July 27, 2024 • 28 mins
Join us as we count down some of our top episodes- as we get ready to start a new season.
What if being a professional photographer involved more than just clicking a button? Join us as we uncover the true essence of serving clients with excellence and artistry. We promise you'll gain a deeper understanding of how to elevate your role from a mere photographer to a trusted advisor who guides clients through the entire photographic experience. From outfit selections to envisioning how portraits will harmonize with home decor, this episode offers insights on how to transform your service delivery and client perceptions.
Imagine being not just a photographer, but also an interior designer and stylist for your clients. We explore the importance of understanding home aesthetics and how it impacts the display of your work. Learn how to guide your clients in choosing attire that enhances the final portraits, ensuring that every element aligns with their vision. This multifaceted approach helps clients look their best, feel confident, and ultimately trust you as an expert who adds value to their lives beyond the camera lens.
Creating a lasting legacy through photography is not merely about capturing images but solving clients' problems and providing exceptional care. Reflect on the power of printed portraits and their enduring significance. We discuss how engaging in meaningful conversations within our Photography Business Tune-Up group can help you move beyond taking photos to making a profound impact. Don't miss out on the chance to join our free Facebook group for more valuable discussions and support from fellow photographers. Be sure to share the podcast, leave ratings and reviews, and explore additional resources through our show notes and Instagram page.
Connect with Karinda!
- Ready to Sell More Wall Art? Join us in Your Magic Year to Sell More Wall Art
- Website
- Photography Business Tune-Up with Karinda K. - Free Facebook Group
- IG @Masteryourmindmoney
Thanks for listening!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Welcome to Mindset and Money Mastery for
Photographers, the podcast.
We help overwhelmedphotographers make more money
while simplifying their businessby mastering their you guessed
it mindset and money.
Tune in each week for practicaland actionable tips to take
your photography business up anotch.
Let's dive right in.
I am so excited about today'sepisode.
(00:23):
I probably say that every week,but this one is really, really
important to me and it issomething that I wish I would
have realized so much sooner inmy business, and it is the whole
idea of are you really servingyour clients or are you just
taking their photos?
And I wish somebody would havesmacked me upside the head and
explain this to me like day onein my business, because I don't
(00:47):
think I really truly realizedthis for a while.
Do your clients right now seeyou as somebody that shows up
and pushes a button, or do theysee you as more than that?
What do you think Right now?
What do your clients see you?
As they could describe what youdo, how would they describe it
(01:09):
to somebody?
They say Karinda showed up atour session, she took our photos
, she said bye, she sent them tous in an online gallery.
Would they say, karinda helpedus figure out what to wear.
She talked to us about the wayour outfits fit into our space
in our home where we're going todisplay those portraits.
She showed up, she made us feelat ease.
(01:32):
She posed us, she guided us,she directed us to meet the
session and then afterwards sheeven helped us figure out what
we were going to do with thosephotos.
She like plugged those photosonto the wall for us and she
showed us exactly what size weregoing to do with those photos.
She like plugged those photosonto the wall for us and she
showed us exactly what size wasgoing to look good.
She had them printed.
She like retouched them beforeshe printed them.
So we looked amazing.
(01:53):
We had no blemishes.
She got rid of my pimples.
It was amazing.
And literally on our doorstepthis giant box arrived that had
this beautiful piece of art init.
Which one of those would yourclients say that you are right
now?
Your clients should see you asan expert photographer first and
(02:13):
foremost, but they should alsosee you as an interior designer,
a stylist and even an artist.
A stylist and even an artistyou see, very little of what we
do as photographers is actuallyphotography.
Hopefully you're starting torealize that A very small part
(02:33):
of our job is photography.
There are so many other piecesto the photographic experience
that contribute to the work wecreate, to the art we create.
Ultimately, we are artists, weare not just photographers.
Now, right now, you might justbe a photographer.
(02:56):
You might not have decided totake on the role of an artist
who creates pieces of art foryour client's homes.
I am an artist.
I create art for my client'shomes.
It just so happens that I usemy camera to do that, but my
camera has very little to dowith that.
It's funny that I say this now,because when I was in high
(03:17):
school, I had to take art classmy senior year.
I moved high schools on the endof my junior year of high
school.
I was only there for like amonth and a half.
Before summer Start my senioryear, go to pick up my schedule
and guess what's on my schedule?
Art I in my high school, selfstudious, corinda that I was
(03:49):
curious, corinda that I was.
I was so upset that I had totake art in high school.
I cried.
I was so upset and I was notthe kind of person that would
walk up to a teacher and sayanything bad in high school, but
I remember my first day of artclass, walking in and looking at
the teacher and saying I am notartistic.
I don't know why I have to takethis class.
This is terrible.
I'm just letting you know, Ican't even draw a stick figure
(04:10):
and I would sit down in my chairand thinking back on this and
talking about this like whoa.
It's crazy to think aboutbecause what happened through
that year and what happened inthat class was truly super,
super cool.
I actually learned that I wasslightly artistic and I learned
that in art class when theteacher said everyone's going to
(04:34):
make paper mache masks for,like I don't know, mardi Gras or
something I don't know, likethat, everyone had to make these
masks and paint them.
And I did not just make a mask.
And I think this is when Irealized that maybe I actually
was artistic, but I just deniedit my whole life.
I made an entire zebra head,and when I say I made an entire
(04:58):
zebra head, I mean a real zebrahead.
It was like the size of a zebrahead.
Actually, it's probably biggerthan a zebra head.
I made an entire zebra head outof paper mache.
When everyone else made a maskand I went after school to
finish the zebra head and I wasobsessed with this thing and it
sits actually under my TV.
(05:19):
We have a console table andthat zebra head sits in my
console table, console table.
And that zebra head sits in myconsole table and it is a
constant reminder of the factthat I make a living as an
artist.
Yet I cried when I had to takeart in high school because I
wasn't artistic.
So when I sit here on thepodcast and I say things like I
don't think I'm the world'sgreatest photographer, it comes
(05:41):
from this place.
Right, this is a.
This is the mindset thing yousee coming out in me that I just
believe that I'm not artistic.
I believe that my whole life Iremember being an art in junior
high and feeling the same waylike we have to draw something.
What I have, this dream thatone day I will be a real artist
(06:01):
and one day I will learn how topaint these beautiful portraits
and I will be a painter one day,right, but I kind of wanted to
give you a backstory therebecause I felt like it was a fun
prelude to all of this.
So when I tell you that Ibelieve I'm an artist more than
anything else.
It's kind of ironic, but let'sstart at the beginning here.
Let's start at the beginning ofwhat our experience looks like
(06:24):
and how we are stepping outsideof just being a photographer
that shows up and pushes abutton.
First and foremost, let's talkabout the beginning.
We are an interior designerfirst and foremost, and you're
like whoa Corinda, like that'scrazy.
I don't know anything aboutinterior design, neither did I.
I learned, I figured it out asI went.
(06:45):
We have to know these photos.
We have to know where they'regoing to fit in our clients'
homes and in the spaces.
We have to understand the typeof emotion or feeling that our
clients want to evoke whensomebody walks into their space
and sees our portraits on theirwalls evoke when somebody walks
(07:06):
into their space and sees ourportraits on their walls.
We have to step into the role ofan interior designer because,
honestly, our clients are notinterior designers.
They don't know that a 16 by 20is tiny on their wall.
They'll tell you it's bigenough, but it's not.
And you, as the interiordesigner, as the expert, have to
step in and say, hey, you knowwhat?
That 60 by 20 is not going tofit the space or the ceiling
(07:31):
height or the furniture oranything in the room.
It's going to look silly.
Let me step in and help guideyou and tell you what's going to
look good in your space.
But it doesn't just stop there.
It actually starts somewhereelse.
It starts with what they'rewearing.
We have to consider what theywear and how that's going to
look in their space.
(07:51):
We have to consider thelocation of their session and if
that's going to fit into theirhome.
We have to consider thematerial that we're going to be
printing their portraits on andhow that's going to be impacted
by the space and their home andtheir decor and the feeling of
their space.
We have to take all of thesethings into consideration when
(08:13):
we're planning our session fromsquare one.
Looking to create more magic inyour business, make sure you
join us over in your Magic Year.
Your Magic Year is our newyear-long program designed to
help give you direction andguidance as you move throughout
(08:33):
the next year in your business.
Together, we're going to workthrough quests each and every
month.
We're going to have a magicaltraining every month to give you
guidance and direction, but,most importantly, you're going
to be surrounded in a communityof people that are also working
towards the same goals asyourself, so you don't have to
feel alone.
Check out the link in the shownotes.
(08:55):
What if our clients show up in ablack leather dress with red
high heels on and then werealize that their home is a
farmhouse style home that lookslike Chip and Joanna Gaines
designed?
It?
Is the picture of them in ablack leather dress and red high
heels going to fit on theirwalls on the walls of their Chip
(09:18):
and Joanna Gaines farmhousestyle home?
No, it's going to lookridiculous and when somebody
walks into that space they'regoing to go.
Why the heck do you have thatpicture on your wall?
Is an acrylic print going tofit the space of a client with a
farmhouse style decor?
No, not at all.
It's going to look weird andout of place.
(09:40):
Now, if that same client livesin the city in a high-rise
building with very modern decorand furniture, then of course
that's going to look amazing.
So we really need to take intoconsideration our client's space
in their interior of their homewhen we consider what they're
(10:01):
going to wear, the location oftheir session and also how we're
going to be displaying theseportraits, what type of material
we're going to be printingthese on.
We also have to be able to lookat our clients' homes and
identify spaces that need art tocomplete them, and also be able
to see a space and go.
This space needs this type ofarrangement.
Maybe we have to get reallygood at looking for those nooks
(10:24):
and crannies that need to befilled for those clients that
say to you, I don't have anyroom in my home for art, yes,
you do, I will find a space,just show me your house, we'll
get to it.
We have to know what size artfits the space in relation to
the furniture and the otherdecor in the room.
We have to know if their roomneeds a canvas with a frame or
(10:48):
something more modern like anacrylic or a metal.
And if we're getting intoframes, we need to know what
type of frame is going to lookbest in their room and
complement their decor and notclash.
I like to tell my clients ifyou have a bright red wall in
your dining room that you wantyour portrait displayed on.
I need to know Because we'regoing to make sure we don't put
(11:10):
you in a Barney purple dress onthat bright red wall, because
it's going to look ridiculousand they go oh, I get it, and
that's a little bit of anextreme example, but it helps
people understand.
Bit of an extreme example, butit helps people understand.
We are first and foremost aninterior designer and our
interior design skills are goingto dictate a lot of things in
(11:33):
our client sessions and ourexperience that our clients have
.
Secondly, we have to be astylist.
We have to be a stylist becausemost people have no idea how
what they wear translates oncamera.
They don't realize thatchoosing an outfit that hides
their body is actually going tomake them look twice as big as
they really are in photos.
They don't know what type ofneckline, what type of sleeves,
(11:55):
what type of material looks themost flattering in camera.
They don't know that theyshould not wear a cotton dress
that is a dark color if theyhave a white horse, because that
cotton dress is not only goingto cling to their body in all
the wrong places when the windblows, but their horse's white
hair is going to be all overthat cotton dress.
(12:15):
They need to be told thesethings.
They need to be guided in theright direction so that they
look amazing in their portraits.
Because they don't know thesethings because they haven't sat
behind a camera and seen the waythat the clothes translate on
camera.
And, honestly, choosing outfitsis one of our clients' biggest
pain points and areas theystruggle with.
It's one of the excuses thatpeople will use to not book the
(12:39):
session.
So if you can convince yourclients, hey, it's good.
You don't have to worry aboutit, I'm going to help you, I'm
going to be there to support you, I'm going to guide you, I'm
going to direct you.
Maybe you have a clientwardrobe.
You take away their excuse notto book the session, not to do
the portraits.
They worry that they're notgoing to look good in their
photos and they also worry thatthey're never going to be able
to pick out the perfect outfit.
(12:59):
So we need to be able to givethem tips for those things.
But it doesn't stop there.
We also need to be able to givetips for things like hair and
makeup.
So our clients are headed inthe right direction and we need
to make sure that they look andfeel great in their photos, or
we need to be able to connectthem with the appropriate people
who can take care of that forthem, like a hair and makeup
(13:20):
artist.
Honestly, during our sessions.
We might even take on the roleof a therapist.
I know that sounds crazy, butliterally we have to be able to
recognize when our clients arebeing anxious and overwhelmed
and they're being tense andthey're not breathing because
they're nervous about havingtheir portraits taken.
We have to be able to identifywhen our clients are feeling
(13:41):
insecure so we can encouragethem and support them in the way
that we need to.
Heck, we might even get to playthe role of a dog trainer or a
horse trainer or a babywhisperer or, even worse, a
grumpy husband wrangler duringthe session.
We have to be a comedian,because if we're not funny and
silly and ridiculous, thehusband's going to check out in
(14:02):
a matter of 30 seconds and we'regonna be dealing with a pissed
off mom.
We have to play a lot of roleshere and I know it sounds crazy,
but like the difference in youbeing paid well and your clients
having an amazing experience isthe difference in you being
ready to wear all of those hatsand do all the things you need
to do and not thinking twiceabout it.
(14:23):
When I photographed weddings, Iwas definitely the family
therapist a lot of times.
Right, I had to know like doesthis bride hate her future
mother-in-law?
And if she does, I need to knowthat.
When the mother-in-law walks inthe room, I need to pay
attention to the bride's energy.
I need to know that she'sfeeling tense or uptight because
the mother-in-law walked in theroom.
I need to pay attention to thebride's energy.
(14:43):
I need to know that she'sfeeling tense or uptight because
the mother-in-law walked in theroom and popped off about
something that I know is abitter topic in her world.
I had code words with my brides, like, hey, if something is
bothering you, like, say thecode word, I got it.
Do I need to kick someone outof your wedding?
Just say the code word.
I'll do it Because ultimately,especially as a wedding
(15:03):
photographer, right, if yourclient is not excited and happy
about their big day, you'regoing to be able to tell in
those photos who gets blamed ifthe pictures are bad Me, not the
mother-in-law who pissed offthe bride Me.
So what am I going to do?
I'm going to do everything inmy power to make sure, whether
it's a wedding day, a newbornsession, a dog portrait session,
(15:25):
whatever it may be, I'm goingto do everything in my power to
dissipate and to make sure thatbad situations do not happen, to
make sure that the energy is onpoint, to make sure everybody's
happy, to make sure everyone'scared for, to make sure that
everybody feels good in thesituation, because if they don't
, it's going to show in theirportraits.
We have to be able to readpeople's emotions and feelings
(15:47):
and encourage them in a way thatthey need to be encouraged,
especially if they're feelinginsecure or tense when they're
being photographed.
We also have to be able tocheer people on and be their
cheerleader, and part of this isjust experience, like it's
something that comes with time.
I'll never forget.
I was at a newborn photographyworkshop.
(16:07):
The I think it was the dad washolding the baby for a pair of
photos.
The instructor is Julia.
She pointed out she's like thedad's really tense right now.
He's not breathing.
Like he's not just breathing,he's like, oh my gosh, I don't
want to drop my baby.
And I'll never forget her justsaying like sometimes you just
have to put your hands on yourclient's shoulders and tell them
(16:29):
it's okay and that they canbreathe.
And that was a big one for me.
Guys, like that was huge.
I use that all the time,especially when dealing with
animals horses, dogs.
Sometimes you can feel the hurtfrom animals dogs Sometimes you
can feel the hut from animals,especially.
Sometimes.
It's a little bit harder withpeople because they can hide it.
Well, man, if I'm photographinga horse and I know that horse
is tense and wound up and I canjust feel its energy, I'm just
(16:52):
going to go put my hands on thehorse and just take a deep
breath.
This is where we go beyond justbeing a photographer.
This is where we go beyond justpushing a button.
We have to be in control ofthese situations.
We have to be able to read theroom and make things pleasant
and enjoyable for everyoneinvolved.
(17:12):
If you're photographing animals,you best know how to handle
them.
You better know how to managethem.
You also better know how tohelp your clients prepare their
animals, whether it's a dog, acat, a lizard, a goat, whatever
it may be, how are you going tohelp your clients prepare for
the idea of having this animalin their portrait session?
(17:33):
And if you're not preparingyour client for that, you're
doing them a disservice.
If you photograph horses andyou know your client has a white
horse, you better be givingyour clients tips to make sure
that horse is white for theirportrait.
So they're not sitting therestressed out about making their
white pony white.
That is your responsibility tomake sure that every possible
(17:53):
thing that your clients mightrun into, every possible
situation, is handled beforethey even have a chance to deal
with it.
That's your responsibility.
And yes, we do show up at thesession.
We take the photos, but reallywe're an artist.
We have to be an artist thatfine tunes these photos that we
(18:14):
take.
We have to use light, we haveto use the proper exposure, the
proper composition, the properguidance and direction when
we're posing our clients, theproper guidance as we coach our
clients through the expressionor the feeling we want to create
in our portraits.
That's when we really become anartist.
(18:36):
We're doing all this prep work.
We're looking at their home,their decor, their space, we're
styling them, we're guiding them, we're preparing them, we're
serving as their therapist if wehave to.
But really all of this breaksdown to the artist piece of
(18:56):
creating the art, creating thefeeling, the impact we want with
these portraits for theirultimate place that they're
going to be displayed in ourclients' homes.
We have to retouch and we haveto edit those portraits and we
have to make our clients lookflawless.
Now.
Ultimately, we can do a lot ofthis in camera.
We don't have to sit inPhotoshop for hours.
I am a big fan.
(19:16):
I do not want to sit inPhotoshop and do anything extra
unless it is absolutelynecessary, but it is our
responsibility to make them lookflawless and to make them look
amazing through our posing, ourguidance, our direction and also
, sometimes, our editing.
We have to ensure that they'regoing to look stunning on their
walls in printed form, and thatthey're going to be so stinking
(19:38):
proud of how amazing they lookor their animals look that they
want to show that off for therest of their lives on their
wall.
As an artist, though, we alsohave to be in control of the
final product.
We have to source the printersand the artisans that create our
art for us in a physical,printed form.
(20:00):
That physical representation ofour work is what we leave
behind.
That is our legacy, and I don'tknow about you, but, oh my gosh
, my grandparents' house.
I remember going to their houseforever and ever and ever, like
every time I went over to theirhouse, even as a child, I
(20:21):
remember walking into theirhouse and just being in awe of
all of the photos on their wall.
I remember looking at thepictures of my mom as a teenager
twirling her baton and thinking, like that is a stunning
portrait of my mother.
I wonder what that photographerwho created that was thinking.
I wonder if he knew that oneday her daughter would be
(20:42):
sitting there staring at thispicture of her mom on the wall
thinking, wow, this is sobeautiful.
50 years later, I think aboutthat.
Do you think about that as anartist?
Do you think about the factthat one day your client's kids
and grandkids are going to walkinto their house and see that
picture that you took of them ontheir wall, that you created,
(21:03):
that you styled, that you hadcontrol of the entire situation
and you crafted this perfectphysical representation of this
feeling and this emotion thatyour client had in that very
moment, and that your client'skids and grandkids are going to
walk into their house and justfeel that If you're not giving
that to your clients, what areyou leaving behind in this world
(21:25):
?
If your pictures are going tolive on your client's computers,
you're not only doing your ownwork a disservice, but you're
doing your client a disservice.
Their grandkids and their kids,50 years from now, are not
going to be able to find thosepictures on the computer, that
portrait hanging on the wall.
They're going to be able tofind those pictures on the
(21:46):
computer, that portrait hangingon the wall.
They're going to walk up tothat and they're going to be in
awe of that picture.
In my grandparents' housethere's actually pictures of two
babies.
I might have the story mixed upin my head, but I believe that
they were my grandfather'ssiblings and they're actually in
these beautiful oval frames.
Mind you, my grandfather passedaway this last year and he was
(22:09):
100.
So this tells you how old thesephotos were.
These photos were 100 years oldand they are these two pictures
of these babies.
And it was back when they usedto do these those weird creepy
baby pictures where they had thebabies in the dresses and they
held them up and they were inthese gorgeous oval frames that
(22:29):
were ornate and just stunning.
And I was always like, oh mygosh, those pictures are just
they're out of this, like it'sjust something you don't even
realize, like this is real, thisis somebody's family member,
this is, this is my familymember forever ago, right?
That's crazy to think aboutthat.
(22:49):
Those pictures were still in mygrandparents' house till the
day they died and that Iremember looking at those over
and over and over again.
Every time I went to mygrandparents' house I would just
walk around the walls and stareat these pictures on the wall
in awe.
I want to know that people aredoing the same with my pictures.
(23:09):
I want to know that my picturesthat I am taking are art on my
clients' walls.
I want to know that when myclients are old ladies, they're
dragging those pictures to thenursing home with them that I
took of their horse.
And I tell my clients that whenI'm sitting on an image reveal
with a mom and her teenagedaughter, that when I'm sitting
(23:33):
on an image reveal with a momand her teenage daughter and
they're trying to figure out ifthey want to buy the canvas or
metal or print or what they'regoing to buy, and they're
thinking about that canvasthat's thousands of dollars,
trying to decide if it's worthit.
And I say to them your daughteris going to tote this canvas
around until she's an old ladyin the nursing home.
And every time somebody walksin her room at the nursing home
(23:54):
she's going to say you see thatpicture up there on the wall.
That was my pony when I was ateenager.
His name was Rocky, and they'regoing to remember how they felt
as a teenager.
They're going to remember howthey felt with that pony, how
(24:14):
they felt with that pony, andthat is valuable.
And if you, as a photographer,don't get all worked up inside
and ooey gooey and want to liketear up when you think about
this and the power and theimpact that you have, you might
be in the wrong profession,because this is powerful Y'all.
I don't even know where I wasat.
I just totally went off on atangent and I apologize.
Oh, I don't even know where Iwas at.
I just totally went off on atangent and I apologize, but
(24:34):
this is so important.
If you aren't showing up as aphotographer who's ready and
willing to jump in and take careof all of your clients'
problems and solve all of theirproblems, and before they even
have a chance to worry aboutthem, chances are you are not
truly serving your client.
And if you do not feel sopassionate deep down inside
about the value of the printedwork that you have the ability
(24:57):
to create for your clients, Iwould say take a step back and
really consider what this isthat you're leaving behind?
Are you okay leaving behind abunch of digital files that are
going to be gone from a computerin 10 years?
Or do you want to know that ahundred years from now, somebody
is going to be staring at yourportrait saying, I'm so glad we
have this to remember them?
(25:17):
Where is it that you lie onthis scale?
How do you feel about it?
Because for me, I think about myclients from the early days
that didn't get wall portraitsor that maybe got small prints,
or those clients that may nothave gotten the best quality
wall art, and it makes me feelphysically sick knowing that
(25:39):
those clients are not going tohave those portraits around
forever.
This is a huge reason why I'veshifted to offering really high
quality products.
They cost a lot of money and Ihave to sell them for a lot of
money and it's scary, but I knowthat those canvases that I'm
selling from Guild are going tolast till my client is an old
(26:02):
lady in the nursing home and ifshe wants to tote that canvas
around when she's an old lady inthe nursing home, she can do
that and that brings me joy.
That makes me happy, thinkingabout the days when I offered
some really crappy qualitycanvases that are probably
falling off my clients' balls inpieces.
It's hard to think about.
(26:23):
So I'm going to ask you todaywhat are you?
Are you just a photographer?
Are you just clicking a button?
Or are you a problem solver foryour clients?
And, furthermore, are youcreating art for your clients
that is going to be left behindlong after you're gone?
(26:44):
Can you sit here today and saythat your work is going to live
on far beyond you, that one daythere's going to be a
20-year-old photographer who'sstanding there staring at the
pictures of her mom on the wall,thinking, wow, that's a
gorgeous portrait of my mom.
I wonder what that photographertook.
(27:05):
It was thinking, I wonder whattheir name was.
I wonder who they were.
I wonder if they knew that oneday I'd be staring at this
picture.
That's what this is about.
It is about serving our clientsand it is about taking care of
their problems, but ultimatelyit's about what we leave behind.
So what are you leaving behindfor your clients?
What are you leaving behind foryour legacy?
(27:25):
I know that the impact that I'mable to make in my client's
life is going to live far beyondme, and that brings me so much
joy.
Let me know how you're feelingabout this topic, what your
thoughts are, if this isstarting to change your
perspective on the way youhandle your business and the way
(27:46):
you show up, because I sure asheck know that just recording
this podcast episode has lit afire inside of me and reminded
me of this, and I don't talkabout it enough and I don't
share the story enough about mygrandparents' house and the
power and going over there andseeing those photos.
(28:06):
But it's important and I hopethat you can start to see that
you have the ability to leavebehind something really
important for people.
So share your thoughts aboutthis.
Head on over to our groupPhotography Business, tune Up
and let us know how you'refeeling about this topic and let
us know are you leaving behinda legacy, are you solving your
clients' problems and takingcare of them, or are you just a
(28:27):
photographer?
Thank you so much for listening.
If you enjoyed this episode andyou'd like to support the
podcast, please make sure youshare it on social media or
leave a rating and review.
As always, you can check outthe links and resources in the
show notes over atmasteryourmindmoneycom To catch
all the latest from me.
You can follow me on Instagramat masteryourmindmoney and don't
(28:49):
forget to join our freeFacebook group Photography
Business Tune-Up with KarindaKay.
Thanks again, and I.
Welcome to Mindset and Money Mastery for
Photographers, the podcast.
We help overwhelmedphotographers make more money
while simplifying their businessby mastering their you guessed
it mindset and money.
Tune in each week for practicaland actionable tips to take
your photography business up anotch.
Let's dive right in.
I am so excited about today'sepisode.
(00:23):
I probably say that every week,but this one is really, really
important to me and it issomething that I wish I would
have realized so much sooner inmy business, and it is the whole
idea of are you really servingyour clients or are you just
taking their photos?
And I wish somebody would havesmacked me upside the head and
explain this to me like day onein my business, because I don't
(00:47):
think I really truly realizedthis for a while.
Do your clients right now seeyou as somebody that shows up
and pushes a button, or do theysee you as more than that?
What do you think Right now?
What do your clients see you?
As they could describe what youdo, how would they describe it
(01:09):
to somebody?
They say Karinda showed up atour session, she took our photos
, she said bye, she sent them tous in an online gallery.
Would they say, karinda helpedus figure out what to wear.
She talked to us about the wayour outfits fit into our space
in our home where we're going todisplay those portraits.
She showed up, she made us feelat ease.
(01:32):
She posed us, she guided us,she directed us to meet the
session and then afterwards sheeven helped us figure out what
we were going to do with thosephotos.
She like plugged those photosonto the wall for us and she
showed us exactly what size weregoing to do with those photos.
She like plugged those photosonto the wall for us and she
showed us exactly what size wasgoing to look good.
She had them printed.
She like retouched them beforeshe printed them.
So we looked amazing.
(01:53):
We had no blemishes.
She got rid of my pimples.
It was amazing.
And literally on our doorstepthis giant box arrived that had
this beautiful piece of art init.
Which one of those would yourclients say that you are right
now?
Your clients should see you asan expert photographer first and
(02:13):
foremost, but they should alsosee you as an interior designer,
a stylist and even an artist.
A stylist and even an artistyou see, very little of what we
do as photographers is actuallyphotography.
Hopefully you're starting torealize that A very small part
(02:33):
of our job is photography.
There are so many other piecesto the photographic experience
that contribute to the work wecreate, to the art we create.
Ultimately, we are artists, weare not just photographers.
Now, right now, you might justbe a photographer.
(02:56):
You might not have decided totake on the role of an artist
who creates pieces of art foryour client's homes.
I am an artist.
I create art for my client'shomes.
It just so happens that I usemy camera to do that, but my
camera has very little to dowith that.
It's funny that I say this now,because when I was in high
(03:17):
school, I had to take art classmy senior year.
I moved high schools on the endof my junior year of high
school.
I was only there for like amonth and a half.
Before summer Start my senioryear, go to pick up my schedule
and guess what's on my schedule?
Art I in my high school, selfstudious, corinda that I was
(03:49):
curious, corinda that I was.
I was so upset that I had totake art in high school.
I cried.
I was so upset and I was notthe kind of person that would
walk up to a teacher and sayanything bad in high school, but
I remember my first day of artclass, walking in and looking at
the teacher and saying I am notartistic.
I don't know why I have to takethis class.
This is terrible.
I'm just letting you know, Ican't even draw a stick figure
(04:10):
and I would sit down in my chairand thinking back on this and
talking about this like whoa.
It's crazy to think aboutbecause what happened through
that year and what happened inthat class was truly super,
super cool.
I actually learned that I wasslightly artistic and I learned
that in art class when theteacher said everyone's going to
(04:34):
make paper mache masks for,like I don't know, mardi Gras or
something I don't know, likethat, everyone had to make these
masks and paint them.
And I did not just make a mask.
And I think this is when Irealized that maybe I actually
was artistic, but I just deniedit my whole life.
I made an entire zebra head,and when I say I made an entire
(04:58):
zebra head, I mean a real zebrahead.
It was like the size of a zebrahead.
Actually, it's probably biggerthan a zebra head.
I made an entire zebra head outof paper mache.
When everyone else made a maskand I went after school to
finish the zebra head and I wasobsessed with this thing and it
sits actually under my TV.
(05:19):
We have a console table andthat zebra head sits in my
console table, console table.
And that zebra head sits in myconsole table and it is a
constant reminder of the factthat I make a living as an
artist.
Yet I cried when I had to takeart in high school because I
wasn't artistic.
So when I sit here on thepodcast and I say things like I
don't think I'm the world'sgreatest photographer, it comes
(05:41):
from this place.
Right, this is a.
This is the mindset thing yousee coming out in me that I just
believe that I'm not artistic.
I believe that my whole life Iremember being an art in junior
high and feeling the same waylike we have to draw something.
What I have, this dream thatone day I will be a real artist
(06:01):
and one day I will learn how topaint these beautiful portraits
and I will be a painter one day,right, but I kind of wanted to
give you a backstory therebecause I felt like it was a fun
prelude to all of this.
So when I tell you that Ibelieve I'm an artist more than
anything else.
It's kind of ironic, but let'sstart at the beginning here.
Let's start at the beginning ofwhat our experience looks like
(06:24):
and how we are stepping outsideof just being a photographer
that shows up and pushes abutton.
First and foremost, let's talkabout the beginning.
We are an interior designerfirst and foremost, and you're
like whoa Corinda, like that'scrazy.
I don't know anything aboutinterior design, neither did I.
I learned, I figured it out asI went.
(06:45):
We have to know these photos.
We have to know where they'regoing to fit in our clients'
homes and in the spaces.
We have to understand the typeof emotion or feeling that our
clients want to evoke whensomebody walks into their space
and sees our portraits on theirwalls evoke when somebody walks
(07:06):
into their space and sees ourportraits on their walls.
We have to step into the role ofan interior designer because,
honestly, our clients are notinterior designers.
They don't know that a 16 by 20is tiny on their wall.
They'll tell you it's bigenough, but it's not.
And you, as the interiordesigner, as the expert, have to
step in and say, hey, you knowwhat?
That 60 by 20 is not going tofit the space or the ceiling
(07:31):
height or the furniture oranything in the room.
It's going to look silly.
Let me step in and help guideyou and tell you what's going to
look good in your space.
But it doesn't just stop there.
It actually starts somewhereelse.
It starts with what they'rewearing.
We have to consider what theywear and how that's going to
look in their space.
(07:51):
We have to consider thelocation of their session and if
that's going to fit into theirhome.
We have to consider thematerial that we're going to be
printing their portraits on andhow that's going to be impacted
by the space and their home andtheir decor and the feeling of
their space.
We have to take all of thesethings into consideration when
(08:13):
we're planning our session fromsquare one.
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help give you direction andguidance as you move throughout
(08:33):
the next year in your business.
Together, we're going to workthrough quests each and every
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We're going to have a magicaltraining every month to give you
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Check out the link in the shownotes.
(08:55):
What if our clients show up in ablack leather dress with red
high heels on and then werealize that their home is a
farmhouse style home that lookslike Chip and Joanna Gaines
designed?
It?
Is the picture of them in ablack leather dress and red high
heels going to fit on theirwalls on the walls of their Chip
(09:18):
and Joanna Gaines farmhousestyle home?
No, it's going to lookridiculous and when somebody
walks into that space they'regoing to go.
Why the heck do you have thatpicture on your wall?
Is an acrylic print going tofit the space of a client with a
farmhouse style decor?
No, not at all.
It's going to look weird andout of place.
(09:40):
Now, if that same client livesin the city in a high-rise
building with very modern decorand furniture, then of course
that's going to look amazing.
So we really need to take intoconsideration our client's space
in their interior of their homewhen we consider what they're
(10:01):
going to wear, the location oftheir session and also how we're
going to be displaying theseportraits, what type of material
we're going to be printingthese on.
We also have to be able to lookat our clients' homes and
identify spaces that need art tocomplete them, and also be able
to see a space and go.
This space needs this type ofarrangement.
Maybe we have to get reallygood at looking for those nooks
(10:24):
and crannies that need to befilled for those clients that
say to you, I don't have anyroom in my home for art, yes,
you do, I will find a space,just show me your house, we'll
get to it.
We have to know what size artfits the space in relation to
the furniture and the otherdecor in the room.
We have to know if their roomneeds a canvas with a frame or
(10:48):
something more modern like anacrylic or a metal.
And if we're getting intoframes, we need to know what
type of frame is going to lookbest in their room and
complement their decor and notclash.
I like to tell my clients ifyou have a bright red wall in
your dining room that you wantyour portrait displayed on.
I need to know Because we'regoing to make sure we don't put
(11:10):
you in a Barney purple dress onthat bright red wall, because
it's going to look ridiculousand they go oh, I get it, and
that's a little bit of anextreme example, but it helps
people understand.
Bit of an extreme example, butit helps people understand.
We are first and foremost aninterior designer and our
interior design skills are goingto dictate a lot of things in
(11:33):
our client sessions and ourexperience that our clients have
.
Secondly, we have to be astylist.
We have to be a stylist becausemost people have no idea how
what they wear translates oncamera.
They don't realize thatchoosing an outfit that hides
their body is actually going tomake them look twice as big as
they really are in photos.
They don't know what type ofneckline, what type of sleeves,
(11:55):
what type of material looks themost flattering in camera.
They don't know that theyshould not wear a cotton dress
that is a dark color if theyhave a white horse, because that
cotton dress is not only goingto cling to their body in all
the wrong places when the windblows, but their horse's white
hair is going to be all overthat cotton dress.
(12:15):
They need to be told thesethings.
They need to be guided in theright direction so that they
look amazing in their portraits.
Because they don't know thesethings because they haven't sat
behind a camera and seen the waythat the clothes translate on
camera.
And, honestly, choosing outfitsis one of our clients' biggest
pain points and areas theystruggle with.
It's one of the excuses thatpeople will use to not book the
(12:39):
session.
So if you can convince yourclients, hey, it's good.
You don't have to worry aboutit, I'm going to help you, I'm
going to be there to support you, I'm going to guide you, I'm
going to direct you.
Maybe you have a clientwardrobe.
You take away their excuse notto book the session, not to do
the portraits.
They worry that they're notgoing to look good in their
photos and they also worry thatthey're never going to be able
to pick out the perfect outfit.
(12:59):
So we need to be able to givethem tips for those things.
But it doesn't stop there.
We also need to be able to givetips for things like hair and
makeup.
So our clients are headed inthe right direction and we need
to make sure that they look andfeel great in their photos, or
we need to be able to connectthem with the appropriate people
who can take care of that forthem, like a hair and makeup
(13:20):
artist.
Honestly, during our sessions.
We might even take on the roleof a therapist.
I know that sounds crazy, butliterally we have to be able to
recognize when our clients arebeing anxious and overwhelmed
and they're being tense andthey're not breathing because
they're nervous about havingtheir portraits taken.
We have to be able to identifywhen our clients are feeling
(13:41):
insecure so we can encouragethem and support them in the way
that we need to.
Heck, we might even get to playthe role of a dog trainer or a
horse trainer or a babywhisperer or, even worse, a
grumpy husband wrangler duringthe session.
We have to be a comedian,because if we're not funny and
silly and ridiculous, thehusband's going to check out in
(14:02):
a matter of 30 seconds and we'regonna be dealing with a pissed
off mom.
We have to play a lot of roleshere and I know it sounds crazy,
but like the difference in youbeing paid well and your clients
having an amazing experience isthe difference in you being
ready to wear all of those hatsand do all the things you need
to do and not thinking twiceabout it.
(14:23):
When I photographed weddings, Iwas definitely the family
therapist a lot of times.
Right, I had to know like doesthis bride hate her future
mother-in-law?
And if she does, I need to knowthat.
When the mother-in-law walks inthe room, I need to pay
attention to the bride's energy.
I need to know that she'sfeeling tense or uptight because
the mother-in-law walked in theroom.
I need to pay attention to thebride's energy.
(14:43):
I need to know that she'sfeeling tense or uptight because
the mother-in-law walked in theroom and popped off about
something that I know is abitter topic in her world.
I had code words with my brides, like, hey, if something is
bothering you, like, say thecode word, I got it.
Do I need to kick someone outof your wedding?
Just say the code word.
I'll do it Because ultimately,especially as a wedding
(15:03):
photographer, right, if yourclient is not excited and happy
about their big day, you'regoing to be able to tell in
those photos who gets blamed ifthe pictures are bad Me, not the
mother-in-law who pissed offthe bride Me.
So what am I going to do?
I'm going to do everything inmy power to make sure, whether
it's a wedding day, a newbornsession, a dog portrait session,
(15:25):
whatever it may be, I'm goingto do everything in my power to
dissipate and to make sure thatbad situations do not happen, to
make sure that the energy is onpoint, to make sure everybody's
happy, to make sure everyone'scared for, to make sure that
everybody feels good in thesituation, because if they don't
, it's going to show in theirportraits.
We have to be able to readpeople's emotions and feelings
(15:47):
and encourage them in a way thatthey need to be encouraged,
especially if they're feelinginsecure or tense when they're
being photographed.
We also have to be able tocheer people on and be their
cheerleader, and part of this isjust experience, like it's
something that comes with time.
I'll never forget.
I was at a newborn photographyworkshop.
(16:07):
The I think it was the dad washolding the baby for a pair of
photos.
The instructor is Julia.
She pointed out she's like thedad's really tense right now.
He's not breathing.
Like he's not just breathing,he's like, oh my gosh, I don't
want to drop my baby.
And I'll never forget her justsaying like sometimes you just
have to put your hands on yourclient's shoulders and tell them
(16:29):
it's okay and that they canbreathe.
And that was a big one for me.
Guys, like that was huge.
I use that all the time,especially when dealing with
animals horses, dogs.
Sometimes you can feel the hurtfrom animals dogs Sometimes you
can feel the hut from animals,especially.
Sometimes.
It's a little bit harder withpeople because they can hide it.
Well, man, if I'm photographinga horse and I know that horse
is tense and wound up and I canjust feel its energy, I'm just
(16:52):
going to go put my hands on thehorse and just take a deep
breath.
This is where we go beyond justbeing a photographer.
This is where we go beyond justpushing a button.
We have to be in control ofthese situations.
We have to be able to read theroom and make things pleasant
and enjoyable for everyoneinvolved.
(17:12):
If you're photographing animals,you best know how to handle
them.
You better know how to managethem.
You also better know how tohelp your clients prepare their
animals, whether it's a dog, acat, a lizard, a goat, whatever
it may be, how are you going tohelp your clients prepare for
the idea of having this animalin their portrait session?
(17:33):
And if you're not preparingyour client for that, you're
doing them a disservice.
If you photograph horses andyou know your client has a white
horse, you better be givingyour clients tips to make sure
that horse is white for theirportrait.
So they're not sitting therestressed out about making their
white pony white.
That is your responsibility tomake sure that every possible
(17:53):
thing that your clients mightrun into, every possible
situation, is handled beforethey even have a chance to deal
with it.
That's your responsibility.
And yes, we do show up at thesession.
We take the photos, but reallywe're an artist.
We have to be an artist thatfine tunes these photos that we
(18:14):
take.
We have to use light, we haveto use the proper exposure, the
proper composition, the properguidance and direction when
we're posing our clients, theproper guidance as we coach our
clients through the expressionor the feeling we want to create
in our portraits.
That's when we really become anartist.
(18:36):
We're doing all this prep work.
We're looking at their home,their decor, their space, we're
styling them, we're guiding them, we're preparing them, we're
serving as their therapist if wehave to.
But really all of this breaksdown to the artist piece of
(18:56):
creating the art, creating thefeeling, the impact we want with
these portraits for theirultimate place that they're
going to be displayed in ourclients' homes.
We have to retouch and we haveto edit those portraits and we
have to make our clients lookflawless.
Now.
Ultimately, we can do a lot ofthis in camera.
We don't have to sit inPhotoshop for hours.
I am a big fan.
(19:16):
I do not want to sit inPhotoshop and do anything extra
unless it is absolutelynecessary, but it is our
responsibility to make them lookflawless and to make them look
amazing through our posing, ourguidance, our direction and also
, sometimes, our editing.
We have to ensure that they'regoing to look stunning on their
walls in printed form, and thatthey're going to be so stinking
(19:38):
proud of how amazing they lookor their animals look that they
want to show that off for therest of their lives on their
wall.
As an artist, though, we alsohave to be in control of the
final product.
We have to source the printersand the artisans that create our
art for us in a physical,printed form.
(20:00):
That physical representation ofour work is what we leave
behind.
That is our legacy, and I don'tknow about you, but, oh my gosh
, my grandparents' house.
I remember going to their houseforever and ever and ever, like
every time I went over to theirhouse, even as a child, I
(20:21):
remember walking into theirhouse and just being in awe of
all of the photos on their wall.
I remember looking at thepictures of my mom as a teenager
twirling her baton and thinking, like that is a stunning
portrait of my mother.
I wonder what that photographerwho created that was thinking.
I wonder if he knew that oneday her daughter would be
(20:42):
sitting there staring at thispicture of her mom on the wall
thinking, wow, this is sobeautiful.
50 years later, I think aboutthat.
Do you think about that as anartist?
Do you think about the factthat one day your client's kids
and grandkids are going to walkinto their house and see that
picture that you took of them ontheir wall, that you created,
(21:03):
that you styled, that you hadcontrol of the entire situation
and you crafted this perfectphysical representation of this
feeling and this emotion thatyour client had in that very
moment, and that your client'skids and grandkids are going to
walk into their house and justfeel that If you're not giving
that to your clients, what areyou leaving behind in this world
(21:25):
?
If your pictures are going tolive on your client's computers,
you're not only doing your ownwork a disservice, but you're
doing your client a disservice.
Their grandkids and their kids,50 years from now, are not
going to be able to find thosepictures on the computer, that
portrait hanging on the wall.
They're going to be able tofind those pictures on the
(21:46):
computer, that portrait hangingon the wall.
They're going to walk up tothat and they're going to be in
awe of that picture.
In my grandparents' housethere's actually pictures of two
babies.
I might have the story mixed upin my head, but I believe that
they were my grandfather'ssiblings and they're actually in
these beautiful oval frames.
Mind you, my grandfather passedaway this last year and he was
(22:09):
100.
So this tells you how old thesephotos were.
These photos were 100 years oldand they are these two pictures
of these babies.
And it was back when they usedto do these those weird creepy
baby pictures where they had thebabies in the dresses and they
held them up and they were inthese gorgeous oval frames that
(22:29):
were ornate and just stunning.
And I was always like, oh mygosh, those pictures are just
they're out of this, like it'sjust something you don't even
realize, like this is real, thisis somebody's family member,
this is, this is my familymember forever ago, right?
That's crazy to think aboutthat.
(22:49):
Those pictures were still in mygrandparents' house till the
day they died and that Iremember looking at those over
and over and over again.
Every time I went to mygrandparents' house I would just
walk around the walls and stareat these pictures on the wall
in awe.
I want to know that people aredoing the same with my pictures.
(23:09):
I want to know that my picturesthat I am taking are art on my
clients' walls.
I want to know that when myclients are old ladies, they're
dragging those pictures to thenursing home with them that I
took of their horse.
And I tell my clients that whenI'm sitting on an image reveal
with a mom and her teenagedaughter, that when I'm sitting
(23:33):
on an image reveal with a momand her teenage daughter and
they're trying to figure out ifthey want to buy the canvas or
metal or print or what they'regoing to buy, and they're
thinking about that canvasthat's thousands of dollars,
trying to decide if it's worthit.
And I say to them your daughteris going to tote this canvas
around until she's an old ladyin the nursing home.
And every time somebody walksin her room at the nursing home
(23:54):
she's going to say you see thatpicture up there on the wall.
That was my pony when I was ateenager.
His name was Rocky, and they'regoing to remember how they felt
as a teenager.
They're going to remember howthey felt with that pony, how
(24:14):
they felt with that pony, andthat is valuable.
And if you, as a photographer,don't get all worked up inside
and ooey gooey and want to liketear up when you think about
this and the power and theimpact that you have, you might
be in the wrong profession,because this is powerful Y'all.
I don't even know where I wasat.
I just totally went off on atangent and I apologize.
Oh, I don't even know where Iwas at.
I just totally went off on atangent and I apologize, but
(24:34):
this is so important.
If you aren't showing up as aphotographer who's ready and
willing to jump in and take careof all of your clients'
problems and solve all of theirproblems, and before they even
have a chance to worry aboutthem, chances are you are not
truly serving your client.
And if you do not feel sopassionate deep down inside
about the value of the printedwork that you have the ability
(24:57):
to create for your clients, Iwould say take a step back and
really consider what this isthat you're leaving behind?
Are you okay leaving behind abunch of digital files that are
going to be gone from a computerin 10 years?
Or do you want to know that ahundred years from now, somebody
is going to be staring at yourportrait saying, I'm so glad we
have this to remember them?
(25:17):
Where is it that you lie onthis scale?
How do you feel about it?
Because for me, I think about myclients from the early days
that didn't get wall portraitsor that maybe got small prints,
or those clients that may nothave gotten the best quality
wall art, and it makes me feelphysically sick knowing that
(25:39):
those clients are not going tohave those portraits around
forever.
This is a huge reason why I'veshifted to offering really high
quality products.
They cost a lot of money and Ihave to sell them for a lot of
money and it's scary, but I knowthat those canvases that I'm
selling from Guild are going tolast till my client is an old
(26:02):
lady in the nursing home and ifshe wants to tote that canvas
around when she's an old lady inthe nursing home, she can do
that and that brings me joy.
That makes me happy, thinkingabout the days when I offered
some really crappy qualitycanvases that are probably
falling off my clients' balls inpieces.
It's hard to think about.
(26:23):
So I'm going to ask you todaywhat are you?
Are you just a photographer?
Are you just clicking a button?
Or are you a problem solver foryour clients?
And, furthermore, are youcreating art for your clients
that is going to be left behindlong after you're gone?
(26:44):
Can you sit here today and saythat your work is going to live
on far beyond you, that one daythere's going to be a
20-year-old photographer who'sstanding there staring at the
pictures of her mom on the wall,thinking, wow, that's a
gorgeous portrait of my mom.
I wonder what that photographertook.
(27:05):
It was thinking, I wonder whattheir name was.
I wonder who they were.
I wonder if they knew that oneday I'd be staring at this
picture.
That's what this is about.
It is about serving our clientsand it is about taking care of
their problems, but ultimatelyit's about what we leave behind.
So what are you leaving behindfor your clients?
What are you leaving behind foryour legacy?
(27:25):
I know that the impact that I'mable to make in my client's
life is going to live far beyondme, and that brings me so much
joy.
Let me know how you're feelingabout this topic, what your
thoughts are, if this isstarting to change your
perspective on the way youhandle your business and the way
(27:46):
you show up, because I sure asheck know that just recording
this podcast episode has lit afire inside of me and reminded
me of this, and I don't talkabout it enough and I don't
share the story enough about mygrandparents' house and the
power and going over there andseeing those photos.
(28:06):
But it's important and I hopethat you can start to see that
you have the ability to leavebehind something really
important for people.
So share your thoughts aboutthis.
Head on over to our groupPhotography Business, tune Up
and let us know how you'refeeling about this topic and let
us know are you leaving behinda legacy, are you solving your
clients' problems and takingcare of them, or are you just a
(28:27):
photographer?
Thank you so much for listening.
If you enjoyed this episode andyou'd like to support the
podcast, please make sure youshare it on social media or
leave a rating and review.
As always, you can check outthe links and resources in the
show notes over atmasteryourmindmoneycom To catch
all the latest from me.
You can follow me on Instagramat masteryourmindmoney and don't
(28:49):
forget to join our freeFacebook group Photography
Business Tune-Up with KarindaKay.
Thanks again, and I.
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