm shooting. So

(47:12):
if I have a shoot to do, I may not
have all of my lights because if they lost them,
that's not my fault. But I still don't want to
show up to a client and say, hey, I can't
do anything, so at least if I have one or
you know, one or two smaller lights that I can.
You know, again, it's not going to be my big lights,
my big modifiers, but I can get by. I can
still do some stuff. That's how I try and pack,

(47:33):
so I can make sure that I can at least
get something done. Number nine is getting paid. Everyone wants
something for free. Right, I'll send you gear for a review. Wait,
so let me get this straight. I'll do a commercial
for you, and I get to borrow some gear. Let

(47:56):
me get this straight. I'm going to do a free
commercial for you. I'm going to spend my time shooting it,
testing it, editing the videos, editing the pictures, putting it
all together, uploading it, sharing it with my followers, and
I get to borrow gear. You know, I don't I

(48:20):
don't know, but I I just think that you're screwing me.
Oh that's right, you are. Oh you're worth millions of
dollars X company. But you want the little guy the
little girl to just do it for free. Oh I'll
pay you a higher commission. Oh you mean you're gonna
go from four percent to six. Yeah, knock your socks off.

(48:46):
It's ridiculous, guys, it's ridiculous. Creatives get ripped off like crazy.
If there's one industry in the creative realm that hasn't
figured out how to monetize their quote unquot influencer slash
celebrity status, it's photographers musicians. And I know there's a

(49:08):
lot of struggling musicians out there, but at least the
musicians at the top are compensated. You know, painters, dancers,
all they're compensated. Well, photographers, we're we're still struggling to
figure out how to make money at this, especially given
the fact that from a professional, full time perspective, our

(49:31):
industry has been obliterated. Think about this. Our industry has
been obliterated because of the fact that see musicians and
all these other folks, they aren't being replaced. It's maybe
recording studios are being replaced. That's something that's being replaced
by innovation and technology. But photographers are being replaced by

(49:53):
technology because anybody can pick up something and go take
pretty awesome pictures nowadays with AI and everything else that's going.
In fact, this Sony just didn't announce the Sony R. Five.
Somebody asked me, Hey, you're gonna do review and everything
else on it. I'm like, you know, I'm tired of
making free commercials. I'm tired of it. I'm tired of it.

(50:15):
And so just keep that in mind when you're out
there my friends. You know, Oh, we'll give you. We'll
give you. I'll post you on my social media account.
Say these big companies, Okay, I'll put you in this,
I'll put you in a magazine. I'll give you a title.
Why don't you give me a break? See the photographers,

(50:36):
the creators out there that truly start to understand the
whole way this works. And it takes a while. It
took me a while. Is you figure it out once
you've been played, and that's when things start to click
for you and you start to realize, Hey, the minute
I asked to be paid for something, all of a sudden,
nine persona on grata. Oh, I see you only wanted

(50:58):
me to do it for free. I get it now.
In fact, you wanted You didn't want to compensate me
for my work. You didn't want to compensate me for
my time or anything. So if I go and spend
three four five days shooting a video, editing pictures, producing, posting,
so on and so forth. I get paid nothing for that.

(51:21):
That's a losing proposition. It's a losing proposition, and it's
something that a lot of companies do nowadays, and they
sucker people into it. I see models, for example, constantly
get reached out to by you know, clothing companies, accessory companies.
There's another good example on you know, Oh, we'll send
you gear, We'll give you a commission. I'm not gear.

(51:42):
We'll send you necklaces or jewelry or whatever else. Wait
a minute, I'm gonna go produce content for you, and
I may get a discount on the on the stuff.
What are you smoking again? This is a huge hit
off of a cheech and chong bong. It's ridiculous. We

(52:03):
as creatives need to wake up if we're going to
continue to be able to make a living. It's okay
to do free work for experience if you're getting experience,
if you're working with someone who truly knows more than you,
if you're doing something that you haven't done before, that's okay.
But outside of those circumstances, and that applies to me

(52:25):
as well. As experienced as I am, I still will
do some stuff for free if I feel like there's
a benefit to me. I'll give you a great example.
You know, the guy who owns that Cheeper's Creepers truck.
He owns the Jeepers Creepers truck from the actual movie.
He will He has a full on costume. He's an
amazing guy. I love him, Troy. He's awesome guy. And

(52:46):
he and I are talking about doing some short films
and stuff together. He has the truck, he has the costumes,
he has all those things that benefit me. And I
have the cameras and the experience and the talent to
be able to produce something that's a mutually benefit proposition
where both of us can creatively better ourselves. But when

(53:08):
you're in a scenario where somebody's offering you something, we
as creatives, we're so eager to please, and we're so
eager to create, and we're so eager for people to
want us. I don't care what you say. As a creative,
you want to be wanted. If you tell me you don't,
then I just don't believe you, because why else would

(53:29):
you produce your work. You produce your work because you
want people to want it, You want people to see
your vision. You want people to enjoy what you love
just as much as you love it. That's just a fact.
So because of that, that's used against us, and so
the only way to get around it is to put

(53:50):
up barriers and to understand that this is what I
can do for you, and this is what I need
you to do for me. I can't work for free.
He doesn't pay my cell phone bills, it doesn't pay
for my car, doesn't pay for my insurance, doesn't pay
my rent. It doesn't. So you got to focus on
those things. And one thing along those lines is never ever,

(54:17):
ever ever as a creative, especially as a photographer, because
that's what I know better than anything. Never ever ever
build your business on somebody else's foundation. Never you can
partner with a I'll give you a great example. I

(54:37):
partnered with an Airbnb and I did all of their
website for them, I did their weddings, I did everything.
This is seven, eight, nine, ten years ago, and I
built their website for them. I managed their website, I
produced their marketing material, their content. I did everything for them.

(55:00):
And I took this from a this was a historic
bed and breakfast, But it was in bad shape when
I found it, and I helped build it up. And
then that infusion of money and more weddings and everything
else helped for that property to increase its status and
to become a great success. Well what happens the minute

(55:24):
you've done that, they feel like they're in a great place.
They no longer need you and you're too expensive. Well,
if you've built your business, which at the time I did,
I built my business at that point to where I
had other photographers shooting under my name at that venue.
If you put your business and you make it reliant

(55:45):
upon another business, independent upon it, once they say hey
we're good, or hey we're selling, that's what happened to
say we're selling the place I knew where owners want
to go in a different direction. Wow, wow, Well I
put all of this into it. That and that's what
I get out of it. So what I've learned over

(56:06):
the years, and that's not the only example I have.
What I've learned over the years is never build your
business on someone else's foundation, build it upon your own.
Focus on you. You need to look at other businesses
as clients, not as partners. You need to look at
other businesses as paid gigs, not favors, because they're not

(56:31):
looking at you as a friend. They're not looking at
you as a buddy. They're looking at you as a
way for them to make money. And if you don't
look at them the same way, you will be out
out in the cold. That's fact. So I hope that
helps some of you out there who are on this journey.

(56:54):
Collaborations are great, but understand I love creative collaborations where
I'm like I said, that guy with the creepers truck.
We have a great collab creative collaboration relationship because of
the fact that we're both going into it for creative purposes. Now,
if he takes the content that I produce for him
and he markets himself and becomes something bigger, and I'm

(57:18):
happy for him because the terms of our relationship are creative,
they're not financial. So you need to define when you're
working with someone or especially another business. You need to
define is this a personal relationship, is this a business relationship,

(57:38):
or is this solely a financial relationship? And I would
really recommend that people try and steer clear of those
of those partnerships where if someone decides that they're stepping
away from the business, or they're selling, or they want
to move in a different direction. Whatever it may be,
you're gonna find yourself in a bad spot. And keep

(58:00):
in mind this has happened for many, many years. I'll
never forget when I was a Sony artisan. I speak
with other Sony artisans. We saw what Sony was doing
with the Alfha Collective playing his day. We saw what
was happening. They would pay a Sony artisan, you know,
for a day's work. We would go and speak at
like a convention, and we'd be there at the booth
all day to answer questions. We get paid fifteen hundred dollars, right.

(58:22):
And then they got the Alpha Collective. They got people
with less experience, They got people with less cachet less.
They may have a lot of followers, but they didn't
have a lot of experience, and those just facts, okay.
And so the Alpha Collective came along. And that's not
bashing the photographers, it's it's the company that uses us, okay.

(58:42):
And the Alpha Collective came along. And I remember speaking
with other Sony artisans, some that are still Sony artisans,
who we all saw clear as day. Hey man, we're
getting paid this. They pay an off a collective one
hundred and fifty dollars to two hundred dollars to come
stand there all day. We're going to be replaced, And

(59:04):
you can, at a moment's notice, just like that, be
replaced by a company who decides that they no longer
want you to represent them. Well, sir, if you've spent
the line share of your time promoting that business, promoting this,
promoting that, and then they say, hey, we're good, you're
too expensive, where are you at? Where does that leave you?

(59:28):
So for all of my creative friends out there, remember that.
Remember that well, and don't assume that anyone is your
friend when it comes to a business to business relationship.
These aren't your friends. These are businesses. They're not your mom.
They're businesses. They're not your best friend. They are businesses,

(59:49):
and they are only looking at you in that way.
They only see you as to how you can help
build their business. They do not see you from a
personal perspective. I don't care how much many times we
talk about family. I don't care how many times we
talk about all those other stuff. They don't. So please
remember that because for so many of you out there
who are looking to aspire to do more things and

(01:00:10):
get sponsorships and whatever else. Those things are great, but
put those guardrails on and understand that you were a
business in their business, and if they want to use you,
then you need to use them back. And I'm not
saying to use in a bad word. I'm saying, make
them pay you for your work. Is that simple, And
as long as they pay you for your work, then

(01:00:32):
you have no beef. Understand where you're at, and go
from there. Last, but not least, number ten frustration. For
every shoot that works, there are so many that don't.
That's just an honest truth. I think something that I
have to remind myself on and I'm sure many of

(01:00:53):
you out there can understand this is there's so many
times that we as creatives remember the good moments. We
only remember, you know, the epic shoots that we have.
We only remember the epic you know, videos that we produce,
or or works of art, whatever it is that we're creating.
We only remember those things. We don't remember the journey

(01:01:15):
and the struggle that it was to get there. It's
so easy for many of us, whether it's a personal
relationship or whatever it may be. We like to focus
on the good, but we tend to forget the bad.
We forgive the bad, and that's a dangerous place for
all of us to be. So remember the struggle that
it took. And you know, it's funny. I find myself

(01:01:36):
falling into this trap, and I have to remind myself
to correct because what ends up happening is I look
at my career and I say, man, those are the
golden years. Those are that was the best time in
my career. And then I sat back, you know, a
little while ago, and I thought, you didn't know that
at the time. You didn't know that. At the time,

(01:02:00):
you only knew you were still hustling like a hustler,
just like you are now. So maybe you're going to
look back at this time and think, wow, that was
really the golden time right then. So in other words,
don't get down. Remember that it's always going to be
a struggle. And if you understand that, just like weight loss,
just like working out, just like whatever is worthwhile in life,

(01:02:21):
it will take effort. I'll never forget my first assistant
said to me, man, I thought she had worked with
me for a while, and she said, I just thought
it would get easier. It's just always a grind, and
that's the truth it is. It's always a grind. So

(01:02:43):
if you understand that, then you can deal with it
better and you can become a success, and you can
stay a success because I just take for granted, or
not take for granted. I just understand that it's always
going to be that way, and the only thing that
I can do is keep plugging away. End a story.
What do the kids say these days? Full send? What

(01:03:04):
do they say? Something like that? Well, I have gone
I'm looking at the time counter here an hour and
three minutes NonStop. That's not too bad. Huh, no breaks, nothing,
I have a few show notes, but clearly I'm not
reading this. This is not too bad. So I've enjoyed this.
I hope you have all enjoyed this very very much.

(01:03:27):
I really do. Stay on the lookout for the workshops
that are coming up. Stay positive, even though there's all
Even though there's a lot of things that we hate
about the world of photography or about whatever we do
in our daily lives, are ways to cope with them,
and there are ways for us to get better and
to do the things that we love. To do to
make our lives a success. So I love you guys.

(01:03:48):
I hope all of you have a beautiful, fantastic day
and a weekend's a weekend? What is it? Tuesday? Shows
you I'm a true creative because I am just lost
on my days. But if you guys want to join
me at one of my events, come to jasonlonder dot
com slash register. Stay on the lookout for future workshops
that are coming. I can't wait to see you guys
and ladies at a future one. And visit jasonlinder dot

(01:04:12):
com slash podcast if you want to hear earlier episodes
if this is the first one that you've listened to,
and also on that page, there's this spot for you
to drop, so comment a comment or two and let
me know what you think. Also, if you're listening to
this on iTunes or Spotify or wherever you listen to
your podcast, make sure to drop me a positive review.
Let's keep it nice and I'll continue to do these

(01:04:34):
and hopefully this was beneficial for all of you. So
thank you for sharing this time with me. I love
you all. I'm super grateful to you and for you,
and I love you so until next time, keep shooting,
never give up on your dreams. Finder Giller works for you,
and remember you only have one chance to get it right.
I'll talk to you guys later. Bye. Back whom of

(01:05:07):
her business but fend of hostess business, westness of homes