May 8, 2025 • 60 mins
Remember when your grandmother could identify every face in those faded photographs from decades past? Those stories, those connections to your ancestry, are vanishing with each passing generation. That's where Hale Shoa comes in - founder of Picturely, a photo organization studio transforming chaotic collections into searchable digital archives that tell your family's unique story.
Hale's journey began as a passion project while working in advertising, evolving into a sophisticated preservation service that rescues memories from dining room tables buried three feet deep in photographs. With expertise in handling collections spanning from 1800s cabinet cards to modern digital chaos, her team doesn't just scan images—they curate, restore, and organize them chronologically, creating a meaningful narrative from what might otherwise be overwhelming disorder.
The podcast reveals fascinating insights about memory preservation that most families never consider. Did you know slides from the 1940s can reveal remarkable detail when properly digitized? Or that professional photo organizers can date photographs by their physical characteristics—deckled edges indicating the 1930s-1950s era, square prints typically from the 1950s-1970s? Hale explains why professional curation matters (your great-grandchildren won't care about random zoo animals) and why proper archiving requires understanding the historical context of each image.
For those with digital overwhelm, Picturely offers solutions for consolidating scattered photos across multiple devices and platforms. Hale shares the critical "3-2-1 backup method" that protects precious memories: three copies of data, in two different locations, with one copy stored off-site. She addresses the infamous "digital black hole" of 2000-2004, when many families lost photographs during the transition from physical to digital preservation.
Whether you're a baby boomer with boxes of slides in the attic, part of the "sandwich generation" managing elderly parents' collections while raising children, or a millennial drowning in hundreds of thousands of digital images, this conversation offers practical guidance for preserving what matters most. Connect with Picturely through their website or social channels and discover how your family's photographic legacy can become an accessible, engaging connection between generations.
Learn more at:
https://twinteriors.com/podcast/
https://scottwoolley.com
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Voice over (00:00):
This is iDesign Lab, a podcast where creativity and
curiosity meet style and design.
Curator of interiors,furnishings and lifestyles.
Hosted by Tiffany Woolley, aninterior designer and a style
enthusiast, along with herserial entrepreneur husband
Scott, idesign Lab is yourultimate design podcast where we
explore the rich and vibrantworld of design and its constant
(00:23):
evolution in style and trends.
Idesign Lab provides industryinsight, discussing the latest
trends, styles and everything inbetween to better help you
style your life, through advicefrom trendsetters, designers,
influencers, innovators,fabricators and manufacturers,
as well as personal stories thatinspire, motivate and excite.
(00:43):
And join us on this elevated,informative and lively journey
into the world of all thingsdesign.
On today's episode of theiDesign Lab, we welcome the
incredible Hale Shoa, founderand CEO of Picturely, where
photo chaos meets storytellingmagic.
From luxury branding topreserving family legacies,
hala's mission is powerful torescue your memories and turn
(01:06):
them into timeless, searchabledigital archives.
You don't want to miss this.
Tiffany Woolley (01:11):
Welcome to the iDesign Lab podcast.
Today we have a very specialguest, Halei Shoha, who is the
founder and creator of a veryexciting company called
Picturely.
So welcome, Hale, and pleaseintroduce yourself to our
audience.
Haleh Shoa (01:29):
Thank you so much for having me.
I am Hale Shoa and, yeah, asyou mentioned, I'm the CEO and
founder of Picturely.
It's a photo organization andcuration and design studio based
in Los Angeles.
Scott Woolley (01:45):
It's a very interesting company.
Tell us a little about thecompany and what the company
does and how it helps people.
Haleh Shoa (01:52):
Uh-huh.
So this was my little passionproject back in 2015.
I was working with a life coachwhile I had a very big girl job
in advertising.
I was the global operationsdirector for Jaguar Land Rover
in 2016.
And I just really wanted to domy own business.
And she kept asking me, like,what do you love doing?
(02:13):
And really what it kept boilingdown to was family memories and
making things with it.
So I am very passionate aboutdesigning beautiful photo
keepsakes like photo books andgallery walls.
And then she kept saying, okay,well, let's figure out how to
make a business out of it.
And I kept thinking who's goingto pay me to do photo books?
(02:35):
That's so funny, you know.
Five employees later, yeah.
Scott Woolley (02:40):
But you're doing more than just photo books.
You're doing photo walls forpeople's homes, the collages and
so forth.
You're doing archival forpeople.
Haleh Shoa (02:52):
Yeah, that's actually most of our business,
is that?
So my first client I'm sorry, no, no, go ahead my first client
out the gate who wanted to do aphoto book.
I went to her house to sort ofassess what she has and she took
me into her dining room, whichher dining room was about, I
(03:12):
want to say it was about 24 feetlong, it was very large.
She had a very big house in LosAngeles and it had about three
feet deep of photos.
And then there were adjoininglittle tables around the dining
room which also had three feetdeep of photos.
And then there were adjoininglittle tables around the dining
room which also had three feetdeep, full, full.
And and she said, yes, I'd liketo do a photo book, but what
(03:34):
about all this right?
And I thought, oh, so, uh, yeah, I need to dig into archiving
and learn how to do that.
So I became a certified photoorganizer so I am very
knowledgeable in how to approacha.
I specialize in largecollections.
(03:55):
We just happen to get a lot oflarge collections of people
saying you know, I have so manyphoto books and scrapbooks from
1800s, all the way to the 1940s.
You know, I have so many thingson tape from the 80s, 90s and
2000s, I just don't even knowhow to approach this.
I don't even know what to dowith all this, so it's really
(04:17):
important to be able to organizea collection in a way that the
family can access it, in a waythat's searchable and sortable,
and so that's our expertise, inorder to be able to provide an
archive to them.
Scott Woolley (04:33):
So a person who has photos, videos, film that
they've had since they're a kidor their grandparents or their
parents gave them, you're ableto take all of that and
basically digitize it catalog itlike digital cataloging, I
guess exactly.
Haleh Shoa (04:51):
yeah, so we organize everything chronologically.
I was just gonna ask you is itdate or exactly?
You know there's so many cluesand photos.
You know the photos themselves,you know, with the deckled
edges being from the 30s all theway to the early 50s, and then
the square photos are from thesort of mid to late 50s to early
(05:11):
70s.
So photos themselves have a lotof clues in them as to when
they're from.
And of course, we start everyproject with a family tree so
that we can see, you know, whenthe grandmother was born, when
they got married, when the youknow when they passed, because
we always come across photosthat are wrongly dated whether
(05:34):
the camera had a wrong date onit and so the stamp on the photo
is incorrect.
I remember those days when youdidn't update that exactly yeah,
a lot of people are like, yeah,I just bought a new camera.
It's like they forget to youknow update it yeah, yeah,
exactly yeah.
So you know, and that's why youknow, if we come across a photo
(05:56):
that has grandpa in it thatstated 1998 on the the stamp on
the photo, but grandpa died in1993, we, we know that, that's
you know.
In fact, it gives us a clue to,and how to do other photos that
came from that camera.
Tiffany Woolley (06:10):
Um, so, so, so much research, really with the
family itself is involved inthis process.
Haleh Shoa (06:19):
You know you would think, uh, I've become so good
at, in terms of, like, how tointerview a client Right that we
spent two to four hours with aclient and that's really all a
client can handle.
Going through memories is, Imean, unless it's like a very
large archive and by large Imean like 300,000 or more Then
(06:43):
but even then it's justunderstanding what the cadence
was.
We have a lot of clients whoare high profile, whether it's
in the world of business orfashion or otherwise.
So our approach to those typesof clients is a little different
, because now we're getting intotheir business acumen and
(07:06):
understanding theiraccomplishments and what the
timeline of that would be.
Tiffany Woolley (07:13):
It's really so necessary.
There's really everybody whocould benefit from a tool like
this.
So when you spend that initialthree hours or less with the
client, is this something thatpeople can access for the
foreseeable future and add to?
Haleh Shoa (07:31):
Well, yeah, I mean the three to four hour initial
thing is for me to understandtheir goals and also just kind
of skim through some of theiralbums and some of their
memories to sort of assess theway we would curate.
So I highly recommend everycatalog to be curated.
There are there's no reason forus to keep and scan photos that
(07:57):
, let's say, you went to the zooin the nineties and you took a
bunch of images of the animalsand those were amazing in the
90s, because then you make alittle photo book and then you'd
be like then that's theelephant and that's the giraffe,
and the kids will love it.
But you know your greatgrandkids are going to be like
why?
Why is there a photo of anelephant Like right.
(08:18):
Significance.
Did they own this elephant?
Own this elephant, it's so true.
The editing process yes, so mymain goal is to make sure I
understand how they would wantus to edit it for them.
We have an amazing team oforganizers and curators that you
know.
We've all worked together toreally understand what to keep
(08:40):
and what not to keep, and so wecurate every collection and in
that three to four hours is whenI'm sort of assessing, you know
, do they want to keep more orless?
And yeah, and some familieswant to keep everything A lot of
times the ones who havesuffered an untimely death,
whether it's of a spouse or ifit's of a parent, and they're
(09:04):
still grieving that tends tolean into really wanting to keep
everything.
Scott Woolley (09:10):
So it seems like it's a very timely process.
You mentioned a few moments agoyou have clients of 300,000
images.
That's an enormous amount ofimages to go through and to call
through and then to figure outwhich ones you're going to keep
and which ones you're not forthe client.
Haleh Shoa (09:29):
Yeah, I mean, you know that client had an enormous
amount of accomplishments theyhave.
They're a very prominent familyin Los Angeles.
They were extremely political,so they had a lot of fundraisers
.
You know how, like whendignitaries and politicians
(09:49):
visit certain cities, there'salways certain families who hold
that.
You know the fundraisingdinners and whatnot.
They were part of that sphere.
So there was a lot of figuringout what the data of so-and-so
visiting is and it was just fun,you know, because you get to
see a lot of, you know again,like kings and queens and
(10:10):
dignitaries and politiciansvisiting their home.
It was really cool andinteresting.
But you know, it's like what isthe saying?
How do you eat an elephant onechunk at a time?
Right, right, right.
Scott Woolley (10:26):
So when you have a new client that comes in and
they're bringing you or you'regoing and picking up after
you're meeting with them, all ofthis you know, photography and
film and video and so forth ismost of it like organized or
that people are giving it to you, or is it like in shoe boxes
that?
You're you know you're dealingwith, I hate to say, a mess.
(10:50):
To start with, to organize it,are you asking them to possibly
organize it a little beforehand?
Haleh Shoa (10:58):
No, I would prefer for them not to actually, and
I'll tell you why it's always ahybrid Not to actually.
And I'll tell you why it'salways a hybrid.
Every family or institution hashad some semblance of
(11:18):
organization with theirpaperwork, their accomplishments
, their files, their photos.
We always start every theorganization process always
starts with albums, and that isbecause there was some semblance
of a reason why certain photosor memories were in that album,
whether it is of a travel or of,you know, the first year of a
kid, or just a year's worth oftheir photos for the family.
(11:40):
So we always start with albumsso we can understand their
cadence and we can sort of putthe timeline.
It's much easier for us to putthe timeline if a family goes
into organize it themselves.
What ends up happening is thatthey will take things out of
albums that could have helped uswith the clues and now it's
going to take us a lot longer tobe able to figure that out,
(12:01):
whereas we can easily figurethat out by going through an
album, and every family has ashoebox of loose photos, and
often that is either photos thatare the most precious because
they went.
Let's say there was acelebration of sorts whether
someone's getting married orsomeone passed.
They go through the albums andtake out the best of, and then
(12:24):
it's never going to go back inthe albums again.
Um, so those, those photos areeither the duds and duplicates
that they didn't put in albumsor they were the best of that.
Tiffany Woolley (12:36):
They took out of albums to make something with
it so it's funny because, asyou're saying, all those you
know the loose pictures andtaking them out for certain
events or what have you?
I I mean that's almost what Iwould say most people do, even
myself in my business whenyou're kind of helping people
through a move and taking photosto display, you know within,
(12:58):
you know cabinetry designs andmillwork, what have you?
It's always like a randomgrouping.
So it's funny.
Like, what does that look likeinitially?
So for these people, like Iunderstand, like the timeline, I
guess, is where I'm going Like,so initially, they're going to
handle this over to you.
Kind of let go of the process.
(13:19):
Trust the expert, if you will.
What does that timeline looklike for them?
Haleh Shoa (13:28):
if you will.
What does that timeline looklike for them?
We've gotten to a point wherewe can finish a fairly large
collection, and we consider alarge collection anything over
20,000 assets within a month.
Wow, yeah.
Scott Woolley (13:40):
That's a lot of content to go through.
Haleh Shoa (13:43):
Yeah, and do you scan everything.
Tiffany Woolley (13:46):
How does that work?
Haleh Shoa (13:49):
We curate everything , meaning we go through every
single item that we've picked up, including receipts, because
sometimes receipts could havethere's a reason why someone
saved a receipt.
It could be just an oversight,but sometimes it's a handwritten
note that you know we keep.
We don't throw.
We try not to throw anythingout, even when we're deputized.
(14:12):
I you know I have clients whoare like you can throw out my
slides when you're done scanningthem.
And and and I'm fine with themthrowing it out.
In fact, I encourage people tothrow out their duplicates and
duds and things like that.
I don't feel comfortablethrowing anything out in the
studio because you could have achange of heart.
Scott Woolley (14:34):
I don't know Right right.
Haleh Shoa (14:37):
And so, to answer your initial question, we do go
through everything, but we donot recommend or scan everything
.
It's just you know, again, youdon't want.
You went to Hawaii and you knowthe sky and the water look
beautiful, but why do we have toscan that?
You know.
Tiffany Woolley (14:52):
That makes sense.
It really does, and I feel likeyou need somebody like yourself
to actually explain it.
It's kind of like when a clienthires us to do interior design
for residents I mean theydefinitely need, I always say
you can love a lot of furniture,but doesn't mean it's all going
to work in your house.
Like you can appreciate thingsfrom a distance.
Haleh Shoa (15:12):
Exactly, and you know it's much harder to curate
your own collection than it isto curate someone else's.
You know, my husband and I wentto Mexico and Cuba in 2015.
And when I came back, I had hisphone, my phone and a camera,
and I was so overwhelmed.
Voice over (15:29):
I thought okay, I don't know, I like all these
photos.
Haleh Shoa (15:32):
I know I gave it to my employees.
I'm like you know what.
You can curate this for me.
That's amazing.
Tiffany Woolley (15:38):
Because that's what they do.
So then, what did they do?
Put some in albums for you,print some that go on the wall
type of detail, so you have thatmemory.
Haleh Shoa (15:50):
They just curated it for me.
They took out, you know, theybasically five starred what they
thought was the great photos.
Tiffany Woolley (15:55):
Highlight reel.
Haleh Shoa (15:56):
Yeah, we do a lot of digital organization as well,
where we take things fromDropbox, icloud, various sources
.
Those photo sharing sites,Exactly the shared drives, and
we consolidate the digitallibraries, take out the
duplicates and then we curate.
So when I was done taking outthe dubs and duplicates for my
(16:20):
library, I gave it to them tocurate it.
Tiffany Woolley (16:23):
Wow.
Scott Woolley (16:24):
You know we love your business model and we love
what you're doing with.
You know how you're helpingfamilies and helping people.
You know archiving theirmemories.
You know, for us we're veryclose to the concept because
it's got to be 17 or 18 yearsago.
We kind of created a similarconcept to what you have.
(16:45):
It was really based off of thatbecause I had a very large
production company and Iactually had two friends who
came to me, both professionalathletes, dan Marino and Alonzo
Mourning.
They came to me almost at thesame time.
Dan came to me, past NFLfootball quarterback and said
that he had all of the videosince he was a young boy in
(17:08):
elementary school playingfootball, and his father had
kept every single video that hehad shot of him as a boy in
every single game he ever playedelementary, junior, high school
, college and he came to me andsaid hey, I want to.
Can we digitize all this,because it's all on all these
tapes and it took us, I forget,a number of months to do it.
(17:29):
And while we were doing that,his wife, claire, came to me and
said I have all these photos inthe house, can you digitize
them?
I said sure, she showed up withtwo of her sons in two cars and
they had taken all the picturesoff the walls with the frames
and brought must have been 200pictures and frames, say.
(17:50):
And I looked at it going, oh mygod, what am I doing with all
this?
But this is what you're doingfor families.
You know we did, we did the samesimilar thing for alonzo
morning.
We turned it into a businesslike what you have, but we kind
of went away from it because ofother interests and other things
we were doing and I haven'treally seen any company that's
(18:11):
doing what you're doing.
You know we talked earlierabout the fact that you know
just the natural disasters andthings that are happening in
this country and around theworld.
You know it's very sad.
Like you know, we've had a fewfriends who lost their houses in
Los Angeles.
Tiffany Woolley (18:29):
Well, and they lose everything from like the
things that their kids createdat school, like little mementos
that— Right, and your business.
Scott Woolley (18:36):
It's like everyone should know about it,
because everyone should beutilizing your business to save
their memories, to put them in.
You know, you could put it inthe cloud, you could put it on a
thumb drive or a small littledrive that you could put in a
safe deposit box, just so youhave it.
But you're also you're takingpeople's photography and so
(18:58):
forth, which is another kind ofthat's what I was going to say.
Tiffany Woolley (19:00):
Let's talk about the design side of it Like
, once you've organized andthat's all completed, what is
your approach for designing thegallery wall photo books?
Scott Woolley (19:13):
digital slideshows each individually.
Let's explain that so ourlistening audience understands.
Tell us what you're also doingfor people in their homes.
Haleh Shoa (19:23):
Tell us what you're also doing for people in their
homes yeah, in their homes.
You know, a lot of times they,you know, the low-hanging fruit
is I want to be able to watchthis on my television, which, of
course, then we can help themset that up or provide a digital
frame.
There are companies who makedigital frames.
There's pros and cons with allof them, and we've worked with
(19:46):
pretty much all the big digitalframe companies and that's
always really fun and I have ourmemories sort of playing in the
background on the TV and I justnever know what year is going
to come up Right.
Scott Woolley (20:02):
We do the same thing in our house, when the
screensaver, I'll say, goes on,for you know, I think we use
YouTube TV, or I forget whichone.
We use Fire Stick.
Haleh Shoa (20:14):
Yeah, yeah.
I mean they all you know.
Scott Woolley (20:16):
And our pictures come up.
Haleh Shoa (20:17):
Yeah, exactly, and so it's just so fun.
But you know gallery walls, aswe've mentioned.
I think gallery walls are great, but I do think gallery walls
need to be refreshed.
Yes even with art, sometimesyou just don't see it after a
while.
You know which I always thinklike it's nice to do a refresher
(20:50):
of art and the way that thingsare placed in a home every two
years, maybe.
Tiffany Woolley (20:51):
Museums do that .
They move things around.
It's a very, you know, typicalthing to do.
It's like good to remind peopleof that.
Haleh Shoa (21:00):
Yeah, I mean, as you know, design is very energetic,
you're right.
I feel like and I'm sure you canagree with this, that you know
there's a ping that hits us whenwe meet a client.
Or you know when I'm designinga photo book, it's always the
photo that they would neverchoose.
Like when I am doing a weddingbook, I often say just give me
(21:23):
everything, because they're justgoing to give me the most
obvious photos.
You know the portrait shotswhere everyone's looking into
the camera.
I like the shots when they'renot looking into the camera.
I like the blurry shots.
I like the shots with movement.
Scott Woolley (21:40):
And most of those are more memorable and more fun
to look at as well yeah, I meanexactly, you know um when
repositioning things breathesnew life into them as well.
Tiffany Woolley (21:52):
It's just kind of it changes the energy.
It changes the energy, exactlylike you said I love that and so
I.
Haleh Shoa (22:00):
So my goal and my so it's not even a goal, it's
really my intention when I'mdesigning something for a client
is to make sure, obviously, tobring joy, as, as I'm sure you
do as well, is to bring joy andjust like a sense of awe.
You know, I go like, oh, Ididn't even think about this.
Um, I designed a gallery wallfor a client who just celebrated
(22:23):
her 90th birthday.
This was a present.
Well, the installation was apresent for her.
She had no idea that she was onvacation when we went into the
house and installed everything.
It was a very, very large, very, very large.
(22:47):
Um, in her previous home whereshe lived for about 60 years,
wow, she had this gallery wallthat her husband had put up in
the 70s of all their travels.
And let me tell you, this woman, who was a coco chanel model,
um, blonde, and her husband wasvery successful businessman, and
yet they went to like placeslike Bornea for a month and back
(23:08):
packed where they didn't showerfor a month Unbelievable.
I mean, I get chills talkingabout Joni.
I love Joni and you know theywent to, you know, just back,
you know places where they werehanging out with the Aboriginals
and just really deep into theAmazon Like incredible,
(23:33):
incredible off the beaten trackjourney.
So I was so inspired by thiswall because in another room
they had a entire room of masksand I thought, okay, do you just
want me to scan these 404?
You know pictures that havebeen so degraded in color
because they were not inarchival whatever they were just
(23:54):
in this terrible frames and um,and she goes what do you have
in mind?
and I said well, you're moving.
Why don't we do a gallery wallof these photos?
And we'll mix it with the masks.
And let me tell you it was.
It's I still.
I mean, I go there at leasttwice a year because we are
continuing small little projectshere and there and every time I
(24:16):
walk in I'm like this is soamazing.
Tiffany Woolley (24:19):
This is still my, so that one would be like
your favorite to date maybe.
Haleh Shoa (24:24):
I'm more of a minimalist, like my design.
Sense is more of a minimalist,and this wall was definitely not
that.
Tiffany Woolley (24:32):
Oh, that's funny.
Haleh Shoa (24:33):
So I wouldn't say that I would want that wall in
my house.
But Joni decided every singlething in the house is white.
The couch is white, the wallsare white, the floor is white,
the walls are white, the flooris white.
Everything is white on white,on white, on white.
Scott Woolley (24:47):
We've seen a few of those houses like that.
Haleh Shoa (24:51):
And the only huge, ginormous pop would be this wall
that you walk into.
And so, yeah, I mean this is I.
It was a collaborative process.
I was able to show thembasically the layout and the
design, but when we went toactually install this, some of
(25:13):
the masks in transit had broken,so I had to.
It wasn't exactly what they hadapproved, but I mean it didn't
matter.
She was really extremely happywith it.
Scott Woolley (25:24):
So when you're doing a gallery wall for a house
, you're selecting the pictures.
Are you also then framing them?
Because I know you'reinstalling and putting them up,
but are you actually thenselecting frames?
Haleh Shoa (25:38):
Yeah, I mean again, it's a collaborative process.
I would suggest certain framingand I've never gotten pushback.
And I explained like I thinkthis needs to have a pop of
color in the mat for thesereasons and I send pictures from
the framer and they usually go.
I didn't think of that, of that, you know.
Tiffany Woolley (26:06):
um, I, I, I like to push the boundaries and
even when they don't see, excepta lot of people aren't visual.
Oh, a lot of people are notvisual.
Do you follow a certain processor do you have a certain
philosophy when it comes togallery walls, as far as the
sizing of the photos, or do youchange up like it's, or is each
one completely curated on theirown?
It's completely curated.
(26:26):
It depends on what else theyhave.
But is there a certainphilosophy that you adhere to or
like a certain?
Um, I don't know.
I know, when I'm laying art onwalls, I lay them on the floor
for example, first and I know alot of people do templates now.
Scott Woolley (26:41):
Or but were you also?
You just did one on 3d you didit in 3d on cad and then did a
3d of the wall.
Tiffany Woolley (26:48):
So the client saw a philosophy that you follow
, or a rule of thumb.
Haleh Shoa (26:53):
I design things in canva, uh-huh, I love canva.
What a fabulous little additionthat is so I do the you know I,
when I go to someone's house,or if I'm doing it remotely, I
ask them to send me a photostepping away from the wall so I
could see all corners of thatwall.
And then I ask them to measureeverything, including, like the
(27:17):
switch.
Voice over (27:18):
Right the light switches.
Haleh Shoa (27:21):
You know I need to put that on my camber,
essentially on the canvas right,and then, once I know what the
measurements are, you know ifthere's a television, where's
that place?
You know, measure it from thisangle and that angle.
So I set up all the furniturein camva and I usually put a
(27:44):
height of a person that is thesame height as my client Right
and so that they could see ifthey're standing next to that
wall.
Where does everything lie?
Scott Woolley (27:55):
Right, the right perspective.
Tiffany Woolley (27:57):
Yeah.
Haleh Shoa (27:57):
Yes, and then I could say you know, is this
where your television would be?
Because I want to make surethat I did the canvas properly.
And once we figure that out,then I put everything on the
wall and then they can.
So, but to answer your question, I like to design a gallery
wall, first looking at what theyhave, and then I can add
(28:20):
different things, you know, andwork with the sizing and things
like that.
Scott Woolley (28:26):
Does technology fall in place with what you do?
Is it important?
Haleh Shoa (28:34):
I say to people I own an IT company.
Tiffany Woolley (28:36):
What's that?
Haleh Shoa (28:40):
It's that I own an IT company, it's all.
I mean, I have a 50 terabyteserver onto which we scan
everything, because we camerascan.
You know, the scans areenormous, right.
And then you know, I haveanother 96 terabyte for all the
digital collections that wegather.
(29:02):
96 terabyte for all the digitalcollections that we gather
because, um, you know, we need,we need a really fast computer
and a very, very large harddrive for all those iClouds and,
you know, google photos and somuch information you know,
there's a, there's a, there's atechnology I cannot think of the
name of it.
Scott Woolley (29:20):
um, it slips my mind.
Right now, we, in our house, wehave a wall of photos, I'd say
the room is the hallway, is 20feet long, 25 feet.
Tiffany Woolley (29:31):
Yeah.
Scott Woolley (29:32):
And we probably have a hundred Too many pictures
, 200 pictures all framed thatare on the wall.
Too many People love it butit's not.
And a few years ago I kind ofwhat you just said a few minutes
ago about changing things andbeing sort of stale and stagnant
.
I started taking the picturesand I cannot think of the
technology of what we were doing.
(29:52):
But we were using a companycalled Erasma.
They were bought by HP and thenHP they kind of gave up on the
company and they went away.
But I don't know if you've usedthis kind of technology with
any of your clients that we usethe photo as almost like a QR
code.
So when you took your phone, ifyou had the software on your
(30:15):
phone and you put it on thepicture, that picture would then
turn to life with a video thatmatched the picture.
Haleh Shoa (30:24):
Oh, I had a client who wanted to do this.
Scott Woolley (30:26):
I can't think of the name of the technology.
It's widely used.
The Rolling Stones used it fora concert tour to promote their
tour, and I got involved in itbecause I had a client Office
Depot and we used it in OfficeDepot and I wish I could think
of the name of the technologythat exists that you could take
(30:50):
a picture and that becomes sortof the QR code that ignites or
starts whatever you want.
It could take you to a website.
It could take you to what weuse in our house is for video
and.
And then my kids took theselittle, my kids took these
little crystals and stuck themon all the frames.
That would come to life.
(31:12):
So when friends and relativesand whatnot came to the house
they could take their cell phoneout, download the software from
Erasmus and watch the picturecome to life.
Haleh Shoa (31:23):
I'm going to write this down.
Is it still active?
Scott Woolley (31:25):
Oh, well, erasmus is not.
It was a wonderful platform.
Like I said, hp bought them andthen they abandoned it, like a
year or two later.
But I'll remember what thetechnology is and I'll let you
know.
Haleh Shoa (31:41):
Yeah, that would be great.
I would love to explore that.
Yeah.
Tiffany Woolley (31:45):
And as we're talking about technology and you
mentioned, you know sometimesyour clients are not in the same
town or area as you do.
You get your business throughword of mouth.
Is it through social media,online platform?
And like where does, where dopeople go to find you?
Haleh Shoa (32:07):
Well, we're everywhere, we're on all the
socials and, of course, we havea website.
We have been getting a lot ofclients outside of Los Angeles
as of late through Google.
They just find me on Google,amazing, yeah, and I just did my
own little tweaks on SEO and Ithought wait, what's happening?
This is pretty cool and youknow, we have clients outside of
(32:30):
LA where they fly me to their,which it's actually.
It's actually doesn't take thatlong Again, with clients in LA.
I usually spend up to fourhours with them, and so it takes
about two to three days.
You know, I fly and then thenext day we start assessing and
(32:54):
working with, you know, ups tostart boxing their memories to
ship back to us.
So, yeah, so that's always anoption is shipped back to us.
Scott Woolley (33:02):
So yeah, so that's always an option.
Are there any challenges inpreserving people's memories in
the process of what you do?
Haleh Shoa (33:10):
The challenges are always the tapes, you know.
A lot of times they're likewell, we don't know what's on
this tape, and the tape would be.
Well, it's not that.
Tiffany Woolley (33:18):
Well, we always get that too.
A few little Pandora boxes aregetting opened up.
Haleh Shoa (33:25):
It's always a Pandora box Always.
Scott Woolley (33:31):
There's an enormous amount of different
formats of tape.
Haleh Shoa (33:35):
We handle all.
Scott Woolley (33:36):
You have all of them.
Haleh Shoa (33:38):
We handle everything .
Everything is handled in-house,except for this kind of film
8mm and 60mm, all that.
I just decided not to purchasethat equipment because, again, I
live in Los Angeles and thereare so many amazing vendors that
can do a phenomenal job where Idon't have to do this.
Tiffany Woolley (34:01):
The experts.
Scott Woolley (34:02):
Exactly so.
I'm interested in asking aquestion.
The fact that you do work andyou have clients all over the
world is from a standpoint fromdealing with people all over the
world.
Do people handle their memories, their photos in different ways
in different areas of the world, or is everyone kind of the
same, just in shoeboxes anddisorganized with it?
Haleh Shoa (34:26):
Shoeboxes and disorganized.
Tiffany Woolley (34:28):
you know it's like it's a global solution.
Haleh Shoa (34:32):
You know, here's the thing Everybody was very used
to and we are probably of thesame generation and we know this
to be true Everyone was used tothe analog.
They were used to thescrapbooks or the albums, Then
it went from sticky to slide-ins.
We were just used to all that.
And then in 1996, there was anemergence of digital camcorders
(34:55):
and cameras, which wasintriguing in 1996.
We still had that, but maybe webought it if we were gadgety.
But then people didn't knowreally what to do with the SD
cards 1996.
We still had that, but maybe webought it if we were gadgety,
Right, and then um so, but thenpeople didn't know really what
to do with the SD cards.
Tiffany Woolley (35:08):
And that's the little memory card that was me.
Haleh Shoa (35:13):
And um.
So I have a client who had noexaggeration over 800 SD cards
cause they didn't know.
You can download theinformation.
Scott Woolley (35:21):
That's quite an investment in SD cards because
they didn't know you coulddownload the information.
That's quite an investment inSD cards a huge investment.
Haleh Shoa (35:28):
So then then it became uh, you know there's a
term, it's it's in 2004, it'scalled the digital black hole,
where so many families don'thave assets from 2000 to 2004.
And that was because they justdidn't know how to save their
digital files.
So it could actually thosefiles could be sort of
(35:51):
squirreled in an old computerwhich we can have that actually
happened to us?
Tiffany Woolley (35:55):
We have like a whole year of trips and travel.
Scott Woolley (35:59):
It's like a two and a half year period that
everything that disappeared isgone.
Haleh Shoa (36:05):
Yeah, because people didn't know they would change
computers.
They had no idea.
Yeah, we entrusted, it's so sad.
Scott Woolley (36:13):
I'm going to give you one that's even worse.
This is putting it on yourcomputer.
Then your computer dies andyour hard drive dies, and now
everything's gone.
Tiffany Woolley (36:23):
Yeah, you definitely need backup for your
backup when it comes tophotography and memories.
Haleh Shoa (36:29):
Yeah, and this is why we practice the 3-2-1 backup
method for all of our clients.
Tell us about that.
3-2-1 is three copies of yourdata in two places, one off-site
.
So three copies of your data.
Two places could be, twodifferent clouds or on external
(36:50):
hard drive, and one on the cloudand then one copy off-site.
So you get another externalhard drive and you put that in
the bank or someone else's houseRight or at the office.
You know if you have access toa different location.
Tiffany Woolley (37:05):
Makes total sense.
Scott Woolley (37:07):
Did you come up?
Haleh Shoa (37:08):
with that.
No, the father of metadata well, we kind of call him that.
But Peter Crow is who I'mactually going to be seeing in a
couple of weeks when I go toconference.
He's the one who sort of cameup with the 3-to-1 method.
Tiffany Woolley (37:26):
So is that part of your business plan Like when
somebody hires you, that's all.
How does the compensation lookLike?
What does your agreementstrategy look like?
How does that is there brokenup into how many pieces?
I mean, it's like, kind of, forme every project is a different
scope of work.
Haleh Shoa (37:48):
Every project is different, so we, so we're.
I like to look at my workflowand our studio and what we offer
as 360.
It's like really, frombeginning to end, we have
figured it all out for ourclients.
So the way we deliver files isthat we come up with a platform
and I sort of give them ashowcase of different platforms
(38:13):
that we've created for ourclients and I go through the
pros and cons of those platformswith them and then they choose
a platform and then we set thatup for them and then, of course,
they get a couple of thumbdrives from us as well, or hard
drives, depending on how largethe collection is, and they can
keep one in-house and back thatup on their computers and keep
(38:37):
one off-site.
So in terms of how we priceeverything, it's really in
phases.
In terms of how we priceeverything, it's really in
phases, although I've gottenpretty good at being able to
tell someone their collection is$10,000, $20,000, $50,000,
whatever it is.
We basically we bringeverything in the office and we
(39:00):
count everything and theestimate I provide has the count
and the counts are approximate.
I'm not going to sit there andcount 80,000 photos three times
to make sure it was 80,000.
But there's there's tacticsthat we use.
For example, one inch of photosis approximately a hundred
photos.
Okay, one inch of slides isapproximately 20 slides, so you
(39:23):
don't weigh them slides isapproximately 20 slides, so you
don't weigh them.
Scott Woolley (39:26):
No, we don't weigh them.
Haleh Shoa (39:28):
No, we don't weigh them.
If there are old sort ofcabinet cards, you know the
cabinet cards, the thick onesfrom the late 1800s to 1910s.
You know those, of course,because they're thicker, it's
going to one inch of those isgoing to be less right.
You know it's going to be 10approximately.
It's around a millimeter or so.
So we have tactics and then forthe albums we sort of do an
(39:53):
average of anywhere from threeto four per page.
We count the pages and we putthat in.
It's just all approximate.
And then we say if you scanyour entire library it's going
to be this price.
But we know it's never going tobe that price because we're not
going to scan everything.
I don't you know, I alwaysrecommend and this floors a lot
(40:16):
of people.
I say 10 to 20% and they'relike wow.
You know, I mean think about it.
Tiffany Woolley (40:25):
Preserving it.
It's different, Like you'represerving God forbid, you know,
and you're preserving it forpeople to actually be able to
use and look at and frequentversus.
People aren't going to want togo through that every single
time.
You actually would.
I think the little bit would bemore accessible.
Haleh Shoa (40:43):
Exactly.
Well, it's not, it's.
I'm not talking about 10 to 20%from every era.
Obviously, if anything isbefore the 70s, we're going to
preserve most of it, becausepeople were more discerning.
Tiffany Woolley (40:55):
Yeah, definitely it was more
discerning.
Haleh Shoa (40:58):
In the 70s, people started taking a lot of photos
and then forget about the 80sand 90s, because that was when
you got one print and then yougot like three for free.
Tiffany Woolley (41:08):
So you know so funny yes, there's so much
history just in like thisconversation alone, of like
understanding philosophies.
Scott Woolley (41:19):
Right, yeah, absolutely, you have to
understand the mindset we wementioned to you before we
started the podcast today thatyou know we as a family have
been digitizing all of ourmemories since our first child
was born 18 years ago.
So every single photo, everysingle video that we have taken
(41:41):
has been put onto a familywebsite.
And one thing that we havefound because of that and
Tiffany and I talk about thisevery so often is that it really
brings the family together somuch more because when we have
family over or we're just on aSaturday night with our kids and
there's not a great movie towatch, let's turn on the photo
(42:03):
memories and we'll sit there fora number of hours going through
those photos and, like you know, our kids just love it like
going through our wedding photosand so forth and the wedding
videos.
So there's an emotional aspectto going back and looking at all
of that old, you know, thoseold memories.
So you must experience thatwith clients that that you have
(42:27):
that are probably very excitedonce they get everything you
know absolutely.
Haleh Shoa (42:31):
There's never a dry eye in the house when you're
delivering.
I mean, it's just.
My favorite form of memory isslides, because a no one has
seen them for decades right,you're right.
And b you are.
You just won't believe thequality it's like.
Slides are this magical form ofmemory that has held its
(42:54):
quality since the 40.
I mean, I scan slides from the40s and it you could see the
pores if the camera was a goodquality.
Tiffany Woolley (43:02):
You're kidding?
Wow, the color and everything.
Haleh Shoa (43:08):
It's just magical.
I mean now, having said that,there are a lot of slides that
have lost their glory.
But our scanning price includesnot only the high-quality scan,
but we of course rotate andcrop everything, and of course
we rename the file and redate itso that it's searchable and
(43:30):
sortable.
But we also color correcteverything that we scan.
Tiffany Woolley (43:35):
That's unbelievable.
Yeah, believable.
That's really because I knoweven Scott, when he goes through
our pictures, you know, andwith the kids, if we're
traveling, he's always wantingthe pictures horizontal, but the
kids want vertical becausethat's what goes on social media
, one of those that's a modernproblem.
Scott Woolley (43:57):
Right?
Well, because we watched themas a family, like I just said,
on the big screen TV and I thinkthat a picture in a widescreen
format is so much better thanlooking at it vertical, because
from your cell phone you'reseeing so much of what the
memory is.
Haleh Shoa (44:17):
It's the best.
Scott Woolley (44:18):
Yeah.
Haleh Shoa (44:20):
We hold such an amazing piece of equipment in
our hand.
We do so incredible.
I mean, I run my business onthis thing Right, and I'm a
phenomenal photographer on itand I'm a great videographer and
I get to, you know, my dad's 97.
And I get to put on thatrecorder so he doesn't become
self conscious.
(44:40):
I do audio recording of him.
I just kind of slip it rightunder him as he's telling a
story, just so I can have hisvoice.
You know, and um, and it's,it's just.
I actually do a lot of uh,workshops on iPhone, um, on
little tips and tricks oniPhones.
Tiffany Woolley (45:00):
That a lot of people don't know about.
Haleh Shoa (45:01):
That's cool.
Yeah, sign up on our mailinglist and you'll uh, get a a note
of that, but, um, it's just.
But, however, we've lost beingintentional photographers agreed
agreed, without a doubt.
We need to be intentional.
We need to make sure that thatcamera lens is clean before we
(45:23):
take a selfie, or, you know, ora or a photograph.
I get too many photos whereeverything's blurry because the
fingerprints are all over thecamera lens, either in the front
or in the back, and you knowyou need to be intentional about
taking photos.
There's a carbon footprint ofall the things that we're
putting in the cloud, you know.
So you don't need to have yourphotos because this is such a
(45:47):
fear.
People have squirreled theirphotos in every all over and and
then they become overwhelmedand they don't know what they
have and it's not consolidated.
So.
So I teach a lot aboutintentionalities when it comes
to this.
Tiffany Woolley (46:03):
Well, and even with, like you know, I'm sure,
as you get more modern clientele, or I should say younger
clientele as your businessevolves, like this generation,
everything is digital.
There's very little that'sactually a printed photograph or
memory.
Do you also include like, say,like a newspaper clipping or
(46:29):
anything like that?
Go into the archive as well?
Like you know, we also saveevery time the kids are in a
competition or like if they givea you know at church, they'll
give a pamphlet out who'ssinging?
Scott Woolley (46:43):
Well, we've taken it from our standpoint as a
family to another level.
We not only archive every photo, every video, but every award
that someone in the family mightget.
There's a section on our familywebsite for awards, even their
report cards.
I love that, even their reportcards.
I'm digitizing and putting itup there because, you know, in
(47:04):
20 years, when our kids havekids, they can go back and with
their kids looking at hey look,this is what I got as grades in
third grade or sixth grade.
Tiffany Woolley (47:12):
Well, and I also found, as they need
pictures for certain events orcertain things, you know, things
it's very easy to be, go getthose pictures of right off the
website Right.
Haleh Shoa (47:24):
That's that, yeah, and to answer your question, yes
to all of that awards um oldpassports oh, that's a good one
too it's so fun to scan oldpassports of you know grandpa,
who's been gone since the 90s,and we find his passport, and
it's like from the 20s you knowvintage, yeah, driver's licenses
, all those.
Driver's licenses.
(47:45):
But definitely accomplishmentsare huge.
You know, we have a lot ofclients whose parents that have
passed had enormousaccomplishments and there's a
lot of newspaper clippings andwe just did a book of just.
My client is now 75, and so herdad has been gone for a while,
but I just created a book forher of just her father's
(48:08):
accomplishments.
Tiffany Woolley (48:11):
So that's amazing.
So once you actually go throughthe cataloging and that
curating you can constantly, Iguess clients can come back to
you and be like, oh, can we nowdo this and now add on that yeah
, we do a lot of year end books.
Haleh Shoa (48:27):
Okay, so I, for me, that's gold, you know, you know,
and and I, my approach to doingcelebratory books is a little
different.
You know, I like for a weddingbook, I do like to include the
vows.
I like to include a weddingbook, I do like to include the
(48:50):
vows I like to include.
I mean, if the album pagesallow.
I like to include anything abouttheir engagement, just so, it's
the journey of their wedding,yes, and then, of course, if
they went on a honeymoon, andagain, if the book allows,
because books only have certainamount of pages, you know, maybe
(49:13):
include something that is ofthe journey of their, their
whole getting married and theirunion Right.
Tiffany Woolley (49:17):
So who do you use to do the books?
Do you do print those in house,or how does that?
No, no, okay.
Haleh Shoa (49:22):
We use.
Everything I do is everything Ido is, uh, through the lens of
archival?
Okay.
So we use um bookmakers thatare only provide archival
quality, okay.
So when a client asked me to dosomething in Shutterfly, with
all due respect, I will say no.
Tiffany Woolley (49:39):
Right, okay, that's kind of what I was asking
in a nice way.
Yeah, yeah and again.
Haleh Shoa (49:46):
No, I mean.
Tiffany Woolley (49:47):
No.
Haleh Shoa (49:47):
I get it, I get it.
And Shutterfly, it's great forthe consumers, it's wonderful
Like put your photos in there.
I call it the photo jailbecause trying to get your
photos out of Shutterfly is youneed.
You know you need a court orderfor that.
Scott Woolley (50:03):
Right.
Well, I'm going to say thatthat's with a lot of sites, a
lot of sharing sites.
You know they either ownwhatever you put up or to get
your stuff out.
It's so difficult.
Haleh Shoa (50:17):
Yes, yeah, I mean, apple makes it really easy and
again, because it's all aboutprivacy for that company and I
hope they never change thatpolicy Shutterfly is the
absolute worst.
Google is hard doable andAmazon was really easy and now
it's much harder with Amazon.
(50:39):
So, yeah, I mean.
Oh.
So, yes, I only use archivalquality, whether it's just
getting prints for my clients ordoing photo books.
We have different tiers fordifferent price levels and
they're all archival.
But you know, the higher tierjust allows for a million
(51:03):
different iterations when yousay archival, what do you mean
by that?
Scott Woolley (51:08):
The texture of the paper?
Haleh Shoa (51:11):
The paper is archival quality, meaning it
will last.
They guarantee one companyguarantees it for up to 100
years that it won't fade ordegrade and that the glues won't
come apart.
You know, because all thecovers have glues on them, right
, so the glues won't come apart.
You know, because you know, allthe covers have glues on them,
right, so the glues are archival, the print is archival and I
(51:35):
don't think you could do fabricthat's archival.
But fabric is fabric, right,and most of it is polyester, so
it's essentially plastic, so itwon't ever degrade.
So it's essentially plastic, soit won't ever degrade.
Wow, but yeah, and you know, Ilike to design and I do design
logos, sort of family logos forthe websites that we design, and
(51:58):
the same logo goes on all theirbooks.
It's like family branding.
Tiffany Woolley (52:04):
It is.
Yeah, I know, I just saw thatrecently too.
I read in a magazine of like acouple who had a second or has a
second home and they created alogo and a name for the house
and then a certain colorway andthey used it on everything from
their napkins to the bikes theyuse on that property, their cars
.
Literally, the logo became suchimportant facet to the whole.
(52:29):
So there's just so much thatcan be incorporated with
intention, as you mentionedbefore.
Yeah, definitely.
Scott Woolley (52:38):
So where do you see your company in four or five
years from now?
Haleh Shoa (52:52):
years from now, I would like to be able to bestow
my knowledge to as many peopleas possible.
That's really my intention isto teach people the importance
of not only saving theirmemories, but, you know, for me
it's the gateway to ourancestors.
For sure, our history, ourhistory, and I know that there
is no human alive that is atleast my age that hasn't
(53:16):
experienced some level of trauma, and whether that is through
the family or through just theworld in general.
For example, when I was nineyears old, I was in the middle
of the Iranian revolution, rightand crazy my story, my personal
story, is that we, you know, myparents, had to leave, flee,
(53:37):
essentially to this country, andmy mom only brought the family
photo books, and that's how I,you know that's another reason
why I started this business isbecause I started to question
like, who was was?
Who was this person?
Oh, it's my dad's uncle, whoI've only met once and I kind of
sort of remember, but notreally, and so it's the gateway
through to my where I come fromand the why, and so I just want
(54:01):
people to be inspired.
So, in five years from now, Ihope that I can inspire as many
people to take their memoriesmore seriously and take an
action towards saving them andpreserving them.
Tiffany Woolley (54:16):
Do you think this is something that could be
franchised?
Yeah, absolutely.
Voice over (54:21):
I think so.
Tiffany Woolley (54:22):
Yeah, I feel like.
I mean, I feel like just evenafter today's conversation
sharing information with you, Idon't know if you'd even be able
to keep up with the intake.
I mean, I feel like there's somany busy in this very busy,
digital, loud, fast world welive in.
You know, it's why people hireinterior designers, you hire
(54:43):
people to do everything.
Why not hire somebody toarchive, like you said, your
history?
When you were had to flee the,what was the most important
thing you had you know to takeand that was your memories and
your history.
And I just know that there's.
You know, like most peoplestart with a Shutterfly concept,
but very few stick with it aswell.
It's something that lagstremendously.
Haleh Shoa (55:07):
I mean, you could start with the Shutterfly
concept and you can certainlycontinue that, but that's not
going to preserve your greatgrandmother's photos Correct,
and her stories Correct, andmerge them, and merge them.
Tiffany Woolley (55:37):
Yeah, I mean this is again, the 360 is this
idea of everything that'simportant to you right the
report cards, the passports, theold driver's licenses and then
all the children's art.
Scott Woolley (55:41):
Oh, totally.
Tiffany Woolley (55:43):
That's one of the things that we keep, we scan
.
Yeah, it really is such abrilliant, brilliant business
concept.
Thank, you.
Scott Woolley (55:51):
I appreciate that it really is Is your
demographic more of the babyboomer generation that has more,
because it really is.
How do we get the message outto the younger generation that's
more savvy with digital andshould be?
Tiffany Woolley (56:07):
Well, and I actually feel like to add on
piggyback what you were justsaying, scott.
So, for example, my grandmotherwas sick a few years ago.
She's older, lived an amazinglife, has amazing history
archive and my aunt took a lotof that and made books that she
would keep on the cocktail table.
So anytime somebody would govisit my grandmother spend an
(56:29):
hour with her.
My girls started to want to gohang out at my grandma's.
They could look at those oldphotos again and see all these
old memories and pictures wherethis new generation it's all in
a phone.
Haleh Shoa (56:44):
And it's all in their phone.
It's not shared correct.
Tiffany Woolley (56:48):
So there's the whole next generation of your
market is really being able totap into this next group and,
you know, frame a freakingpicture, you know, put one on
the nightstand and hang thingson the wall and and create, like
you know, these books or thingsthat can be shared.
Haleh Shoa (57:11):
So our clients that are younger, so millennials
right, they are overwhelmed bytheir digital right.
So we get a lot of clients thatare like I have 10,000 photos,
but my wife has 300,000 photos,and how do we merge that?
You know right.
So you know, we get more of thedigital clients of the younger
(57:34):
generation, and then the babyboomers have the more.
They are the generation who arenow empty nesters.
Tiffany Woolley (57:41):
And they're like OK, what do we do with all
this?
You know.
Haleh Shoa (57:44):
Yes, I'm retired, I can pay attention to this right.
And then we get clients thatare in the sandwich generation,
where they're like I'm reallyoverwhelmed, my mom just died
and I have teenagers and I don'tknow what to do here, right,
you know?
Tiffany Woolley (57:59):
right, right.
Well, the good news is is thatyour business is here to help
all that and facilitate that,and I would think that this has
so much growth potential.
Scott Woolley (58:09):
So people who are listening and watching to this
podcast how do they find you?
Haleh Shoa (58:20):
You can find us, of course, on our website.
It's picturelycomP-I-C-T-U-R-L-I no E with an I.
I know it's spelled a littleweird.
I also own picturelycomp-i-c-t-u-r-l-i no e with an I.
I know it's spelled a littleweird.
Um, I also own picturelicom, soif you just go on there, it'll
uh put you right to my website.
Um, we're on facebook andinstagram and I'm starting to
post some content to youtube and, of course, on our website, you
(58:42):
can sign up for a newsletter,where you, you know I do the
newsletters, so I writeinformation that I think is
helpful for people to beinspired by and, of course, we
will talk about some workshopsthat are coming up as well.
Tiffany Woolley (58:59):
Really, really amazing.
Really wonderful conversationtoday.
Scott Woolley (59:04):
Thank you Thank you so much thank you so much
for having you joining us yes, Iappreciate you having me.
Tiffany Woolley (59:12):
It's been wonderful talking to you I look
forward to keeping up thisconversation, too, in the future
and we will definitely we havea few ideas that we want to run
by you.
Haleh Shoa (59:24):
Oh, amazing yes.
Scott Woolley (59:26):
So we'll be in touch.
Haleh Shoa (59:27):
Amazing.
It's so validating when someonereally understands like every
level of detail that has goneinto my thought process, you
know, because a lot of peopleare like I just don't know how
this works and honestly, itmakes sense that they don't know
, because it's so overwhelming.
(59:47):
It's like how are you going totake all this and make it look
like what you're showing me?
Tiffany Woolley (59:52):
And I think, like in what my business is too,
it's something people think oh,I can do myself, I can do it
myself, I don't, I don't need to.
You know where you realizeyou're limiting yourself, where
you realize you're limitingyourself.
If you can bring an expert inthat genre into the fold, I mean
, just think of how much betterthe end result will be.
Scott Woolley (01:00:15):
Yeah, exactly Well, we appreciate you joining
us today.
Thank you.
Tiffany Woolley (01:00:22):
We'll stay in touch.
Scott Woolley (01:00:23):
Yes, definitely.
Thank you so much.
Voice over (01:00:25):
Thank you so much Bye-bye, it was a pleasure
iDesign Labs Podcast is an SWGroup production in association
with the Five Star and TWInteriors.
To learn more about iDesign Labor TW Interiors, please visit
twinteriorscom.
This is iDesign Lab, a podcast where creativity and
curiosity meet style and design.
Curator of interiors,furnishings and lifestyles.
Hosted by Tiffany Woolley, aninterior designer and a style
enthusiast, along with herserial entrepreneur husband
Scott, idesign Lab is yourultimate design podcast where we
explore the rich and vibrantworld of design and its constant
(00:23):
evolution in style and trends.
Idesign Lab provides industryinsight, discussing the latest
trends, styles and everything inbetween to better help you
style your life, through advicefrom trendsetters, designers,
influencers, innovators,fabricators and manufacturers,
as well as personal stories thatinspire, motivate and excite.
(00:43):
And join us on this elevated,informative and lively journey
into the world of all thingsdesign.
On today's episode of theiDesign Lab, we welcome the
incredible Hale Shoa, founderand CEO of Picturely, where
photo chaos meets storytellingmagic.
From luxury branding topreserving family legacies,
hala's mission is powerful torescue your memories and turn
(01:06):
them into timeless, searchabledigital archives.
You don't want to miss this.
Tiffany Woolley (01:11):
Welcome to the iDesign Lab podcast.
Today we have a very specialguest, Halei Shoha, who is the
founder and creator of a veryexciting company called
Picturely.
So welcome, Hale, and pleaseintroduce yourself to our
audience.
Haleh Shoa (01:29):
Thank you so much for having me.
I am Hale Shoa and, yeah, asyou mentioned, I'm the CEO and
founder of Picturely.
It's a photo organization andcuration and design studio based
in Los Angeles.
Scott Woolley (01:45):
It's a very interesting company.
Tell us a little about thecompany and what the company
does and how it helps people.
Haleh Shoa (01:52):
Uh-huh.
So this was my little passionproject back in 2015.
I was working with a life coachwhile I had a very big girl job
in advertising.
I was the global operationsdirector for Jaguar Land Rover
in 2016.
And I just really wanted to domy own business.
And she kept asking me, like,what do you love doing?
(02:13):
And really what it kept boilingdown to was family memories and
making things with it.
So I am very passionate aboutdesigning beautiful photo
keepsakes like photo books andgallery walls.
And then she kept saying, okay,well, let's figure out how to
make a business out of it.
And I kept thinking who's goingto pay me to do photo books?
(02:35):
That's so funny, you know.
Five employees later, yeah.
Scott Woolley (02:40):
But you're doing more than just photo books.
You're doing photo walls forpeople's homes, the collages and
so forth.
You're doing archival forpeople.
Haleh Shoa (02:52):
Yeah, that's actually most of our business,
is that?
So my first client I'm sorry, no, no, go ahead my first client
out the gate who wanted to do aphoto book.
I went to her house to sort ofassess what she has and she took
me into her dining room, whichher dining room was about, I
(03:12):
want to say it was about 24 feetlong, it was very large.
She had a very big house in LosAngeles and it had about three
feet deep of photos.
And then there were adjoininglittle tables around the dining
room which also had three feetdeep of photos.
And then there were adjoininglittle tables around the dining
room which also had three feetdeep, full, full.
And and she said, yes, I'd liketo do a photo book, but what
(03:34):
about all this right?
And I thought, oh, so, uh, yeah, I need to dig into archiving
and learn how to do that.
So I became a certified photoorganizer so I am very
knowledgeable in how to approacha.
I specialize in largecollections.
(03:55):
We just happen to get a lot oflarge collections of people
saying you know, I have so manyphoto books and scrapbooks from
1800s, all the way to the 1940s.
You know, I have so many thingson tape from the 80s, 90s and
2000s, I just don't even knowhow to approach this.
I don't even know what to dowith all this, so it's really
(04:17):
important to be able to organizea collection in a way that the
family can access it, in a waythat's searchable and sortable,
and so that's our expertise, inorder to be able to provide an
archive to them.
Scott Woolley (04:33):
So a person who has photos, videos, film that
they've had since they're a kidor their grandparents or their
parents gave them, you're ableto take all of that and
basically digitize it catalog itlike digital cataloging, I
guess exactly.
Haleh Shoa (04:51):
yeah, so we organize everything chronologically.
I was just gonna ask you is itdate or exactly?
You know there's so many cluesand photos.
You know the photos themselves,you know, with the deckled
edges being from the 30s all theway to the early 50s, and then
the square photos are from thesort of mid to late 50s to early
(05:11):
70s.
So photos themselves have a lotof clues in them as to when
they're from.
And of course, we start everyproject with a family tree so
that we can see, you know, whenthe grandmother was born, when
they got married, when the youknow when they passed, because
we always come across photosthat are wrongly dated whether
(05:34):
the camera had a wrong date onit and so the stamp on the photo
is incorrect.
I remember those days when youdidn't update that exactly yeah,
a lot of people are like, yeah,I just bought a new camera.
It's like they forget to youknow update it yeah, yeah,
exactly yeah.
So you know, and that's why youknow, if we come across a photo
(05:56):
that has grandpa in it thatstated 1998 on the the stamp on
the photo, but grandpa died in1993, we, we know that, that's
you know.
In fact, it gives us a clue to,and how to do other photos that
came from that camera.
Tiffany Woolley (06:10):
Um, so, so, so much research, really with the
family itself is involved inthis process.
Haleh Shoa (06:19):
You know you would think, uh, I've become so good
at, in terms of, like, how tointerview a client Right that we
spent two to four hours with aclient and that's really all a
client can handle.
Going through memories is, Imean, unless it's like a very
large archive and by large Imean like 300,000 or more Then
(06:43):
but even then it's justunderstanding what the cadence
was.
We have a lot of clients whoare high profile, whether it's
in the world of business orfashion or otherwise.
So our approach to those typesof clients is a little different
, because now we're getting intotheir business acumen and
(07:06):
understanding theiraccomplishments and what the
timeline of that would be.
Tiffany Woolley (07:13):
It's really so necessary.
There's really everybody whocould benefit from a tool like
this.
So when you spend that initialthree hours or less with the
client, is this something thatpeople can access for the
foreseeable future and add to?
Haleh Shoa (07:31):
Well, yeah, I mean the three to four hour initial
thing is for me to understandtheir goals and also just kind
of skim through some of theiralbums and some of their
memories to sort of assess theway we would curate.
So I highly recommend everycatalog to be curated.
There are there's no reason forus to keep and scan photos that
(07:57):
, let's say, you went to the zooin the nineties and you took a
bunch of images of the animalsand those were amazing in the
90s, because then you make alittle photo book and then you'd
be like then that's theelephant and that's the giraffe,
and the kids will love it.
But you know your greatgrandkids are going to be like
why?
Why is there a photo of anelephant Like right.
(08:18):
Significance.
Did they own this elephant?
Own this elephant, it's so true.
The editing process yes, so mymain goal is to make sure I
understand how they would wantus to edit it for them.
We have an amazing team oforganizers and curators that you
know.
We've all worked together toreally understand what to keep
(08:40):
and what not to keep, and so wecurate every collection and in
that three to four hours is whenI'm sort of assessing, you know
, do they want to keep more orless?
And yeah, and some familieswant to keep everything A lot of
times the ones who havesuffered an untimely death,
whether it's of a spouse or ifit's of a parent, and they're
(09:04):
still grieving that tends tolean into really wanting to keep
everything.
Scott Woolley (09:10):
So it seems like it's a very timely process.
You mentioned a few moments agoyou have clients of 300,000
images.
That's an enormous amount ofimages to go through and to call
through and then to figure outwhich ones you're going to keep
and which ones you're not forthe client.
Haleh Shoa (09:29):
Yeah, I mean, you know that client had an enormous
amount of accomplishments theyhave.
They're a very prominent familyin Los Angeles.
They were extremely political,so they had a lot of fundraisers
.
You know how, like whendignitaries and politicians
(09:49):
visit certain cities, there'salways certain families who hold
that.
You know the fundraisingdinners and whatnot.
They were part of that sphere.
So there was a lot of figuringout what the data of so-and-so
visiting is and it was just fun,you know, because you get to
see a lot of, you know again,like kings and queens and
(10:10):
dignitaries and politiciansvisiting their home.
It was really cool andinteresting.
But you know, it's like what isthe saying?
How do you eat an elephant onechunk at a time?
Right, right, right.
Scott Woolley (10:26):
So when you have a new client that comes in and
they're bringing you or you'regoing and picking up after
you're meeting with them, all ofthis you know, photography and
film and video and so forth ismost of it like organized or
that people are giving it to you, or is it like in shoe boxes
that?
You're you know you're dealingwith, I hate to say, a mess.
(10:50):
To start with, to organize it,are you asking them to possibly
organize it a little beforehand?
Haleh Shoa (10:58):
No, I would prefer for them not to actually, and
I'll tell you why it's always ahybrid Not to actually.
And I'll tell you why it'salways a hybrid.
Every family or institution hashad some semblance of
(11:18):
organization with theirpaperwork, their accomplishments
, their files, their photos.
We always start every theorganization process always
starts with albums, and that isbecause there was some semblance
of a reason why certain photosor memories were in that album,
whether it is of a travel or of,you know, the first year of a
kid, or just a year's worth oftheir photos for the family.
(11:40):
So we always start with albumsso we can understand their
cadence and we can sort of putthe timeline.
It's much easier for us to putthe timeline if a family goes
into organize it themselves.
What ends up happening is thatthey will take things out of
albums that could have helped uswith the clues and now it's
going to take us a lot longer tobe able to figure that out,
(12:01):
whereas we can easily figurethat out by going through an
album, and every family has ashoebox of loose photos, and
often that is either photos thatare the most precious because
they went.
Let's say there was acelebration of sorts whether
someone's getting married orsomeone passed.
They go through the albums andtake out the best of, and then
(12:24):
it's never going to go back inthe albums again.
Um, so those, those photos areeither the duds and duplicates
that they didn't put in albumsor they were the best of that.
Tiffany Woolley (12:36):
They took out of albums to make something with
it so it's funny because, asyou're saying, all those you
know the loose pictures andtaking them out for certain
events or what have you?
I I mean that's almost what Iwould say most people do, even
myself in my business whenyou're kind of helping people
through a move and taking photosto display, you know within,
(12:58):
you know cabinetry designs andmillwork, what have you?
It's always like a randomgrouping.
So it's funny.
Like, what does that look likeinitially?
So for these people, like Iunderstand, like the timeline, I
guess, is where I'm going Like,so initially, they're going to
handle this over to you.
Kind of let go of the process.
(13:19):
Trust the expert, if you will.
What does that timeline looklike for them?
Haleh Shoa (13:28):
if you will.
What does that timeline looklike for them?
We've gotten to a point wherewe can finish a fairly large
collection, and we consider alarge collection anything over
20,000 assets within a month.
Wow, yeah.
Scott Woolley (13:40):
That's a lot of content to go through.
Haleh Shoa (13:43):
Yeah, and do you scan everything.
Tiffany Woolley (13:46):
How does that work?
Haleh Shoa (13:49):
We curate everything , meaning we go through every
single item that we've picked up, including receipts, because
sometimes receipts could havethere's a reason why someone
saved a receipt.
It could be just an oversight,but sometimes it's a handwritten
note that you know we keep.
We don't throw.
We try not to throw anythingout, even when we're deputized.
(14:12):
I you know I have clients whoare like you can throw out my
slides when you're done scanningthem.
And and and I'm fine with themthrowing it out.
In fact, I encourage people tothrow out their duplicates and
duds and things like that.
I don't feel comfortablethrowing anything out in the
studio because you could have achange of heart.
Scott Woolley (14:34):
I don't know Right right.
Haleh Shoa (14:37):
And so, to answer your initial question, we do go
through everything, but we donot recommend or scan everything
.
It's just you know, again, youdon't want.
You went to Hawaii and you knowthe sky and the water look
beautiful, but why do we have toscan that?
You know.
Tiffany Woolley (14:52):
That makes sense.
It really does, and I feel likeyou need somebody like yourself
to actually explain it.
It's kind of like when a clienthires us to do interior design
for residents I mean theydefinitely need, I always say
you can love a lot of furniture,but doesn't mean it's all going
to work in your house.
Like you can appreciate thingsfrom a distance.
Haleh Shoa (15:12):
Exactly, and you know it's much harder to curate
your own collection than it isto curate someone else's.
You know, my husband and I wentto Mexico and Cuba in 2015.
And when I came back, I had hisphone, my phone and a camera,
and I was so overwhelmed.
Voice over (15:29):
I thought okay, I don't know, I like all these
photos.
Haleh Shoa (15:32):
I know I gave it to my employees.
I'm like you know what.
You can curate this for me.
That's amazing.
Tiffany Woolley (15:38):
Because that's what they do.
So then, what did they do?
Put some in albums for you,print some that go on the wall
type of detail, so you have thatmemory.
Haleh Shoa (15:50):
They just curated it for me.
They took out, you know, theybasically five starred what they
thought was the great photos.
Tiffany Woolley (15:55):
Highlight reel.
Haleh Shoa (15:56):
Yeah, we do a lot of digital organization as well,
where we take things fromDropbox, icloud, various sources
.
Those photo sharing sites,Exactly the shared drives, and
we consolidate the digitallibraries, take out the
duplicates and then we curate.
So when I was done taking outthe dubs and duplicates for my
(16:20):
library, I gave it to them tocurate it.
Tiffany Woolley (16:23):
Wow.
Scott Woolley (16:24):
You know we love your business model and we love
what you're doing with.
You know how you're helpingfamilies and helping people.
You know archiving theirmemories.
You know, for us we're veryclose to the concept because
it's got to be 17 or 18 yearsago.
We kind of created a similarconcept to what you have.
(16:45):
It was really based off of thatbecause I had a very large
production company and Iactually had two friends who
came to me, both professionalathletes, dan Marino and Alonzo
Mourning.
They came to me almost at thesame time.
Dan came to me, past NFLfootball quarterback and said
that he had all of the videosince he was a young boy in
(17:08):
elementary school playingfootball, and his father had
kept every single video that hehad shot of him as a boy in
every single game he ever playedelementary, junior, high school
, college and he came to me andsaid hey, I want to.
Can we digitize all this,because it's all on all these
tapes and it took us, I forget,a number of months to do it.
(17:29):
And while we were doing that,his wife, claire, came to me and
said I have all these photos inthe house, can you digitize
them?
I said sure, she showed up withtwo of her sons in two cars and
they had taken all the picturesoff the walls with the frames
and brought must have been 200pictures and frames, say.
(17:50):
And I looked at it going, oh mygod, what am I doing with all
this?
But this is what you're doingfor families.
You know we did, we did the samesimilar thing for alonzo
morning.
We turned it into a businesslike what you have, but we kind
of went away from it because ofother interests and other things
we were doing and I haven'treally seen any company that's
(18:11):
doing what you're doing.
You know we talked earlierabout the fact that you know
just the natural disasters andthings that are happening in
this country and around theworld.
You know it's very sad.
Like you know, we've had a fewfriends who lost their houses in
Los Angeles.
Tiffany Woolley (18:29):
Well, and they lose everything from like the
things that their kids createdat school, like little mementos
that— Right, and your business.
Scott Woolley (18:36):
It's like everyone should know about it,
because everyone should beutilizing your business to save
their memories, to put them in.
You know, you could put it inthe cloud, you could put it on a
thumb drive or a small littledrive that you could put in a
safe deposit box, just so youhave it.
But you're also you're takingpeople's photography and so
(18:58):
forth, which is another kind ofthat's what I was going to say.
Tiffany Woolley (19:00):
Let's talk about the design side of it Like
, once you've organized andthat's all completed, what is
your approach for designing thegallery wall photo books?
Scott Woolley (19:13):
digital slideshows each individually.
Let's explain that so ourlistening audience understands.
Tell us what you're also doingfor people in their homes.
Haleh Shoa (19:23):
Tell us what you're also doing for people in their
homes yeah, in their homes.
You know, a lot of times they,you know, the low-hanging fruit
is I want to be able to watchthis on my television, which, of
course, then we can help themset that up or provide a digital
frame.
There are companies who makedigital frames.
There's pros and cons with allof them, and we've worked with
(19:46):
pretty much all the big digitalframe companies and that's
always really fun and I have ourmemories sort of playing in the
background on the TV and I justnever know what year is going
to come up Right.
Scott Woolley (20:02):
We do the same thing in our house, when the
screensaver, I'll say, goes on,for you know, I think we use
YouTube TV, or I forget whichone.
We use Fire Stick.
Haleh Shoa (20:14):
Yeah, yeah.
I mean they all you know.
Scott Woolley (20:16):
And our pictures come up.
Haleh Shoa (20:17):
Yeah, exactly, and so it's just so fun.
But you know gallery walls, aswe've mentioned.
I think gallery walls are great, but I do think gallery walls
need to be refreshed.
Yes even with art, sometimesyou just don't see it after a
while.
You know which I always thinklike it's nice to do a refresher
(20:50):
of art and the way that thingsare placed in a home every two
years, maybe.
Tiffany Woolley (20:51):
Museums do that .
They move things around.
It's a very, you know, typicalthing to do.
It's like good to remind peopleof that.
Haleh Shoa (21:00):
Yeah, I mean, as you know, design is very energetic,
you're right.
I feel like and I'm sure you canagree with this, that you know
there's a ping that hits us whenwe meet a client.
Or you know when I'm designinga photo book, it's always the
photo that they would neverchoose.
Like when I am doing a weddingbook, I often say just give me
(21:23):
everything, because they're justgoing to give me the most
obvious photos.
You know the portrait shotswhere everyone's looking into
the camera.
I like the shots when they'renot looking into the camera.
I like the blurry shots.
I like the shots with movement.
Scott Woolley (21:40):
And most of those are more memorable and more fun
to look at as well yeah, I meanexactly, you know um when
repositioning things breathesnew life into them as well.
Tiffany Woolley (21:52):
It's just kind of it changes the energy.
It changes the energy, exactlylike you said I love that and so
I.
Haleh Shoa (22:00):
So my goal and my so it's not even a goal, it's
really my intention when I'mdesigning something for a client
is to make sure, obviously, tobring joy, as, as I'm sure you
do as well, is to bring joy andjust like a sense of awe.
You know, I go like, oh, Ididn't even think about this.
Um, I designed a gallery wallfor a client who just celebrated
(22:23):
her 90th birthday.
This was a present.
Well, the installation was apresent for her.
She had no idea that she was onvacation when we went into the
house and installed everything.
It was a very, very large, very, very large.
(22:47):
Um, in her previous home whereshe lived for about 60 years,
wow, she had this gallery wallthat her husband had put up in
the 70s of all their travels.
And let me tell you, this woman, who was a coco chanel model,
um, blonde, and her husband wasvery successful businessman, and
yet they went to like placeslike Bornea for a month and back
(23:08):
packed where they didn't showerfor a month Unbelievable.
I mean, I get chills talkingabout Joni.
I love Joni and you know theywent to, you know, just back,
you know places where they werehanging out with the Aboriginals
and just really deep into theAmazon Like incredible,
(23:33):
incredible off the beaten trackjourney.
So I was so inspired by thiswall because in another room
they had a entire room of masksand I thought, okay, do you just
want me to scan these 404?
You know pictures that havebeen so degraded in color
because they were not inarchival whatever they were just
(23:54):
in this terrible frames and um,and she goes what do you have
in mind?
and I said well, you're moving.
Why don't we do a gallery wallof these photos?
And we'll mix it with the masks.
And let me tell you it was.
It's I still.
I mean, I go there at leasttwice a year because we are
continuing small little projectshere and there and every time I
(24:16):
walk in I'm like this is soamazing.
Tiffany Woolley (24:19):
This is still my, so that one would be like
your favorite to date maybe.
Haleh Shoa (24:24):
I'm more of a minimalist, like my design.
Sense is more of a minimalist,and this wall was definitely not
that.
Tiffany Woolley (24:32):
Oh, that's funny.
Haleh Shoa (24:33):
So I wouldn't say that I would want that wall in
my house.
But Joni decided every singlething in the house is white.
The couch is white, the wallsare white, the floor is white,
the walls are white, the flooris white.
Everything is white on white,on white, on white.
Scott Woolley (24:47):
We've seen a few of those houses like that.
Haleh Shoa (24:51):
And the only huge, ginormous pop would be this wall
that you walk into.
And so, yeah, I mean this is I.
It was a collaborative process.
I was able to show thembasically the layout and the
design, but when we went toactually install this, some of
(25:13):
the masks in transit had broken,so I had to.
It wasn't exactly what they hadapproved, but I mean it didn't
matter.
She was really extremely happywith it.
Scott Woolley (25:24):
So when you're doing a gallery wall for a house
, you're selecting the pictures.
Are you also then framing them?
Because I know you'reinstalling and putting them up,
but are you actually thenselecting frames?
Haleh Shoa (25:38):
Yeah, I mean again, it's a collaborative process.
I would suggest certain framingand I've never gotten pushback.
And I explained like I thinkthis needs to have a pop of
color in the mat for thesereasons and I send pictures from
the framer and they usually go.
I didn't think of that, of that, you know.
Tiffany Woolley (26:06):
um, I, I, I like to push the boundaries and
even when they don't see, excepta lot of people aren't visual.
Oh, a lot of people are notvisual.
Do you follow a certain processor do you have a certain
philosophy when it comes togallery walls, as far as the
sizing of the photos, or do youchange up like it's, or is each
one completely curated on theirown?
It's completely curated.
(26:26):
It depends on what else theyhave.
But is there a certainphilosophy that you adhere to or
like a certain?
Um, I don't know.
I know, when I'm laying art onwalls, I lay them on the floor
for example, first and I know alot of people do templates now.
Scott Woolley (26:41):
Or but were you also?
You just did one on 3d you didit in 3d on cad and then did a
3d of the wall.
Tiffany Woolley (26:48):
So the client saw a philosophy that you follow
, or a rule of thumb.
Haleh Shoa (26:53):
I design things in canva, uh-huh, I love canva.
What a fabulous little additionthat is so I do the you know I,
when I go to someone's house,or if I'm doing it remotely, I
ask them to send me a photostepping away from the wall so I
could see all corners of thatwall.
And then I ask them to measureeverything, including, like the
(27:17):
switch.
Voice over (27:18):
Right the light switches.
Haleh Shoa (27:21):
You know I need to put that on my camber,
essentially on the canvas right,and then, once I know what the
measurements are, you know ifthere's a television, where's
that place?
You know, measure it from thisangle and that angle.
So I set up all the furniturein camva and I usually put a
(27:44):
height of a person that is thesame height as my client Right
and so that they could see ifthey're standing next to that
wall.
Where does everything lie?
Scott Woolley (27:55):
Right, the right perspective.
Tiffany Woolley (27:57):
Yeah.
Haleh Shoa (27:57):
Yes, and then I could say you know, is this
where your television would be?
Because I want to make surethat I did the canvas properly.
And once we figure that out,then I put everything on the
wall and then they can.
So, but to answer your question, I like to design a gallery
wall, first looking at what theyhave, and then I can add
(28:20):
different things, you know, andwork with the sizing and things
like that.
Scott Woolley (28:26):
Does technology fall in place with what you do?
Is it important?
Haleh Shoa (28:34):
I say to people I own an IT company.
Tiffany Woolley (28:36):
What's that?
Haleh Shoa (28:40):
It's that I own an IT company, it's all.
I mean, I have a 50 terabyteserver onto which we scan
everything, because we camerascan.
You know, the scans areenormous, right.
And then you know, I haveanother 96 terabyte for all the
digital collections that wegather.
(29:02):
96 terabyte for all the digitalcollections that we gather
because, um, you know, we need,we need a really fast computer
and a very, very large harddrive for all those iClouds and,
you know, google photos and somuch information you know,
there's a, there's a, there's atechnology I cannot think of the
name of it.
Scott Woolley (29:20):
um, it slips my mind.
Right now, we, in our house, wehave a wall of photos, I'd say
the room is the hallway, is 20feet long, 25 feet.
Tiffany Woolley (29:31):
Yeah.
Scott Woolley (29:32):
And we probably have a hundred Too many pictures
, 200 pictures all framed thatare on the wall.
Too many People love it butit's not.
And a few years ago I kind ofwhat you just said a few minutes
ago about changing things andbeing sort of stale and stagnant
.
I started taking the picturesand I cannot think of the
technology of what we were doing.
(29:52):
But we were using a companycalled Erasma.
They were bought by HP and thenHP they kind of gave up on the
company and they went away.
But I don't know if you've usedthis kind of technology with
any of your clients that we usethe photo as almost like a QR
code.
So when you took your phone, ifyou had the software on your
(30:15):
phone and you put it on thepicture, that picture would then
turn to life with a video thatmatched the picture.
Haleh Shoa (30:24):
Oh, I had a client who wanted to do this.
Scott Woolley (30:26):
I can't think of the name of the technology.
It's widely used.
The Rolling Stones used it fora concert tour to promote their
tour, and I got involved in itbecause I had a client Office
Depot and we used it in OfficeDepot and I wish I could think
of the name of the technologythat exists that you could take
(30:50):
a picture and that becomes sortof the QR code that ignites or
starts whatever you want.
It could take you to a website.
It could take you to what weuse in our house is for video
and.
And then my kids took theselittle, my kids took these
little crystals and stuck themon all the frames.
That would come to life.
(31:12):
So when friends and relativesand whatnot came to the house
they could take their cell phoneout, download the software from
Erasmus and watch the picturecome to life.
Haleh Shoa (31:23):
I'm going to write this down.
Is it still active?
Scott Woolley (31:25):
Oh, well, erasmus is not.
It was a wonderful platform.
Like I said, hp bought them andthen they abandoned it, like a
year or two later.
But I'll remember what thetechnology is and I'll let you
know.
Haleh Shoa (31:41):
Yeah, that would be great.
I would love to explore that.
Yeah.
Tiffany Woolley (31:45):
And as we're talking about technology and you
mentioned, you know sometimesyour clients are not in the same
town or area as you do.
You get your business throughword of mouth.
Is it through social media,online platform?
And like where does, where dopeople go to find you?
Haleh Shoa (32:07):
Well, we're everywhere, we're on all the
socials and, of course, we havea website.
We have been getting a lot ofclients outside of Los Angeles
as of late through Google.
They just find me on Google,amazing, yeah, and I just did my
own little tweaks on SEO and Ithought wait, what's happening?
This is pretty cool and youknow, we have clients outside of
(32:30):
LA where they fly me to their,which it's actually.
It's actually doesn't take thatlong Again, with clients in LA.
I usually spend up to fourhours with them, and so it takes
about two to three days.
You know, I fly and then thenext day we start assessing and
(32:54):
working with, you know, ups tostart boxing their memories to
ship back to us.
So, yeah, so that's always anoption is shipped back to us.
Scott Woolley (33:02):
So yeah, so that's always an option.
Are there any challenges inpreserving people's memories in
the process of what you do?
Haleh Shoa (33:10):
The challenges are always the tapes, you know.
A lot of times they're likewell, we don't know what's on
this tape, and the tape would be.
Well, it's not that.
Tiffany Woolley (33:18):
Well, we always get that too.
A few little Pandora boxes aregetting opened up.
Haleh Shoa (33:25):
It's always a Pandora box Always.
Scott Woolley (33:31):
There's an enormous amount of different
formats of tape.
Haleh Shoa (33:35):
We handle all.
Scott Woolley (33:36):
You have all of them.
Haleh Shoa (33:38):
We handle everything .
Everything is handled in-house,except for this kind of film
8mm and 60mm, all that.
I just decided not to purchasethat equipment because, again, I
live in Los Angeles and thereare so many amazing vendors that
can do a phenomenal job where Idon't have to do this.
Tiffany Woolley (34:01):
The experts.
Scott Woolley (34:02):
Exactly so.
I'm interested in asking aquestion.
The fact that you do work andyou have clients all over the
world is from a standpoint fromdealing with people all over the
world.
Do people handle their memories, their photos in different ways
in different areas of the world, or is everyone kind of the
same, just in shoeboxes anddisorganized with it?
Haleh Shoa (34:26):
Shoeboxes and disorganized.
Tiffany Woolley (34:28):
you know it's like it's a global solution.
Haleh Shoa (34:32):
You know, here's the thing Everybody was very used
to and we are probably of thesame generation and we know this
to be true Everyone was used tothe analog.
They were used to thescrapbooks or the albums, Then
it went from sticky to slide-ins.
We were just used to all that.
And then in 1996, there was anemergence of digital camcorders
(34:55):
and cameras, which wasintriguing in 1996.
We still had that, but maybe webought it if we were gadgety.
But then people didn't knowreally what to do with the SD
cards 1996.
We still had that, but maybe webought it if we were gadgety,
Right, and then um so, but thenpeople didn't know really what
to do with the SD cards.
Tiffany Woolley (35:08):
And that's the little memory card that was me.
Haleh Shoa (35:13):
And um.
So I have a client who had noexaggeration over 800 SD cards
cause they didn't know.
You can download theinformation.
Scott Woolley (35:21):
That's quite an investment in SD cards because
they didn't know you coulddownload the information.
That's quite an investment inSD cards a huge investment.
Haleh Shoa (35:28):
So then then it became uh, you know there's a
term, it's it's in 2004, it'scalled the digital black hole,
where so many families don'thave assets from 2000 to 2004.
And that was because they justdidn't know how to save their
digital files.
So it could actually thosefiles could be sort of
(35:51):
squirreled in an old computerwhich we can have that actually
happened to us?
Tiffany Woolley (35:55):
We have like a whole year of trips and travel.
Scott Woolley (35:59):
It's like a two and a half year period that
everything that disappeared isgone.
Haleh Shoa (36:05):
Yeah, because people didn't know they would change
computers.
They had no idea.
Yeah, we entrusted, it's so sad.
Scott Woolley (36:13):
I'm going to give you one that's even worse.
This is putting it on yourcomputer.
Then your computer dies andyour hard drive dies, and now
everything's gone.
Tiffany Woolley (36:23):
Yeah, you definitely need backup for your
backup when it comes tophotography and memories.
Haleh Shoa (36:29):
Yeah, and this is why we practice the 3-2-1 backup
method for all of our clients.
Tell us about that.
3-2-1 is three copies of yourdata in two places, one off-site
.
So three copies of your data.
Two places could be, twodifferent clouds or on external
(36:50):
hard drive, and one on the cloudand then one copy off-site.
So you get another externalhard drive and you put that in
the bank or someone else's houseRight or at the office.
You know if you have access toa different location.
Tiffany Woolley (37:05):
Makes total sense.
Scott Woolley (37:07):
Did you come up?
Haleh Shoa (37:08):
with that.
No, the father of metadata well, we kind of call him that.
But Peter Crow is who I'mactually going to be seeing in a
couple of weeks when I go toconference.
He's the one who sort of cameup with the 3-to-1 method.
Tiffany Woolley (37:26):
So is that part of your business plan Like when
somebody hires you, that's all.
How does the compensation lookLike?
What does your agreementstrategy look like?
How does that is there brokenup into how many pieces?
I mean, it's like, kind of, forme every project is a different
scope of work.
Haleh Shoa (37:48):
Every project is different, so we, so we're.
I like to look at my workflowand our studio and what we offer
as 360.
It's like really, frombeginning to end, we have
figured it all out for ourclients.
So the way we deliver files isthat we come up with a platform
and I sort of give them ashowcase of different platforms
(38:13):
that we've created for ourclients and I go through the
pros and cons of those platformswith them and then they choose
a platform and then we set thatup for them and then, of course,
they get a couple of thumbdrives from us as well, or hard
drives, depending on how largethe collection is, and they can
keep one in-house and back thatup on their computers and keep
(38:37):
one off-site.
So in terms of how we priceeverything, it's really in
phases.
In terms of how we priceeverything, it's really in
phases, although I've gottenpretty good at being able to
tell someone their collection is$10,000, $20,000, $50,000,
whatever it is.
We basically we bringeverything in the office and we
(39:00):
count everything and theestimate I provide has the count
and the counts are approximate.
I'm not going to sit there andcount 80,000 photos three times
to make sure it was 80,000.
But there's there's tacticsthat we use.
For example, one inch of photosis approximately a hundred
photos.
Okay, one inch of slides isapproximately 20 slides, so you
(39:23):
don't weigh them slides isapproximately 20 slides, so you
don't weigh them.
Scott Woolley (39:26):
No, we don't weigh them.
Haleh Shoa (39:28):
No, we don't weigh them.
If there are old sort ofcabinet cards, you know the
cabinet cards, the thick onesfrom the late 1800s to 1910s.
You know those, of course,because they're thicker, it's
going to one inch of those isgoing to be less right.
You know it's going to be 10approximately.
It's around a millimeter or so.
So we have tactics and then forthe albums we sort of do an
(39:53):
average of anywhere from threeto four per page.
We count the pages and we putthat in.
It's just all approximate.
And then we say if you scanyour entire library it's going
to be this price.
But we know it's never going tobe that price because we're not
going to scan everything.
I don't you know, I alwaysrecommend and this floors a lot
(40:16):
of people.
I say 10 to 20% and they'relike wow.
You know, I mean think about it.
Tiffany Woolley (40:25):
Preserving it.
It's different, Like you'represerving God forbid, you know,
and you're preserving it forpeople to actually be able to
use and look at and frequentversus.
People aren't going to want togo through that every single
time.
You actually would.
I think the little bit would bemore accessible.
Haleh Shoa (40:43):
Exactly.
Well, it's not, it's.
I'm not talking about 10 to 20%from every era.
Obviously, if anything isbefore the 70s, we're going to
preserve most of it, becausepeople were more discerning.
Tiffany Woolley (40:55):
Yeah, definitely it was more
discerning.
Haleh Shoa (40:58):
In the 70s, people started taking a lot of photos
and then forget about the 80sand 90s, because that was when
you got one print and then yougot like three for free.
Tiffany Woolley (41:08):
So you know so funny yes, there's so much
history just in like thisconversation alone, of like
understanding philosophies.
Scott Woolley (41:19):
Right, yeah, absolutely, you have to
understand the mindset we wementioned to you before we
started the podcast today thatyou know we as a family have
been digitizing all of ourmemories since our first child
was born 18 years ago.
So every single photo, everysingle video that we have taken
(41:41):
has been put onto a familywebsite.
And one thing that we havefound because of that and
Tiffany and I talk about thisevery so often is that it really
brings the family together somuch more because when we have
family over or we're just on aSaturday night with our kids and
there's not a great movie towatch, let's turn on the photo
(42:03):
memories and we'll sit there fora number of hours going through
those photos and, like you know, our kids just love it like
going through our wedding photosand so forth and the wedding
videos.
So there's an emotional aspectto going back and looking at all
of that old, you know, thoseold memories.
So you must experience thatwith clients that that you have
(42:27):
that are probably very excitedonce they get everything you
know absolutely.
Haleh Shoa (42:31):
There's never a dry eye in the house when you're
delivering.
I mean, it's just.
My favorite form of memory isslides, because a no one has
seen them for decades right,you're right.
And b you are.
You just won't believe thequality it's like.
Slides are this magical form ofmemory that has held its
(42:54):
quality since the 40.
I mean, I scan slides from the40s and it you could see the
pores if the camera was a goodquality.
Tiffany Woolley (43:02):
You're kidding?
Wow, the color and everything.
Haleh Shoa (43:08):
It's just magical.
I mean now, having said that,there are a lot of slides that
have lost their glory.
But our scanning price includesnot only the high-quality scan,
but we of course rotate andcrop everything, and of course
we rename the file and redate itso that it's searchable and
(43:30):
sortable.
But we also color correcteverything that we scan.
Tiffany Woolley (43:35):
That's unbelievable.
Yeah, believable.
That's really because I knoweven Scott, when he goes through
our pictures, you know, andwith the kids, if we're
traveling, he's always wantingthe pictures horizontal, but the
kids want vertical becausethat's what goes on social media
, one of those that's a modernproblem.
Scott Woolley (43:57):
Right?
Well, because we watched themas a family, like I just said,
on the big screen TV and I thinkthat a picture in a widescreen
format is so much better thanlooking at it vertical, because
from your cell phone you'reseeing so much of what the
memory is.
Haleh Shoa (44:17):
It's the best.
Scott Woolley (44:18):
Yeah.
Haleh Shoa (44:20):
We hold such an amazing piece of equipment in
our hand.
We do so incredible.
I mean, I run my business onthis thing Right, and I'm a
phenomenal photographer on itand I'm a great videographer and
I get to, you know, my dad's 97.
And I get to put on thatrecorder so he doesn't become
self conscious.
(44:40):
I do audio recording of him.
I just kind of slip it rightunder him as he's telling a
story, just so I can have hisvoice.
You know, and um, and it's,it's just.
I actually do a lot of uh,workshops on iPhone, um, on
little tips and tricks oniPhones.
Tiffany Woolley (45:00):
That a lot of people don't know about.
Haleh Shoa (45:01):
That's cool.
Yeah, sign up on our mailinglist and you'll uh, get a a note
of that, but, um, it's just.
But, however, we've lost beingintentional photographers agreed
agreed, without a doubt.
We need to be intentional.
We need to make sure that thatcamera lens is clean before we
(45:23):
take a selfie, or, you know, ora or a photograph.
I get too many photos whereeverything's blurry because the
fingerprints are all over thecamera lens, either in the front
or in the back, and you knowyou need to be intentional about
taking photos.
There's a carbon footprint ofall the things that we're
putting in the cloud, you know.
So you don't need to have yourphotos because this is such a
(45:47):
fear.
People have squirreled theirphotos in every all over and and
then they become overwhelmedand they don't know what they
have and it's not consolidated.
So.
So I teach a lot aboutintentionalities when it comes
to this.
Tiffany Woolley (46:03):
Well, and even with, like you know, I'm sure,
as you get more modern clientele, or I should say younger
clientele as your businessevolves, like this generation,
everything is digital.
There's very little that'sactually a printed photograph or
memory.
Do you also include like, say,like a newspaper clipping or
(46:29):
anything like that?
Go into the archive as well?
Like you know, we also saveevery time the kids are in a
competition or like if they givea you know at church, they'll
give a pamphlet out who'ssinging?
Scott Woolley (46:43):
Well, we've taken it from our standpoint as a
family to another level.
We not only archive every photo, every video, but every award
that someone in the family mightget.
There's a section on our familywebsite for awards, even their
report cards.
I love that, even their reportcards.
I'm digitizing and putting itup there because, you know, in
(47:04):
20 years, when our kids havekids, they can go back and with
their kids looking at hey look,this is what I got as grades in
third grade or sixth grade.
Tiffany Woolley (47:12):
Well, and I also found, as they need
pictures for certain events orcertain things, you know, things
it's very easy to be, go getthose pictures of right off the
website Right.
Haleh Shoa (47:24):
That's that, yeah, and to answer your question, yes
to all of that awards um oldpassports oh, that's a good one
too it's so fun to scan oldpassports of you know grandpa,
who's been gone since the 90s,and we find his passport, and
it's like from the 20s you knowvintage, yeah, driver's licenses
, all those.
Driver's licenses.
(47:45):
But definitely accomplishmentsare huge.
You know, we have a lot ofclients whose parents that have
passed had enormousaccomplishments and there's a
lot of newspaper clippings andwe just did a book of just.
My client is now 75, and so herdad has been gone for a while,
but I just created a book forher of just her father's
(48:08):
accomplishments.
Tiffany Woolley (48:11):
So that's amazing.
So once you actually go throughthe cataloging and that
curating you can constantly, Iguess clients can come back to
you and be like, oh, can we nowdo this and now add on that yeah
, we do a lot of year end books.
Haleh Shoa (48:27):
Okay, so I, for me, that's gold, you know, you know,
and and I, my approach to doingcelebratory books is a little
different.
You know, I like for a weddingbook, I do like to include the
vows.
I like to include a weddingbook, I do like to include the
(48:50):
vows I like to include.
I mean, if the album pagesallow.
I like to include anything abouttheir engagement, just so, it's
the journey of their wedding,yes, and then, of course, if
they went on a honeymoon, andagain, if the book allows,
because books only have certainamount of pages, you know, maybe
(49:13):
include something that is ofthe journey of their, their
whole getting married and theirunion Right.
Tiffany Woolley (49:17):
So who do you use to do the books?
Do you do print those in house,or how does that?
No, no, okay.
Haleh Shoa (49:22):
We use.
Everything I do is everything Ido is, uh, through the lens of
archival?
Okay.
So we use um bookmakers thatare only provide archival
quality, okay.
So when a client asked me to dosomething in Shutterfly, with
all due respect, I will say no.
Tiffany Woolley (49:39):
Right, okay, that's kind of what I was asking
in a nice way.
Yeah, yeah and again.
Haleh Shoa (49:46):
No, I mean.
Tiffany Woolley (49:47):
No.
Haleh Shoa (49:47):
I get it, I get it.
And Shutterfly, it's great forthe consumers, it's wonderful
Like put your photos in there.
I call it the photo jailbecause trying to get your
photos out of Shutterfly is youneed.
You know you need a court orderfor that.
Scott Woolley (50:03):
Right.
Well, I'm going to say thatthat's with a lot of sites, a
lot of sharing sites.
You know they either ownwhatever you put up or to get
your stuff out.
It's so difficult.
Haleh Shoa (50:17):
Yes, yeah, I mean, apple makes it really easy and
again, because it's all aboutprivacy for that company and I
hope they never change thatpolicy Shutterfly is the
absolute worst.
Google is hard doable andAmazon was really easy and now
it's much harder with Amazon.
(50:39):
So, yeah, I mean.
Oh.
So, yes, I only use archivalquality, whether it's just
getting prints for my clients ordoing photo books.
We have different tiers fordifferent price levels and
they're all archival.
But you know, the higher tierjust allows for a million
(51:03):
different iterations when yousay archival, what do you mean
by that?
Scott Woolley (51:08):
The texture of the paper?
Haleh Shoa (51:11):
The paper is archival quality, meaning it
will last.
They guarantee one companyguarantees it for up to 100
years that it won't fade ordegrade and that the glues won't
come apart.
You know, because all thecovers have glues on them, right
, so the glues won't come apart.
You know, because you know, allthe covers have glues on them,
right, so the glues are archival, the print is archival and I
(51:35):
don't think you could do fabricthat's archival.
But fabric is fabric, right,and most of it is polyester, so
it's essentially plastic, so itwon't ever degrade.
So it's essentially plastic, soit won't ever degrade.
Wow, but yeah, and you know, Ilike to design and I do design
logos, sort of family logos forthe websites that we design, and
(51:58):
the same logo goes on all theirbooks.
It's like family branding.
Tiffany Woolley (52:04):
It is.
Yeah, I know, I just saw thatrecently too.
I read in a magazine of like acouple who had a second or has a
second home and they created alogo and a name for the house
and then a certain colorway andthey used it on everything from
their napkins to the bikes theyuse on that property, their cars
.
Literally, the logo became suchimportant facet to the whole.
(52:29):
So there's just so much thatcan be incorporated with
intention, as you mentionedbefore.
Yeah, definitely.
Scott Woolley (52:38):
So where do you see your company in four or five
years from now?
Haleh Shoa (52:52):
years from now, I would like to be able to bestow
my knowledge to as many peopleas possible.
That's really my intention isto teach people the importance
of not only saving theirmemories, but, you know, for me
it's the gateway to ourancestors.
For sure, our history, ourhistory, and I know that there
is no human alive that is atleast my age that hasn't
(53:16):
experienced some level of trauma, and whether that is through
the family or through just theworld in general.
For example, when I was nineyears old, I was in the middle
of the Iranian revolution, rightand crazy my story, my personal
story, is that we, you know, myparents, had to leave, flee,
(53:37):
essentially to this country, andmy mom only brought the family
photo books, and that's how I,you know that's another reason
why I started this business isbecause I started to question
like, who was was?
Who was this person?
Oh, it's my dad's uncle, whoI've only met once and I kind of
sort of remember, but notreally, and so it's the gateway
through to my where I come fromand the why, and so I just want
(54:01):
people to be inspired.
So, in five years from now, Ihope that I can inspire as many
people to take their memoriesmore seriously and take an
action towards saving them andpreserving them.
Tiffany Woolley (54:16):
Do you think this is something that could be
franchised?
Yeah, absolutely.
Voice over (54:21):
I think so.
Tiffany Woolley (54:22):
Yeah, I feel like.
I mean, I feel like just evenafter today's conversation
sharing information with you, Idon't know if you'd even be able
to keep up with the intake.
I mean, I feel like there's somany busy in this very busy,
digital, loud, fast world welive in.
You know, it's why people hireinterior designers, you hire
(54:43):
people to do everything.
Why not hire somebody toarchive, like you said, your
history?
When you were had to flee the,what was the most important
thing you had you know to takeand that was your memories and
your history.
And I just know that there's.
You know, like most peoplestart with a Shutterfly concept,
but very few stick with it aswell.
It's something that lagstremendously.
Haleh Shoa (55:07):
I mean, you could start with the Shutterfly
concept and you can certainlycontinue that, but that's not
going to preserve your greatgrandmother's photos Correct,
and her stories Correct, andmerge them, and merge them.
Tiffany Woolley (55:37):
Yeah, I mean this is again, the 360 is this
idea of everything that'simportant to you right the
report cards, the passports, theold driver's licenses and then
all the children's art.
Scott Woolley (55:41):
Oh, totally.
Tiffany Woolley (55:43):
That's one of the things that we keep, we scan
.
Yeah, it really is such abrilliant, brilliant business
concept.
Thank, you.
Scott Woolley (55:51):
I appreciate that it really is Is your
demographic more of the babyboomer generation that has more,
because it really is.
How do we get the message outto the younger generation that's
more savvy with digital andshould be?
Tiffany Woolley (56:07):
Well, and I actually feel like to add on
piggyback what you were justsaying, scott.
So, for example, my grandmotherwas sick a few years ago.
She's older, lived an amazinglife, has amazing history
archive and my aunt took a lotof that and made books that she
would keep on the cocktail table.
So anytime somebody would govisit my grandmother spend an
(56:29):
hour with her.
My girls started to want to gohang out at my grandma's.
They could look at those oldphotos again and see all these
old memories and pictures wherethis new generation it's all in
a phone.
Haleh Shoa (56:44):
And it's all in their phone.
It's not shared correct.
Tiffany Woolley (56:48):
So there's the whole next generation of your
market is really being able totap into this next group and,
you know, frame a freakingpicture, you know, put one on
the nightstand and hang thingson the wall and and create, like
you know, these books or thingsthat can be shared.
Haleh Shoa (57:11):
So our clients that are younger, so millennials
right, they are overwhelmed bytheir digital right.
So we get a lot of clients thatare like I have 10,000 photos,
but my wife has 300,000 photos,and how do we merge that?
You know right.
So you know, we get more of thedigital clients of the younger
(57:34):
generation, and then the babyboomers have the more.
They are the generation who arenow empty nesters.
Tiffany Woolley (57:41):
And they're like OK, what do we do with all
this?
You know.
Haleh Shoa (57:44):
Yes, I'm retired, I can pay attention to this right.
And then we get clients thatare in the sandwich generation,
where they're like I'm reallyoverwhelmed, my mom just died
and I have teenagers and I don'tknow what to do here, right,
you know?
Tiffany Woolley (57:59):
right, right.
Well, the good news is is thatyour business is here to help
all that and facilitate that,and I would think that this has
so much growth potential.
Scott Woolley (58:09):
So people who are listening and watching to this
podcast how do they find you?
Haleh Shoa (58:20):
You can find us, of course, on our website.
It's picturelycomP-I-C-T-U-R-L-I no E with an I.
I know it's spelled a littleweird.
I also own picturelycomp-i-c-t-u-r-l-i no e with an I.
I know it's spelled a littleweird.
Um, I also own picturelicom, soif you just go on there, it'll
uh put you right to my website.
Um, we're on facebook andinstagram and I'm starting to
post some content to youtube and, of course, on our website, you
(58:42):
can sign up for a newsletter,where you, you know I do the
newsletters, so I writeinformation that I think is
helpful for people to beinspired by and, of course, we
will talk about some workshopsthat are coming up as well.
Tiffany Woolley (58:59):
Really, really amazing.
Really wonderful conversationtoday.
Scott Woolley (59:04):
Thank you Thank you so much thank you so much
for having you joining us yes, Iappreciate you having me.
Tiffany Woolley (59:12):
It's been wonderful talking to you I look
forward to keeping up thisconversation, too, in the future
and we will definitely we havea few ideas that we want to run
by you.
Haleh Shoa (59:24):
Oh, amazing yes.
Scott Woolley (59:26):
So we'll be in touch.
Haleh Shoa (59:27):
Amazing.
It's so validating when someonereally understands like every
level of detail that has goneinto my thought process, you
know, because a lot of peopleare like I just don't know how
this works and honestly, itmakes sense that they don't know
, because it's so overwhelming.
(59:47):
It's like how are you going totake all this and make it look
like what you're showing me?
Tiffany Woolley (59:52):
And I think, like in what my business is too,
it's something people think oh,I can do myself, I can do it
myself, I don't, I don't need to.
You know where you realizeyou're limiting yourself, where
you realize you're limitingyourself.
If you can bring an expert inthat genre into the fold, I mean
, just think of how much betterthe end result will be.
Scott Woolley (01:00:15):
Yeah, exactly Well, we appreciate you joining
us today.
Thank you.
Tiffany Woolley (01:00:22):
We'll stay in touch.
Scott Woolley (01:00:23):
Yes, definitely.
Thank you so much.
Voice over (01:00:25):
Thank you so much Bye-bye, it was a pleasure
iDesign Labs Podcast is an SWGroup production in association
with the Five Star and TWInteriors.
To learn more about iDesign Labor TW Interiors, please visit
twinteriorscom.
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