Photographer Tim Bennett- ethics, personality, life lessons & more!

In this episode, we shift our focus from interviewing models to finally interviewing a photographer- By popular demand from fellow photographers! Welcome acclaimed photographer Tim Bennett. 

We reminisce about our first shoot in Texas, discuss the importance of creativity and humor in our work, and explore the dynamics of photographers working with models from a new -to-this-podcast perspective. Tim shares his inspirations, recounts memorable shoots, and addresses the challenges and ethical considerations in the photography industry.

From discussing the impact of social media on our work to recounting personal anecdotes and industry insights, this episode offers a candid and insightful look into the life of a photographer. Whether you're a seasoned photographer or just curious about the craft, this episode is packed with valuable lessons and entertaining stories.

Check out Tim on IG: https://www.instagram.com/timbennettphotography/ 

Also check out Tim's mag: Venus Magazine here: https://www.magforest.com/publisher/probodyshots/ 

Episode Transcript

(00:00):
Music.

(00:06):
Where we have deep conversations but this
time the conversation is with a photographer by
popular demand i've had lots of fellow photographers who listen to this podcast
ask when are you gonna interview a photographer christy so today i have tim
bennett on the line say hello hey christy how you doing thank you for inviting

(00:31):
me yeah i'm excited about this i would
like to say that when I shot with Tim
it was when I went to Texas that
was earlier this year I think right was that like January yeah
yes it was I
think it was February or something somewhere around in there yeah yeah I remember
Tim you had messaged me and you were like oh I really like your work and I want

(00:54):
to shoot but I I'm kind of creatively burned out at the moment and maybe you
next time and I was like all right yeah no worries and and then I posted one of my.
Infamous ridiculous comedy skits and
you were like wow that is so hilarious like I have to come up with a reason
to shoot you now and I was like interestingly before I posted that every time

(01:19):
I post one of those I'm like oh my god like you know people are gonna hate me
for posting this but literally 99% of people think they're funny.
And it's 1% of people that get all butthurt in the comments where I'm like,
it's supposed to be funny. It's not about you.
No, I love those skits. I think you just posted one recently,
which was hilarious on the rocks or something like that. But yeah, that was.

(01:43):
Thank you. Yeah. And I understand why people get like annoyed by them because
maybe they see a little bit of themselves.
It's not supposed to be like, I think people take it too seriously then and
it's intended to be, you know.
Absolutely. Absolutely. You got to have fun doing this stuff,
man. That's what it's all about. Yeah.

(02:04):
So, so I've always appreciated you because that was like kind of how we first,
we started off on that, on that foot and then we had a great shoot and we've
kind of been in touch randomly on and off ever since then.
Yeah, for sure. Sure. I think I was really wasn't familiar with your podcast until after we shot.
And then you're right. We had an amazing shoot, real creative.

(02:26):
You had your hair done in a really cool way from from another shoot.
But it wasn't until afterwards I became familiar with your podcast and got really
plugged into appreciating your advocacy for the traveling model world.
We know a lot of the same people. I mean, Veronica Lavery and Azura Grace and
Jamie Byrne. And you introduced me to two because of your podcast that I would never met before.

(02:49):
And that's Poppy Seed Dancer. I got to meet her and shoot with her.
And then Autumn Hughes, because of your podcast, I actually posted her last month.
And we got to meet and became friends and did some amazing work.
And just she's an amazing model and makeup artist, too. So, yeah, for sure.
Yeah, Autumn is super talented. And so is Poppy. I mean, so it's like everybody's

(03:12):
got their like really special talents, you know, that's what makes it so interesting
to get to know them. Oh, for sure. Yeah, definitely.
And you never know. Right. What's cool about this community is,
like you said, you and I met, we never met before.
And we got together to shop for a couple hours.
And then that's, you know, spring into this relationship that you and I have,
even though it's, you know, thousands of miles away and we become,

(03:34):
you know, fans of each other. and it's just nice to see things like that happen
in this community. Good things can happen. It's not all bad.
Yeah, and for the record, for anybody out there that, you know.
Concerned about like the photography industry
and it being supposedly full of creeps
or whatever we talk about creeps because we

(03:56):
don't want each other to run into creepy situations but 95 percent of my shoots
are non-creepy you know like it's mostly all good it's just the few that you
got to look out for and we're trying to raise awareness about that absolutely yeah absolutely So,
Tim, I've got some questions from other people that answered my Instagram survey.

(04:20):
Questions to ask the photographer that's going to be interviewed today that I would like to ask you.
Let's see. Which one do I want to ask you first? All right. What photographers
or artists have inspired you?
Oh, that's easy for me. And this is going to probably go back before most people.

(04:41):
I've been doing this for 25, 30 years. Dave Hill, who was a very,
very famous photographer. He's out of Nashville, Tennessee, became this really
cool creative photographer in L.A.
It was definitely one. Robert Alvarez, that was another one.
Big Johnny Roberts worked.
And then Michael Rosen, who has since passed away, was a famous Chicago photographer.

(05:02):
Just his work is way ahead of his time. But those three for sure were a big
influence on work in the beginning.
And they still do influence me. So Michael Rosen, Dave Hill, and Robert Alvarado.
Yeah, I've worked with Robert Alvarado. He's cool.
Yeah, Veronica just shot with him recently again. She's out in L.A.
Now. They just finally got together again after a long time.

(05:24):
Yeah, you know, he's one of the few photographers that I would shoot with again in L.A. area.
Like, I don't know. I didn't really have good success the times that I went through there.
But it's been, like, almost 10 years since I was there, so.
Maybe it's what is your favorite kind of shoot?

(05:44):
Oh, you know, I don't think there's a genre that I that I really or it more
comes down to the chemistry between, you know, the model and the photographer and the chemistry.
You know, obviously, my history is I used to have a professional commercial
boudoir business and I did private client for boudoir.
So I did a lot of boudoir and stuff like that.

(06:06):
But to me, it could be a fashion shoot as long as the chemistry is right.
It could be an editorial shoot. It's a chemistry grade.
It's more about feeling to me than a particular genre. I do quite a bit.
I used to do product photography back in the day. I've done pin-up stuff like that.
So it really just comes down to the relationship during that shoot and how it

(06:26):
feels and the creativity because we all know that comes out in the final product.
Yeah, totally. Yeah. I mean, I've noticed that in your page,
there's a lot of, I think I would say like fantasy, fashion,
boudoir, steampunk elements when I look at your photos.
So yes, it's kind of just like various things you seem to be inspired by at the moment.

(06:51):
Yeah, pretty much. Yeah. After I started shooting again, I just kind of just
felt free to try whatever inspired me at the moment.
Yeah that's cool all right
and here here's kind of a little bit more of
an edgy question what would make you decide
to not work with a model again i
will kind of back to what i said earlier if if there's no real artistic

(07:12):
connection or or flow if you
will whatever word you want to use i probably wouldn't you
know reach out and try to shoot with them again it happens rarely but
that's probably the only reason i wouldn't unless there's something
weird that happened and i know we're going to get to that point down
the road you're going to ask me some of the weirdest things that happened i'll i'll tell
you at that point about one of them but but absence

(07:34):
of your creative connection probably yeah so
would you say that like being conversational or being willing to like go with
the flow on ideas would be something that would be a good connection during
a shoot or yeah absolutely i mean it's well you and i work together right I
had a couple of concepts, but your input was just as important.

(07:57):
And we kind of flowed with it and did this and moved there.
And, you know, we've all people have done this for a long time.
Understand you might have a concept going into the shoot, but most of the time
it ends up moving away from the original concept.
Yeah. To something even even better than you thought it was going to be at the
beginning. So those kind of communicate.
It's a team effort. Right. I mean, to me, you're an artist. I'm an artist.

(08:19):
That's the way I've always looked at it. Yeah.
I mean, I guess I can only like see a shoot experience from my own lens as I
have worked with photographers.
And when I talk to another photographer and I hear them describe a situation
where the model was not willing to go with the flow or was not willing to,

(08:41):
you know, do their idea in the moment,
then, you know, I have to imagine what that was like.
Because for myself, I'm always just like, you know, as long as I guess,
obviously, there are things that need to be in place in advance, like communication.
What are we going to shoot? How much nudity is there going to be?

(09:02):
How many hours is it going to take? Because if I get there and there's five
minutes left and somebody is like, all right, do you want to get honey dumped
on you or get a suspension going on? Then, you know, that'll throw me off.
I can't always go with the flow, but within certain parameters, you know what I mean?
Those there's definitely got to be boundaries and it goes both ways
and now i'm glad you mentioned xl that's one

(09:24):
story i'll have to tell you when we get to that horror part
of this thing you just run out of something get it out of the way
now because we keep on indicating okay all right so without
no name yeah no
names mentioned okay so i did shoot this when i
first started reshooting again i took a break for about eight years i
was rebuilding my portfolio and there's one model i worked with and we

(09:47):
did fine it was great and it was a great shoot or whatever and
fine and then i don't know a week or so later she hit
me up again hey i'd like to shoot i said cool whatever what do you want to do
oh i want to shoot content for my patreon i'm like okay i guess that's fine
whatever i said exactly what you what do you want me to shoot and i don't know
if i can use this for in a podcast because i want you to shoot my private parts

(10:10):
like you know i'm going like Like, well,
first of all, I can't use that content. I don't really shoot that anyway.
I mean, I'm sure there are plenty of other photographers out there who would love to do that.
But for me, it's not anything I really want to do.
And she got pissed off and just got mad at me.

(10:31):
And I said, sorry. So, I mean, boundaries go both ways. I mean, that's my boundary.
I mean, have I shot it before? Yeah, years ago when I was shooting for Playboy
and all that kind of stuff. But it was never like hustler stuff, whatever.
I mean, and I'm not judging. if people do that great but me my thing i want
to be able to use the work i want to be able to put on social media and i'll
do those kinds of things as well but instead as opposed to me doing all the

(10:51):
editing and all the shooting and all the lighting and just to shoot her close-up of her
private part yeah no i don't i don't want
to do that so yeah it kind of goes both ways i guess
boundary wise yeah that's interesting so she
liked your photography style and she
wanted explicit images in that style well
she liked the style but it wasn't even about that she just

(11:13):
really wanted me to shoot close-ups of her private part
there are plenty of people out there would love
to do that it's just not my thing you know what i mean
yeah no and i do
i have experience with this for collaborations with patreon with other photographers
in the past as well and this is part of the reason why I ended up just shooting

(11:36):
self-portraits because asking somebody else to take your explicit images for you is...
It's like a loaded gun, you know.
It could come up with different ways to, like, affect the creative process or
bite you in the ass down the road.
Like, if that person, you know, ends up selling your photos behind your back

(12:00):
because they have the copyright for them.
I'm not saying that you would do that, but, like, this has happened to me in the past.
No, you're exactly right. You're not the only one. There are several models
that I know that have been down that road.
And you know we're shooting content or whatever and
the next thing you know guys so sold the images or the
videos or whatever and they had no control over
so and good friends we both know i'm not

(12:22):
gonna mention their names what's happened to them yeah totally and
then there have been times where a photographer who i
really like their work has wanted to shoot with me and
i used to do a lot lot more trade collaborations
for like patreon content and
before patreon there was a site called
zivity did you ever use zivity no yeah zivity was like the pre-patreon platform

(12:48):
where photographers and models could make a profile and they would tag each
other when they had a photo set uploaded and then fans would like send prizes
like they would come up with a prize like i want you to do a
sexy Santa photo shoe and whoever's my favorite photo set is going to get 250 bucks.
So there's always these ongoing contests that were funded by the fans on the website.

(13:13):
So you could either be on a photographer or a model on there.
So it was really cool, but it was so cool.
But when Patreon came out, Patrion's was a lot more user-friendly and.
Fans and for everybody but and it was
a lot easier to like make more money because instead of having to win
a contest you could just have a monthly subscription

(13:34):
so you would have more right but anyway
so it used to do content collaborations for
zivity and then it turned into patreon and
you know oftentimes i would ask the photographer
is it okay if i can get some like erotic
images for my higher tier patrons because
people at a higher tier would get

(13:56):
more explicit stuff and i could use this photo
set in more different ways if it included explicit
but not every photographer was comfortable
shooting that or i might not necessarily be
willing to pose that way for every photographer so
that made it kind of weird right yeah i get it
and let me make it clear obviously I'm not opposed to shooting nude I

(14:19):
mean I shot you nude we put you in
Venus Magazine blah blah blah it's just that it was just a weird
thing to be asked that's all she wanted you know all she wanted was a close
up of her you know private parts like that's just weird for me but anyway I
can see it being if there's like a photo series that starts out clothed then

(14:39):
ends nude the last shot be like an ass shot kind of makes sense but,
but then you have to edit it then you know I know right.
Your editing process, it seems like you do put a lot of care into your post-processing.
Well, I do because my history is before I was ever a photographer,

(15:00):
I was a retoucher and a digital artist.
I learned from Natalia Taffarel, who's a famous retoucher down in South America,
back when people were doing pixel-level editing.
I've been doing Photoshop since Photoshop 1 came out. I take a lot of pride in my post-production.
So, yeah, I do put a lot of time into a post and doing, you know,

(15:20):
without trying to make it look plastic.
And that's always the hard part, right? You've got to find that fine line between
realistic editing and then now it looks completely plastic.
So we were taught back then, we were taught back then as a retoucher,
you don't want somebody to look at that and go, it's been retouched, right?
So, yeah, I took a lot of pride in my retouch, for sure.

(15:42):
Yeah. I mean, I don't even know where we're at today because it's getting hard
to tell what's real and what's not real.
Oh, for sure. And, you know, AI is becoming a big thing, as we all know.
And, you know, some of it's good. Some of it's not good. Some of it saves a lot of time.
Some of it's obviously plastic. You know, I have feelings both ways.
You know, if it's a tool that's going to help me save time and it looks okay, great.

(16:06):
But the old-fashioned way to me is still the best way. Yeah.
You know, the topic of AI comes up every once in a while on the podcast.
And there's some people that are like extremely against anything AI at all ever.
And then there's some people who are like, yeah, do all my shortcuts for me.
Like, where do you stand on that?
Well, two different areas of AI. One, AI imaging, which I'm a huge fan of.

(16:31):
And I know it's not very popular right now.
Because, as you know, I do a lot of I have done a lot of AI imaging.
But it's not just plug in, put the text thing in there.
Also use my own photography, my own photographs, incorporate that in composite
work and move some things around and several different apps I use.
I like to play with it. To me, it's another artistic outlet.

(16:54):
So you've got the imaging part there, but the AI engines you're talking about,
I think, like I've introduced into Photoshop and some other platforms out there.
Again, I have mixed feelings. if it's something that's going to
save me time and it looks realistic i'm okay with
it but i'm not okay with somebody's hitting a button
and taking an image and they're it's you know boom there you go

(17:14):
as far as a photograph per se yeah that's what i'm saying but yeah yeah yeah
i was telling you at the beginning of the podcast like in adobe premiere pro
there's a feature that can I can take all the arms out of my podcast episodes.
So with one click, it scans the whole thing, transcribes it,

(17:38):
and then it'll take out all the arms and I can cut out all the pauses.
And it it has made it so that it's so much easier for me to keep this podcast
going because like it only takes me 10 percent of the time to do the editing.
And I think that that's super helpful, you know.
Absolutely. And I totally agree with you that that's things like that.

(17:59):
More give us more of that you know give us more of that whatever you
can give us to make it more efficient without removing the artistic
part of it right so and yes we
definitely want you to keep on doing the podcast by the way yeah yeah
no i i enjoy the process of doing it
yeah so yeah i'm yeah i'm a
fan of the ai like images that you have shared i think you shared one recently

(18:24):
where it was like a lot of white in the photo like oh my gosh it was that i
need to go back on your page and check it out i know i did one recently i did
an ai image of dami burn because she wanted to be.
A character called wishblade which i wasn't familiar with and i did some research
she actually she was i hosted her this month for 10 days so we were we were
together for 10 days and she goes hey can you can you make me a character called

(18:47):
wishblade and i did the research i looked at it i pulled it up and i went to
mid journey i did some other things i took pictures of her and we kind of integrated the whole thing.
So I recently posted that one, I don't know, maybe a couple of weeks ago.
So it's a fairly recent AI composite kind of thing that I've done.
I did a lot of AI work for Veronica Lavery because she loves it.
She actually has prints in her house now of some of the stuff I did with her.

(19:10):
Yeah, and I know it's very controversial, but I mean, 99% of my work is photography
and just playing with AI every now and then, who cares?
I'm not identified as AI.
I'm not saying it's my work or whatever, And I know people get butthurt and
it's controversial, but, you know, to me, it's an artistic outlet.
Yeah. Yeah. As long as you're not completely substituting all of your skill

(19:34):
for like AI, you know, then totally.
But the ethical debate is, you know, that AI was training itself on like actual
artists without their consent, which is definitely an ethical thing for sure.
So that is true. And it's definitely something to think about and debate.

(19:57):
And I'm sure we will for the next few years. Yeah.
So you touched on it briefly. You touched on your work with Playboy.
And I think that that is worth kind of diving into.
You mentioned that you've been shooting for 25 years.
And I should have asked you this at the very beginning of the podcast,
but I'm kind of all over the place today.
So can you give like a synopsis of your photography since since you started

(20:22):
and like how your career has progressed to lead you to where you are today?
Yeah, I mean, I'll give you a cliff note version.
Like I said, I started with film way back in the day. I had my own darkroom.
I developed my film and pictures and stuff like that when I first started dabbling with it.
At the time, like I said, I was primarily a retoucher and digital artist.
Then I got into product photography, which made me a lot of money back in the day, believe it or not.

(20:44):
I've been publishing more magazines with my product photography than anything else, ironically.
And then that kind of led me to start shooting people. And then I got my first studio back in 2008.
I think it was 2008. Wow. 5,000 square foot studio.
And we had a manager and a complete staff assistance and stuff like that.

(21:05):
That's when I was doing my...
Commercial work and also my private boudoir
for clients to you know produce boudoir books
for their husbands or fiancés or abortions or whatever and
that was a very successful business for four years until 2012
2012 i got married to my second
wife and then we moved to florida and i stopped shooting in 2012 and didn't

(21:30):
start back until to 2021 so i've only been yeah i've only been back shooting
in 2021 and boy i gotta tell you the world changes in that amount of time because.
Prior to that as you know model mayhem was the world right
we could go there and find our connections and our models and
photographers and makeup artists i come back in 2021

(21:51):
model mayhem was pretty much you know dormant and instagram
was the whole game i didn't even have an instagram account until mid
2021 and then started reverting my
portfolio so that's kind of the quick background
but yeah i mean i shot so i used to shoot for sky vodka jagermeister north
america dean guitar company a lot of
latex brands stuff like that my maxim magazine when it was still a real magazine

(22:14):
a couple promotions for playboy but that was way back in the early 2000s so
my quick history so you said that you started you had your own dark room and you were doing film
was that for like a school i love you
christy i'm not that young no i was i

(22:35):
was you know i was married had three kids it
was just it was a hobby for me at the time to do it
and play around with the dark room and the film and stuff like that but
no i love you i'm not that young though i don't know you said 25 years and if
you were like in college you'd be like 20 so that's great it started it as a
hobby and you ended up getting into a lot of like mainstream publications after

(22:59):
starting it as a hobby like how did like I'm sure a lot of photographers that are listening,
want that like can you describe like how that came to fruition.
Wow. You know, I thought about that before. How did I, you know,
become successful, if you will?
And honestly, I tell people I just fucked up more than everybody else. It was a passion.

(23:19):
Number one, you've got to be passionate about it. Take the failures as successes.
Shoot more than everybody else. Learn from your, you know, as many people as you can.
And the only thing I honestly answer I can give you is just the passion drove me there.
It was just i always wanted to be better and i
didn't and the the ironic thing back then that
we didn't have today we didn't have social media back there back then so one

(23:44):
of the to me one of the downsides in social media world we live in now we tend
to compare ourselves a lot more than we used to than i used to because all in
your face every day and then we get distracted from
our own kind of genre, our own way to do things.
And I try to keep that in mind even today, but that wasn't a problem back then.
I mean, there was not a lot of places that you could go see other work,

(24:07):
other than like Model Mayhem and places like that.
So I just said the drive was a passion more than anything else,
and things just started falling in place. There was no magic.
You know, I didn't know a special person here or there.
And my favorite six words for photography from my work is six words,
let the work speak for itself.
And I still believe that to this day. Speak through your work.

(24:29):
Let the work speak for itself.
My favorite six words. I love that. Yeah, no, I fully agree.
And I do believe that if you are really passionate and you stick to your guns,
you know, and you're genuine in what you're doing, then, you know, the traction will come.
But you're probably right about how a lot of people are comparing their work

(24:50):
to other people's work. And I feel like I see it a lot.
I see a lot of photographers that want
to shoot like glamour style photos a lot
of their photos kind of blend in with each other a lot of people that want to
shoot artistic nudes in nature a lot of their photos are like similar poses
similar compositions you know what I mean and so I'm always like I mean I shoot

(25:13):
so folk and my own work often tends to kind of blur around with With everybody else's work,
that's in a similar, you know, location or whatever.
So so I'm always like trying to be like, what what can I do to make it more interesting?
What can I do to make my photos say something besides just this? Oh, yeah, for sure.
I think take chance, you know, taking chances and try something new. Right.

(25:37):
I mean, a good example, when you and I shot, you know, if you remember that
one set we did, I had the whole low lying fog machine going on with the red
with the red lights behind there and all this. I said, I told you,
I don't know if it's going to work out or not, but we're going to give it a
shot and see what happens.
After the whole house was smoked up, we got some good images.
But it's something I never tried before. It's like, what the hell?

(25:58):
Give it a shot. If it sucks, it sucks. If it's good, it's good.
Yeah, I remember you had to, I think you had to change your shutter speed quite
a bit because your continuous lights were not nearly as bright as like the lowest
setting on your strobes or something like that, if I remember correctly.
Yeah, if you remember, we had the continuous lights in the back,
the red lights in the back, the tubes, you know.
And then we had i was using the strobe i think a beauty dish for you

(26:19):
and then i had to kind of balance between the ambient
light and the and the and the strobe and we
eventually got it you know but you've got to play around with all those little
things or whatever yeah yeah and i love experimentation i feel like if i'm just
like a notch in a photographer's camera and they're just doing the same thing
with me that they've done with 25 other models i'm just like all right like

(26:42):
Like, let's get through this.
But I do enjoy when somebody, you know, knows their gear, but they want to try
something different. I like that.
Yeah, that's, again, that's the thing you got to, you know, continually.
It's easy to get in your comfort zone and do the same thing over and over again.
I'm as guilty as anybody else.
And that's when things get stale. And we're like, well, I'm not very excited

(27:05):
right now. We'll try something new. You know what I mean? Go for it.
All right. I got some more questions. This question comes from a photographer that I've worked with,
and he's asking how much detail in your initial contact with a model to set
up a shoot is the right amount of detail? Yeah.
Oh, that's a good question. I think it's it depends on who it is.

(27:28):
I mean, everybody's different.
Everybody's a different individual. And the perfect example I can give you is
Azura Grace. We both know her, right? Right.
She's an amazing model and she's autistic.
And I've learned and she has told me that she has educated me on autism.
I have to be very specific if we're going to do a shoot. Exactly what I want.

(27:49):
Wardrobe I want. Where we're going to shoot. When we're going to shoot.
Because if I change it, it kind of freaks her out a little bit.
She'll be the first to admit it. So she's educated me very well how to communicate with her.
We've become very good friends. We shot so many times after that.
But I remember the first time we shot, I changed something the day before and
that kind of she and she didn't like that.
So but then there are other people, you know, and other models maybe I've worked

(28:12):
with a lot of times or whatever that go with the flow.
But I mean, the questions like the initial first time you're going to shoot
with somebody, I would say be as detailed as possible.
You know, hey, I want to do this kind of concept.
I'm thinking this kind of and have, you know, have some shots to show them,
you know, some inspo shots to give them.
Them that always helps a lot give them a visual idea if you can send

(28:34):
some inspo shots that helps a lot right
now you're kind of on the same page but then after that let it go with the flow
i guess i mean i'm not a very i'm not a very controlling photographer as you
know i don't sit there and tell you put your hand on your head or turn you out
whatever i'm more of a flow photographer let the model flow and capture the
image yeah that's cool i like that and i would say when it comes

(28:56):
down to you know last minute
changes the only thing for me that would be a red flag if i was working with
somebody for the first time is if they were going to change the location right
before the shoot because what if like i you know told my friend that hey i'm
going to be at xyz location and suddenly we're going to the woods in the middle

(29:17):
of nowhere instead that's that.
I totally agree.
That's not cool at all. No.
Yeah. Yeah. I mean, I understand, like, shit happens or whatever.
And shit has happened with me where the location had to get changed last minute
and I had to be like, all right, is this person potentially a serial killer or is this?

(29:38):
Exactly. Right. Yeah. And there's another person that was asking about the best
way to message somebody about setting up a shoot. So when you're going to work
with somebody for the first time, like, how does that usually come to fruition?
Do you usually contact them or they contact you? And how does that get going?
It goes both ways. I mean, I get hit up quite a bit lately because now I've

(29:59):
got a fairly decent following on Instagram.
I mean, I've gone from zero to 25,000 in two and a half years,
and I'm astonished that it's grown that fast.
But I've got some visibility now, so I get hit up as well.
But it's typically everything's through Instagram right now.
I mean, I've been on Model Main since 2008, but I rarely go on there anymore
because to me it's so archaic, it's hard to use.

(30:21):
And so all my contacts now are through Instagram.
I'll just, you know, initial hit up. Hey, you know, this is who I am.
And I like your look. And I try to send a concept. Hey, I think you'd be great for this concept.
And just start a conversation there. And that's kind of how it's happened since
I've been back shooting.
That's cool. And you said you've been back since 2021?

(30:42):
Yes. Cool. And so would you say a lot of your work comes from Instagram these days?
Most all of it. Yeah, absolutely. Yeah. That's the main platform.
For him prior to that you said you stopped shooting when you got married again in 2012,
2012 yeah 2012 to 2020 a
lot has changed since then and that's

(31:04):
when i and that was a weird that was a weird story because i married a model and
and she didn't she got jealous of me shooting but
i won't go into detail that so i kind of quit for that reason and
biggest mistake i ever made because that was my artistic
outlet and i'm so excited to be back shooting again it
just it's it breathed life into me for sure yeah
that's interesting hearing about that happening from a

(31:27):
photographer's point of view because i hear it happening to models all the time
too like the model falls in love with somebody and then their significant other
tells them they can't model anymore or whatever like i guess relationships can
be weird at least for some people yeah.
That's an understatement. Yeah. I mean, I had an ex who he said he was cool

(31:51):
with my modeling, but then he would get really passive aggressive about the
various aspects of my modeling. Yeah.
That's what happened to me, too. Passive aggressive behavior.
And to the point, I didn't want to do it. Yeah.
That sucks. But yeah, that's a long period of time.
2012 was like really before everybody was on Facebook.

(32:12):
Like i wasn't on i think i had a facebook
in 2012 but i didn't really start using it until 2013
or 2014 so yeah the
whole world changed in that span of time no no doubt about it i mean you know
getting back into it i had to repurchase equipment and stuff and figure out
how to get seen and all that stuff but yeah it was a huge change those few years

(32:34):
in this whole industry so another Another person has asked a question,
and this is a fellow model, and she asks,
when a model is contacting you to set up a shoot,
does it throw you off if the model has their own contract or like policy web
page for you to review before shooting?

(32:55):
Honestly, Christy, I've never had that happen to me.
I've never had anybody present their, you know, whatever policy thing,
you know. I mean, obviously, there's some models that present,
hey, I'll do this, this, this, and this, and I don't do this,
this, this, and this. That's fine.
These are the boundaries or whatever, but I've never had an issue with that whatsoever.

(33:16):
I mean, it wouldn't bother me, unless it was weird. You know what I mean?
Yeah, I have a lot of friends who are other traveling models who have a booking
form on their webpage, and it'll have some things where you say.
If there's gonna be liquid at the shoot, you have to book.
At least this amount of time like you know getting covered

(33:37):
in honey or something like that things like that oh
yeah yeah that makes sense but i haven't dealt with that it does make sense
it's smart for sure yeah or or they're like cancellation policy and all that
good stuff right yeah yeah let's see what are the attributes of a model that

(33:57):
you find are the most important
and attributes that are the least
important the most important i'm a
personality guy believe it or not even though i shoot you know mostly
new females a lot but personality to me
is everything and there's a very good example of somebody
that i work with her name is whitley queen she's

(34:18):
a local model i didn't work with her for a long time
she's extremely tattooed blue hair
and turned out to be one of the best things
i did was to shoot with her she's an amazing model and
her personality is just so easy to work with and
so to me personality is everything if you don't have the personality it's difficult
to have a good image in my opinion you know what i'm saying i mean it goes it

(34:41):
goes back to that creative relationship or whatever that personality is so important
to me yeah and i do think that especially in freelance modeling where We're not just like,
you know, working for some ad agency,
showing up and getting our picture taken and then leaving and getting a check later.

(35:01):
This freelance industry is built on connections. And if you had like a not positive,
not energetic experience at a shoot, then that, you know, with photographers,
you're probably getting hit up all the time by models who are coming through your area.
And if five different models email you or message you on instagram and they

(35:23):
say they want to shoot and you only have the time or whatever for one of them
then you're probably going to be the one that you had a good time shooting with
last time not the one that wouldn't speak at all or or whatever.
Absolutely i mean it's a people industry right right
and and that's it just makes it more fun and more
creative and you're exactly right it's because you might be a you know

(35:46):
11 out of 10 great looking beautiful model
but you're no fun to work with i'm not going to work with you i'm just not going
to do it it's not worth my time and it won't be fun it
won't be the energy's not going to be there if the energy's not going to be
there the end picture's going to stop in my opinion but yeah
personality's everything to me yeah and on
that note like i i have of perspective on this as

(36:08):
well and I because when I first got into this
like you know I first started modeling when I
was 18 but I was like I felt like
I was pretty but I didn't think that I was pretty enough to model and I certainly
knew that I wasn't tall enough to model for like mainstream whatever because
I'm five foot two but like over the course of time I have learned that being on time,

(36:35):
and not being hung over and being reliable and consistent is more important
in freelance modeling than being pretty. Do you agree with that?
I do to a certain extent, absolutely. And, you know, I've been so fortunate,
which kind of gets me to, you know, why I started shooting with professional
models, because I never did before.

(36:57):
You know, I always said it was easy to find, had a great group of models that
worked with me, whatever, whatever.
But I knew when I restarted, it was the most efficient way to rebuild my portfolios
to work with professional models, because they're on time, they know what they're
doing, they know how to pose, they're fun to work with, etc. et cetera.
So yeah, back to what you're saying. Yeah. Being on time or even early is great.

(37:18):
Just do what you say you're going to do. And it's huge. It's absolutely huge.
It makes it, it makes up for a lot of other things.
We try to be drama free and not bring managers slash boyfriends. Right.
Have you had any experience with managers slash boyfriends?
I'm glad you brought that up. It was one of my stories in my horror stories.
I had a TF shoot. This girl hit me up to shoot, which is fine.

(37:41):
She was a cute girl, and we had some concepts and stuff like that.
She said, hey, I'm going to bring my husband. I said, cool, that's fine with
me. I don't care, whatever.
The weird part was, they show up, everything is cool.
He was actually shooting some behind-the-scenes video for me,
whatever. I gave him my other camera.
But then when I started actually shooting her, he was back there with his camera

(38:03):
two feet away from me shooting at the same time in my space.
You know what I mean? That was weird. That was like, what is going on here?
Very strange situation.
I'm shooting strobes, right? He's shooting. It's not even my strobes,
obviously. Like, what are you doing? You know, just in my space the whole time.
So I have no problems with, you know, companions or, you know, whatever.

(38:26):
Although I've heard a horror story from my Dallas that he shot a model and she
brought a what's the word I'm looking for?
Not a support animal, a friend or whatever to come. And apparently,
well, this friend stole a bunch of stuff from his studio. Oh, no.
Yeah, but I don't have any problem with, you know, husbands and stuff like that.

(38:50):
As a matter of fact, I can't even get Nick, Azura Grace's husband, to stay when we leave.
So I ask him, hey, you want to help me? But I've become friends with most of
the husbands and boyfriends of the girls that I've worked with over the years.
But, yeah, that's the only problem I've ever had was that one-off thing.
Yeah and he was shooting over your shoulder which like kind of affects the whole shoot right.

(39:13):
Oh, absolutely. Yeah, it was just weird. Yeah. It was really weird.
Yeah. So he was trying to get photos of her, like, for his personal use or because
he was also managing her and he was trying to get content at the same time?
I don't know. I would assume maybe it's a little both, but I don't know.

(39:33):
I didn't ask him. It was, let's get this shoot over with.
I couldn't wait to get it done and over with. It was just weird. and because it
was t because it was tf it's really not a lot i could
say but it's one of those things let me know ahead of time
if this is something you want to do yeah and we could discuss it and i would
have said no i really don't want to do that you know what i mean but when they
show up and start doing it it's a tf shoot it's like all right whatever yeah

(39:55):
yeah you don't feel like you know you have like if if they're there for trade
agreement yeah i guess that's another reason why
hiring professionals eliminates any of that weird stuff.
Because if you're paying for a service and they're doing something like that,
then you could be like, hey, cut that out.
Yeah, for sure. And that's another good topic, talking about TF.

(40:18):
It's really good for both involved to have their upfront expectations.
This is what I expect. From a model standpoint, I expect this many images.
From a photographer standpoint, I expect this many looks or whatever.
Have that ironed out before you even show up. because I've heard the stories
that models never get pictures back from TF and stuff like that, which I think is wrong.

(40:39):
So try to get all that stuff ironed out before you show up for the creative
process and it makes it more relaxing, I guess.
Yeah, yeah. The more communication, the better. Kind of like what you were saying
earlier when you were describing how you like to communicate with Azura. I think...
For more details, even if it's in the very first email, I think as many details

(40:59):
as possible, I'm happy with because it just like accelerates the communication
process to where, you know, otherwise,
if you're having a 25 email back and forth to get everything figured out,
then it gets down to the time where you're like, oh, shit, he sent me the address.
I think it was like six or seven weeks ago. Where was that email?
Right. Exactly. Yeah. So this is another question from somebody who he actually

(41:23):
sent me a bunch of questions.
Many of them we sort of already answered he asks with the typical generation gap like.
Stereotypically between models and photographers and all
of that societal judgment has that affected you
in other areas of your life as far as what i'm
kind of misunderstood yeah the way that he typed out

(41:44):
the question is kind of hard for me to like say it in a way that makes sense
dealing with the typical generation gap
between the model and photographer i'm assuming he's you
know indicating that model models are generally like
you know 20s and 30s and often older
and this is a little judgment that comes

(42:04):
with that has that affected you at all no
i mean that's my ex-wife was 30 years younger than me
so i i mean i i was used to
that and obviously in this industry you're going to be working with mostly 20
something you know year year old models and I haven't
seen it or you know 2030s whatever and I haven't dealt
had that problem with either communication or I

(42:27):
don't know why people would judge me for that because that's the industry we
live in right we shoot you know women men that age but it's just part of the
game it's part of the business that we're in yeah I suppose there are a lot
of photographers out there who have some kind of like a mainstream job where
their co-workers would be weirded out.
If they found out and i have i had have like photographers

(42:51):
that i worked with get fired when their boss
found their boudoir photography page and stuff like
that but nothing like that has ever affected you no
no i mean that's no i'm proud of the work you know and i've never had anybody
you know they're like sometimes when i first started doing boudoir my daughters
would get a little weird about it you know they're in their 20s now but now

(43:14):
they're like you know hey dad your They work great. I love it. It's cool, whatever.
But I've never had any backlash from it. It's typically been positive feedback
because I try to make it as classy as possible.
Yeah. No, that's great. Yeah. And, you know, I had issues with my dad at first,
too. Yeah, that was kind of weird.
Basically, I don't know if I told you this, but my dad's very religious.

(43:37):
And very, very conservative. And when I told him that I was posing nude, he freaked out.
He didn't freak out in that moment. It's kind of a loaded thing.
But basically, the only reason I told him was because I was in the process of
making a documentary about freelance modeling. Nudity was the school in the movie.

(43:58):
And it was a big deal to me at the time that they knew that I was working on
a film and that I had a filmmaker.
And it took several years. Then I was like, well, if if the movie comes out,
my parents are going to want to see it.
And if they see it, they're going to know that I pose nude.
So I should tell them that I pose nude before it comes out.

(44:18):
And if I'm going to tell them, I should film their response and make it a part of.
So he didn't freak out on camera, but he freaked out the next day and emailed
me. And he told me he joined a support group for parents of children who are
stuck in the sex slave industry.
Yeah. Oh, my God. Yeah. Yeah.

(44:40):
That was hard to get that email from my dad.
But over time and with consistency, I kind of started letting him see my Facebook
posts again after the weirdness kind of died off.
It took years, but I'm still doing it.
And that conversation was damn almost
exactly 10 years ago holy shit and he

(45:03):
sees that i'm happy and i'm safe and
i think he sees the comments on facebook when people are commenting on my photos
usually they're like wow i love the lighting or what a beautiful location instead
of like nice ass baby and stuff like that so beautiful and in the back and back
to what i said earlier The six words that I love the most, let the work speak for itself.

(45:26):
And your work is fantastic, Christy. I mean, you're beautiful.
Your posing is excellent. And so there you go. Let the six words speak for itself.
And it seems like it's happening for you. Thank you. Yeah.
So just a little bit of like friction initially with your daughters,
but now they're cool with it and they love your work. So that's good.

(45:46):
Pretty much. Yeah, they're pretty
much. There was one that my youngest daughter commented on a shot of.
It was one that Poppy and I took in the park where she's doing this beautiful ballet pose.
And my daughter commented on my Instagram, Dad, that's actually a beautiful
shot. I'm like, oh, God, that's fantastic.
Okay. That's nice. Yeah. For me,
if a photographer is hiding what they're doing or if they're always changing

(46:11):
their photography name or they're always on like a private account,
you have to like request access and they don't have a portfolio anywhere.
That's when I'm like, why are you being so sneaky? To me, being sneaky and hiding is a red flag.
That's a huge red flag. Absolutely. And ironically, you know,
even some that have been doing it a long time, you know who I'm talking about,

(46:34):
can still have that weird stuff going on.
We know there are a couple in this industry that are famous and they seem to
have this great exterior, fantastic work.
And you hear the stories about all the predatory stuff they're doing.
So you can't always tell either way is what I'm saying.
Yeah, that's true. True. Yeah. Somebody could be very well known and still have ulterior motives.

(46:57):
Yeah. So I have another question that I also ask everybody on the podcast.
I call it the rising Phoenix era of your life.
Can you describe a situation where you were faced with some kind of a challenge
that you had to overcome?
Come absolutely the first thing that came to mind

(47:19):
when i when i was thinking about this was my restart as
a photographer in 2021 i literally didn't
even have a camera i didn't have a camera i didn't have lice
i had nothing but my freedom from my
recent divorce and which entailed of
course huge investment of equipment and
time and energy and restarting from nothing because my

(47:40):
portfolio was still based back in 2012 you know
to rebuild the portfolio it was a huge undertaking
but you know here I am what three years later finally with the portfolio I've
got the equipment that I love it's I've made some fantastic friends in this
industry but without a doubt that would be my rising phoenix story restarting

(48:01):
my photography for sure yeah that is really cool honestly like Like, I couldn't imagine,
like, having to, you know, just kind of keep it off for that long,
not even having a camera. Like, that's intense.
Like, I think it was over for you for, like, almost 10 years. Like, that's intense.

(48:22):
Yeah, it was. I mean, even getting back when I started shooting,
getting back into Photoshop, which I hadn't touched in, you know,
eight or 10 years, was like, you know, relearning to walk again.
And, you know, but it's but here we are now.
And thank the Lord and amazing people like you and others.
But that was definitely my rising finish story for sure.

(48:42):
Wow. And then you said you grew your Instagram to 25K in two and a half years. Like, how did you do?
Yeah, I don't know. I mean, again, I think just let the work speak for itself.
I mean, shooting all the time, posting all the time, interacting.
Acting, a couple of things that helped me early on was I got to shoot with some pretty big,

(49:02):
I don't call them influencers, but pretty big followers on Instagram,
like Scarlett Begonia, who I shot early on.
She's got 360,000 followers and we hit it off really well, got some amazing images.
And she started posting my images on her Instagram. That sent me a lot of people,
you know, gave me a lot of visibility.
I mean, things like that help quite a bit, for sure. Yeah, yeah.

(49:25):
Interesting, because like, I think that I actually had more followers in 2021 than I do now.
Like the way that my following has happened over the years, I started my account in 2014.
And it grew to like 60,000, I think in the first three or four years,

(49:46):
and it grew between like 2017 to like 2019,
it went all the way to like 140.
And then by 2021, or 2022, it got up to 163.
And in the last two years, it's been slowly, it plateaued, and it's been slowly

(50:09):
declining. And now I'm at 156.
So I want to say it's probably because of the age of my account.
And a large percentage of my followers are probably old
accounts that don't log in anymore because i started
that thing in 2014 so that's i
don't know i i've looked and i've talked about this with other models that's

(50:31):
that they get capped at around 128 000 just this weird number it doesn't go
up it doesn't go down it doesn't go up it doesn't go down i could mention four
or five right now it's like i don't know i don't know why it stagnates like
that i have no idea why that's like a magic kind of a little area there for them, whatever.
Instagram's a enigma, we know that, right? I mean, they'll flag you for random

(50:51):
stuff and I've learned a lot about Instagram, I've learned, I did invest in
the blue check mark which helped me communicate with Meta.
It's been worth it for me to be able to do that, to talk to them like,
hey, what's going on here?
But I'm learning more and more about Instagram every day.
If you look at my Instagram account right now, a lot of my posts,
I don't want to put this out on the air. Maybe Instagram will get me in trouble.

(51:14):
But a lot of my posts originate on Venus Magazine, which is my magazine, right?
And then I'll collaborate with myself on my main Instagram.
And it seems to keep me from getting flagged.
It's working for me now, but I don't know if we post this podcast.
Like, is Zuckerberg going to hear about this and start flagging me for everything?

(51:36):
Yeah. But that's work for me. Anything that's kind of spicy or whatever,
right? So it seems to keep it from getting flagged.
Okay. Well, that's cool. I mean, I would say that, like, as far as my own content,
I am also kind of all over the place.
You know, I post about the podcast. I post quotes. I don't even care what my

(51:58):
like engagement is on any posts anymore.
I just kind of post what I feel at the time because I know that my account is
I don't think that my account can get out of whatever plateau that it's at.
So I just kind of post whatever. But even though you're you're not shooting
like only one genre of photography, like you've got, like I was saying earlier,

(52:19):
like fashion, fantasy, pinup and all these various styles.
I would say that you're consistently posting bomb photos that have a vibe to
them, even if it's not always the same niche. And that probably really helps your account.
Find new people to follow it yeah maybe i think first of all i appreciate the compliment but,

(52:41):
maybe that's what it is and it feels a lot of different people because i'm still
exploring where i want to end up going eventually i'm going to start a business
again start making money with this stuff it took me two and a half years to
get here so i'm trying to figure out where do i want to go to make myself happy
that i won't feel stagnant you know shooting the same thing every day you know
it'll probably end up being you know private boudoir again which is fine i made a lot of money.
Back in 2012, my average boudoir shoot was $2,000 a shoot.

(53:05):
So if I could start doing that again, I'd be really happy with that.
And I'm thinking about doing one-on-one workshops.
I used to do that back in 2012, 2011, just one-on-one workshops.
And I was charging $1,200 a day.
And that included pre-shoot, post-shoot, editing, retouching,
and providing a model, of course, and how to interact with a model,
what you do, what you don't do. You don't touch them, blah, blah, blah.

(53:27):
So those are the two things I'm kind of looking at starting to do again,
try to make some money at this but but yeah all over the place right now it's
just whatever i'm like you i'll post whatever i feel like posting i don't you
don't care really yeah no that's good you know and as long as you're having
a good time at it then you're doing it right right.

(53:47):
Absolutely absolutely yeah what keeps you inspired for shooting oh wow that's
hard you know it's it's It's weird because I go ebbs and flows.
I think we all do as artists. We go through ebbs and flows. I just don't feel inspired right now.
I guess I've always believed concept first, right? Find a concept first and work backwards.

(54:08):
You know what I mean? If that means, oh, that concept inspires me,
working backwards, okay, I'll find a model that fits that. I'll find a location.
I'll find the lighting or whatever.
And I'm bad about that. I'm trying to get better at it. When I feel uninspired,
I'll try to find a concept.
I'll look at inspo shots or whatever. and that tends to get me out of a rut
if I find something that challenges me as an inspo and then I'll concept and

(54:30):
I'll kind of work backward and that tends to get me out of that little funk
that I might be in at the time,
Cool. Yeah, that's an interesting way to have the creative process,
starting off with a concept.
Yeah, I know. Like I said, I don't always do it, but that's my goal.
Yeah, yeah, right. And I guess that kind of makes sense because the first time

(54:53):
we were in communication, you were like, oh, I want to shoot.
I just don't have a concept right now.
And so I remember that like coming into play before we first shot.
And then suddenly you were like, all right, I don't have time.
Let's shoot. Oh, OK, sweet.
I had I had a free block of time as well. So it worked out.
It worked out great. It was a fantastic day because I got to meet you finally.

(55:15):
And here we are. How many months later?
You know what I mean? So that's what I mean. It's so cool about this industry.
You can it's not just about the creative process itself, but you will find people
that you will connect with and become your creative family and that you were in touch with. it.
And I mean, I can't, I probably talk to Veronica Lavery two or three times a
week because we met as, you know, as shooters or as a creative team or whatever.

(55:39):
And you and I have stayed in touch and I can go down the list of people that
I've met in this journey in the last two and a half years.
There's more to it than just creating art. This community is so amazing when
you find the right people.
And it's just, that's what's cool about it as well. yeah I
agree you know and I've I have found
that nowadays most of my friends that

(56:01):
I communicate with are other photographers and models I mean I've got some other
friends too that are not within the community but I guess I've just been in
so much like so far into the forest that I can't see the trees for a very long
time like this is a really really niche like professional traveling
freelance model thing it's it is so neat

(56:23):
but i mean i'm so in it like
i don't know what i would do without it you know well i
think we're the only people that understand what we do i think a lot of people
look from the outside in going you know what in the hell are you doing and you
got to explain to them they don't understand like what do you mean you host
models you know you want to hear some credit when i try to explain to people
why why when i host models they're like oh you got this hot juke standing at

(56:45):
your house like dude it's not like that I'm offering her a safe, quiet place to...
Do her work and she goes and shoots and she comes back and I leave her alone
because they're on the email all the time, whatever.
But the outside world goes, Oh man, that's so cool. Like, no,
you don't understand, but that's fine.
Oh man. That reminds me of a short story because I've been doing this for so

(57:09):
long and words like GWC or TFP or will you host me to me that that's like everyday verbiage.
I remember one I was like 2017
or something I asked a photographer that I had already worked
with like three times if he hosted models and he was like I'm unsure what I

(57:31):
meant and I was like oh well you know I'm going to be coming to your town we've
worked together before so I'm comfortable with you and if you have like a spare
room at your place like do you host models do you let that people crash at your place.
And he was like, oh, I guess. Yeah, you could stay here.
And then when I got there, he was like, the shoot went fine.

(57:52):
But then after the shoot, when it was time for me to go to bed,
he was like, oh, but you're going to be in my bed. And I was like, what?
And he was like, I thought you said you wanted to spend the night. And I'm like, I do.
You said you had a spare bed. He's like, oh, yeah, but it's just a mattress on the floor right now.
There's not even sheets on it. And I was like, OK, well,
do you have an extra your blanket like I'm not gonna sleep in your bed

(58:13):
like what the fuck you know and he was he got
super pouty and super butt hurt and
he like he wouldn't even like you know share like his food in his fridge with
me after that I was like okay dude I'm gonna leave in the morning I guess I
was gonna stay there for a couple
nights but but yeah so I think that like expectations and whatever like.

(58:38):
Maybe I shouldn't have stayed with him. Maybe, maybe I thought we were cool.
And then he was super fucking weird.
I don't know. I think that the moral of that story, this, this community is extremely small.
Yeah. And you have to, you have to respect each other and you have to take care of each other.
Because if you don't, the word is going to get out.
Whether you're a model, it's being a little, you know, turd or photographers

(59:00):
being a perv or whatever.
It's a small community. We know that. Right. And you gotta be,
and that's one, piece of advice I would give to every photographer that's listening,
watch your P's and Q's be careful what you say treat these girls with respect
and honor and everything's going to be fine,
don't go down the road of being this predatory dude that they're out there because

(59:21):
you'll be on somebody's list somewhere within a day you know what I mean I think
that that is good advice however,
I do have to say that the people
that are hearing that that are like actually listening to this podcast are mostly
the people that are worried about whether or not they're being perceived as

(59:44):
creepy and the ones that are actually creepy and doing creepy shit they probably
don't even listen to show they're probably they're.
Got their heads so far stuck up their ass they just think that there's some
kick-ass photographer out there that like they don't care
if they're making somebody uncomfortable you know
and we know exactly we know exactly what you're talking about but yeah

(01:00:05):
i mean yeah if you're listening and you're worried about that don't worry about it
i mean just treat continuously work with their you know more
more people more people your reputation will be built out
there yeah and it'll all work out yeah i
wanted a message to all the photographers listening if you
are worried that a model might think
that you're being creepy just stop worrying about

(01:00:26):
it because the fact that you're worried about it
means that you have empathy and we're probably not talking
about you and and that applies to all
of the comedy skits that i make okay which i
love to do i love them keep doing those thank you i
will and i will one or two people are always going to get there on using a wad

(01:00:46):
on every comedy skit but you know like good art is supposed to make you feel
something for most of them and then a few of them they get freaked out but you're
doing something good then.
So do you have any other like stories or
any other pieces of advice that you wanted to share before

(01:01:08):
we end the show no i just want to you know again thank
you christy for everything you do for this community i know
the models that i've talked to even the ones you have not interviewed yet
are that i always tell them go
find this podcast listen you've become such
a great advocate for the traveling model community
and just keep doing what you're doing because that's priceless like i said i

(01:01:30):
just had jamie brown here last week and we were talking about your ears will
bring i'm sure and how she appreciates everything and but that's all i can say
and photographers go listen to all always podcast you will learn something from everyone oh yeah.
Music.