Episode 12: Eight Tips on How To Organise Photo Shoots and Make Them Stress-Free and Fun for Small Business Owners
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For most small business owners, organizing a photoshoot for their own business (or for their clients) can be a daunting task. However, in this episode, Fiona shares how organizing a photoshoot can be - surprise, surprise - FUN! Tune in now as she shares her experiences and her eight tips on how to make organizing fun and stress-free for you!
Topics discussed in this episode:
Introduction [2:11]
Preparing photo shoots and Fiona's experience in organizing one [2:51]
Fiona's 8 Tips [10:29]
Number one: Understand your objectives [10:47]
Number two: Set a budget [11:49]
Number three: Do your research [14:13]
Number four: Find your dream team [18:27]
Number five: Plan it out [21:37]
Number six: Mix it up [27:00]
Number seven: Good vibes only [29:32]
Number eight: Review and revise [31:59]
Recap [33:20]
Resources mentioned in this episode:
Search Party Locations [7:13]
Power of Now by Eckhart Tolle [16:18]
George Clinton, Hey Good Lookin’ [31:36]
Transcript:
Welcome back to another coaching episode. You are listening to My Daily Business Coach podcast. This is episode 12 already.
And if you are new here, welcome. You are so, so, so, so welcome. And thank you for choosing to listen to this. If you're new here, you may not know that there are three different types of episodes on this podcast.
Every single Tuesday is a tip episode that's really short. Usually about five minutes or less. And it's on a tool or tip or tactic to help you, something you can action immediately. Longer episodes happen on Thursdays and they alternate every second week. It's an interview with a small business owner or like today - it's a coaching episode. And these coaching episodes, I guess, are really where I discuss one area of small business in a bit more detail and really coach you, I guess, through proven tactics and strategies to make the execution of that element of that small business element a bit easier for you or perhaps to just give you some ideas or things to think about that you haven't necessarily heard before. The other thing I want to mention is please don't forget to subscribe so that you get not only these coaching episodes plus my weekly tip ones, but of course, my longer interviews with amazing small business owners across the globe.
So let's get stuck in. Today's episode is all about photo shoots. So I know these can be a very daunting element of running a business, but they don't have to be. They can actually be like, oh, my God, fun. Imagine that. So whether you're worried about being in front of the camera or you're not sure how to get as much content as you can from a shoot, you should find today's episode really useful. And if you're listening to this in the car or the gym or just to the place that you can't actually take any notes, remember, they can find everything from the podcast episodes over at mydailybusinesscoach.com/podcasts. So let's get stuck in.
All right, so photo shoots. Let's talk all about that. I planned my first ever photo shoot, as in a professional photo shoot. I planned my first ever photo shoot back in 2004, and I was just starting out then as a magazine editor. I was editing fashion magazines and we did a lot of photo shoots and advertorials and custom publishing and everything else, and which was really, I guess, what you'd call branded content today. So we would do propper in Invid comments, professional shoots with models and makeup artists and stylists and a host of photographers and photographers assistants. But in that job, I also did a lot, a lot of do-it-yourself kind of photo shoots for parts of the magazine that really had no funding or no money to produce a proper shoot. So these were things like product flat lays, or we'd do these other kind of styled shoots, but maybe say where the head was cut off. So it's sort of like a body or we kind of tried to do really artsy things with those. And I must say, a massive shout out to my sister and my brother-in-law. They would often drive up from the country to be models for me on the weekend when we'd kind of do these DIY ones. But we did do a lot of professional ones as well. And then from that job, I moved into book publishing and I also started having a weekly column in the main newspaper in Melbourne. So I was a columnist and I was the columnist for The Social Pages. Yeah. So this is back in the days before social media. So the job really consisted of going to events four nights a week, and that sounds a lot more fun than it was. And finding stories and really working really closely with the newspaper's photographer so that we could get the right images. And even though, you know, I was the journalist, I was writing these what I thought was kind of witty, funny articles, it was all about the images.
Let's be real. It was who's wearing what? What do they look like? This new footballer's wife. For this new fashion label has just launched a store to store look like what they look like. And it took up the back page of the Sunday paper and it was all about who's doing what. And I actually learnt a lot from that photographer.
We became you know, we had to become friends. We had to spend so much time with each other. I think it went for about 18 months and I was out four nights a week and massive shout out to her as well. Shaney Balcom. She's a fantastic photojournalist because I learned a lot about her on how to make people feel relaxed in front of a camera with minimal prep time. Like literally we would go into sometimes four events in a night. And so we would be going straight in, straight up to people to talk straight away, taking a photo, and then would be going onto the next event.
So, like I said before, might have sounded glamorous. Definitely was not. But Shaney taught me a lot about making people feel comfortable. And then, like all these tips, like putting your tongue on the roof of your mouth when you smile or always wearing stockings inside out or tights inside out, so they don't reflect so much on the camera or even to stand like instead of, you know, someone says, I want a photo against a wall. You would actually stead a foot away from the wall. So on the photo, it would look like you're on the wall. But I don't know something about that made the shot look better.
So I learnt a bunch of things from her and from that job. And then I worked all over. I worked at places like Amazon UK, which was all about consistent product shots. So, you know, it was not people in shots at all. We didn't do any lifestyle photos while I was there, but we had to make sure that the products and there was literally millions of products were shot at the same angle. So that when we put, say, nine images on a grid as a like home and garden email that got sent out, the images looked consistent and they were consistent quality, consistent lighting, all of that kind of stuff, consistent shadows if there were shadows. So that really helped me kind of understand a bit more about product photography. And then I finally ended up my last full time job before starting my own business was head of marketing at Mimco, which is part of Country Road Group, a large accessories brand in Australia. And I would be in charge then of huge budget campaigns. So I would be choosing along with that fantastic team. I must say, you know, spectacular venues and would be using tools like search party locations, which is like many kind of search location tools. You can go online and you can find a 1970s house or bush retreat or modern kitchen or something. You can find amazing venues. And so it would be looking at everything from the venues to the, you know, well, we're trying to get out of this campaign through to selecting models and then having the very unglamorous job of trying to secure those models with their agencies. And the bigger the model, the bigger the headache of trying to get that. And I remember one of the worst jobs. Consisted of literally thousands of emails and phone hours spent with this one particular agent in New York who just kept teasing me and being a "Yup. You got the model. No, you don't have the model. Yes, you have the model. No, you don't have the model. "
Oh, my God. I spent weeks of my life that I will never get back on that. But in the end, we got the model and it was a hard slog.
So all up, I have probably been in charge of managing maybe 50 plus photo shoots for brands and clients over the last 16 or so years. So I was also fortunate to be married and I'm still married. I shouldn't say to be married. I am still married. I hope. Joke! To a very reluctant, I must say, model. So my husband was a model and he did the gig full time for four years while we lived in Europe. Try and please don't blush too much if you're listening to this. He modelled for everyone from Urban Outfitters and H&M through to Mont Blanc and Levi's Jeans. He also got a gig doing all of the James Squire's beer billboards in Australia for a few years, which was great because we were living in London and he got to fly home on their pay bucket and visit family while we were away. And it was just, you know, great fun to see huge billboards of him all over Australia. And we had friends photographing them and sending them to us. But I'm telling you all of that to say that even with all this experience, planning a shoot for my own business can still be daunting for me. Not to mention a very time-consuming task. And while I've often been the one behind the scenes, you know, producing and planning and ensuring shots happen and getting the right permits for venues and outdoor shoots and all of that stuff, I still worry about being the one in front of the camera. You know, I'm human. I don't think there's many people out there who absolutely love getting their photo taken. You know, I'm a mum. I am technically now in my 40s. Literally a few days ago. So, you know, kind of still in the 30s. Anyway. I'm a mom. You know, I don't get much sleep. I've put on a lot of weight in the last few years. I'm starting to find grey hairs and I have all the same fears as everybody else about getting my picture taken. But that said, I am in the process right now of planning three new photo shoots for myself. So one for the book, one for my brand and one for our family, because we don't have that many great photos of us or four of us. And I've had to push through my own issues and also work out what is the best possible plan so that these photos not only come out the way that I hoped, but I actually enjoy the process, too, because often this can be a time consuming investment. It can also be inexpensive financial investment. And you've kind of got to get over your mindset issues, too. So given I have the experience of doing this so many times and more importantly, given that visuals are such an imperative part of marketing a small business today, I thought I'd share it with you eight tips that I've learnt in the last 16 or so years, and I hope these help you as much as they've helped me.
So let's kick off with number one. Understand your objectives. I feel like I'm just a broken record with this, with every single marketing activity or really anything in business. But understand your objectives. So as with, you know, like I said, anything else you do in your business? The first step should be to understand: what do you want to get from this photo shoot? Is it a brand refresh? Is it to look more professional? Is it ahead of, you know, an upcoming conference or to push a completely new product line? Understand what does this photo shoot mean to you and why are you doing it? Write the reasons out or, you know, make a big quick PDAF. If you can share that with members of your team and anyone else that you choose to bring on for this project. But keep that in mind. When you're doing anything creative things can change, flip opinions can come in. Budgets can go out and. Talk about that in a second. But you want to always go back to your objective. Why am I doing this? What's the purpose? Why am I doing this? What's the purpose?
The second point is to set a budget. So I have worked on photo shoots with a budget of fifty dollars where we're basically scrambling or let's call it for real, probably zero. Especially when I was working my first job and I was getting my sister and brother in law to model. They certainly didn't get paid. Sorry about that. But I worked on photo shoots with a budget of fifty dollars or nothing through two budgets of three hundred and fifty thousand plus. And even with that, you know, all that cash to spend, budgets are still the absolute easiest thing to blow out. So review why you're doing this. I reviewed, number one, your objective and consider how much you're comfortable spending before you even start looking for a photographer or venue. And remember that the photographer is just one part of the day. Particularly if you're doing this, say, outside of your home or an area or your restaurant or your cafe, you're doing it somewhere else. You'll need to factor in things like hair and makeup artists. If you're using them, catering, assistance, lighting hire, sound hire. If you're going to do videography as well, royalty free music fees, if you're using the shoot in any way with music and if you've never worked on a shoot budget before, I do have a basic template and you can grab that at mydailybusinesscoach.com/podcast/12 because this is episode 12. But really have a think about the budget. Sometimes people can say, oh, we've got, you know, $5000 to spend on the shoot. And then then they start looking for a photographer around the $5000 mark and they're not thinking about some photographers don't edit their images as well. That's an additional cost. You'll also have usage rights. So some photographers will give you usage for three months or they might give you usage for, you know, your website, but not necessarily for social media. Or they might give you usage for your website and social media and or your own assets. But they won't give it to you for, I don't know, an ad or promotional material outside of your channels. So there's a whole lot of other things that go into it's not like I've got $5000. Therefore, I'll find a photographer who costs $4,999 because there are always going to be extra costs involved. So really, think about the budget. And like I said, there is a basic template for you to grab. And you can do that at mydailybusinesscoach.com/podcast/12.
So that's the second point. Set your budget. The first point was, you know, your objectives. The third point is to do your research. So as I said before, I've done lots of shoots and I've met a fair few photographers in my time. And just like SEO experts or hairdressers, the more information that you can give them upfront, the better for everyone. Now, this is not to say that they have no creative input, but it's for you to kind of set some boundaries or to give them at least, you know, something to go on because we've all got different ideas. If I say something's elegant and my friend says something's elegant, we could have two very different ideas of what elegant actually means. So this really starts with you conducting a chunk of research and this could be pulling together mood boards or lighting references on Pinterest. I have a bunch of example ones on my Pinterest, which is just you go to Pinterest and you search for my daily bills, as in. B, I said, Coach, you can also see that in the show notes as well, the link for that. But it looks it's going to, you know, try and help you if you can put together these mood boards. You could also have a look at taking full length screenshots of Web sites using a tool like paparazzi, which allows you to go and just to put in any url. And it will basically take a full screenshot of that website. Not just what you see above the fold, which can be good as well. If you like doing a photo shoot for a Web site revamped, you can also pull together a list of brands or people that you like the style of. You could also write out. A list of words around how you want the pictures to make people feel. So I've done this for my photo shoots and it might sound woo woo. But, you know, when you when people see it, do you want them to feel impressed, excited, happy, inspired, or simply simply really comfortable approaching you? You come across very comfortable and casual and approachable. All of this feeds into how you're gonna brief your team and it sets the expectations for what they need to deliver. And another key thing to remember here is to think about what you do not want. So I was about how I must have been about 20 or 21 when a book started making the rounds. And I don't know if you've read it, but it was kind of the same way that Eckhart Toll power of now made start with now power of now made the rounds. And this was back in the day and it was called Conversations with God. Now quite a few things came out of that book for me. That one of them was a was this kind of line or this concept of only discovering who you are by knowing who you are not. And I think the same goes with photo shoots. So if you look at certain brands or people's images or even, you know, your competitors on social media or other things like that, and you just cringe or you're like, oh, God, no, then bring those along to your conversations with the photographers, you know, specify this is what I do not want. You might say a lot of people in my industry do this. I do not want to come across like that. And so show them, you know, I've done this many times with my shoots and I think it can really help the photographer steer clear of things you dislike as well as focussing on what you do like. Now, I mentioned before, when you're pulling together mood boards, not just on what you know the image, but think about the lighting. This is one thing I've learnt over the years is that I would pull together, you know, initially I pull together mood boards and I'd take them to the photographer and the photographer would be like, you know, that that's very different lighting. And was like, really kind of looks similar to me. No, no, this one's very much backlit or this one obviously in front of a window or this one's very natural light or this one is at sunset or so. There was a lot of kind of I didn't really think about that because I'm not a photographer. And so when the lighting needs to change with if you've ever been on a shoot, the lighting changes can take ages literally. So many shoots. I've just been sitting there waiting, which is nothing on the photographer. But it's because, say things haven't been planned out or we had references where the lighting needs to be a lot brighter or just different types of lighting. So keep that in mind when you're doing your research. Again, when you're thinking about what you don't want, also, bring up the lighting that you don't like. You know, that might help them as well. So that is number three. Do your research.
Number four is to find your dream team. So this step obviously feeds into the one prior, which is doing a research. One of the best places to find a photographer I found is to look at the credits on images that you use in your mood board. So, you know, looking at which I did with my my first photo shoot, I consistently saw that Annette O'Brien is an amazing photographer in Melbourne. She was credited with a lot of the photos that I really liked. And so it's like, oh, okay, I'm just gonna go to her and see how much she is. Sure in some of the photographers might be way out of your budget. But others may not. Or even if they are out of your budget, they may be able to recommend other people that they've worked with that can shoot in a similar way for, you know, that can work within your budget. If you've got a smaller budget and photographers, from what I found, you know, they always seeking more work. And so don't be afraid to reach out to someone who's credited for an image in a blog or magazine or social media account. You don't think, oh, they've worked in X, Y, Z magazine, therefore, they wouldn't take on a little business like me. You just never know. You know, and you can't make assumptions about, oh they've worked with this brand, therefore, they would have been getting paid $20,000 for that. You just don't know. It's quite shocking sometimes how little they get paid. And on that note, you know, you do want to pay them properly. So don't be trying to bargain down. But don't be afraid of looking at the photographers who are credited with images that you really like or even if you are looking on Instagram and you just love somebody else's photos. Don't be afraid to just comment and say or, you know, D.M. them and let them know, "I really love your photography. Who did that for you?" And often there'll be more than happy to to refer somebody. This goes again with makeup artists or hair stylists or or venues. Even hashtags are a fantastic way to source people. So using hashtags on social media to to kind of as a research tool. So things like #photographer and then your city. So if I was looking for it, it might say photographer Melbourne. Or MUA,your city, which emulates makeup artist so way Melbourne, for example, or emulate Los Angeles or or other things, and you'll be brought up, you know, there'll be so many great images brought up that you can then make a decision of who you'd like to research further. Also asking friends for recommendations, or like I said before, reaching out to someone you follow on Instagram or another social media platform to ask who took their latest portrait or product shots. And lastly, if you're seeking interesting venues, think don't just think about your particular industry. You know, don't look at like fashion venues. If you're looking for venues, you always check out bridal accounts because bridal accounts often have incredible venues and those venues often charge a lot less if you're not actually having a wedding there. You know, everybody jacks the price up times three if it's a wedding. But that is an example. Oh, they might have a certain parts of the week when no one gets married and those venues are just empty. And so they might be a cheaper option as well. So that is step four. Find your dream team.
So we are halfway along. Number five is to plan it out. And this is obviously by far. Or maybe not obviously, because people don't do this. But this is what I think is by far the most important step, but one that people miss. So while it's tempting to let your dream team have full creative control, you really risk tears and heartache and not to mention money and time if you haven't planned things out before this shoot. So this means looking at where the image is going to be used and mocking up what this actually looks like. You know, do you need empty space for text to be overlayed? So, for instance, if you're like, yeah, I'm going to have this really cool New York kind of lofty vibe and I'm going to be photographed against a brick wall. And then you realise later that all your photographs have this brick wall, which is very hard to overlay text on top of unless it's an all white wall or an all coloured wall, because the text can be difficult to read. So keeping in mind things like, you know, do you need empty space for the text to be overlaid or do you need an image to be shot at a higher res to be used on billboards or pull up banners if you do events? Do you need people to shoot wide for like display ads or website sliders, but then be able to crop in for square social media tiles? Or do you need a bunch of behind the scenes sort of videos shot in portrait for Instagram stories? And then again, wider horizontally for things like YouTube. You know, if you're thinking of advertising with, say, print magazine, are you shooting for double page spreads or single pages? And if you're shooting for double page spreads with where the ad goes over two pages or the advertorial you need to be thinking about, is there any product in the inner seam or anything important in the inner seam of that magazine which won't be shown? Well, if it's a DPS, they called a double page spread. So really thinking about how these shots are going to be used and also how can I get the most out of a shot? So you might shoot really hi-res wide angle, but really crop in on, say, a part of that, such as a handbag or a ring or something else. So you can have multiple images come out of the one image because you kind of chopping it up. So once you have planned this all out, you really need to think about the logistics of making this all happen. So will need more setup time if you're shooting wide. Will the photographer need to switch lenses? And how does this affect the higher lighting? So sometimes a lot of the photographers, especially if they're, you know, not necessarily a huge team, they will hire the lights, they won't have their own lights, and there'll be a cost on your invoice. And so they'll need to know really ahead of time how they are shooting because they'll have different lights for different types of shots. So really thinking about do they need to switch the lenses? Do you need to factor in time to review each image and ensure that it can be used for all its desired purposes? So, for instance, when I was talking about those really big marketing campaigns before, we definitely needed time for each shot to really review. Have we got that shot? Is the bag this way or that way? Or is the model doing X, Y, Z and making sure it's quite hard to make sure that everything, especially if you're shooting product, that everything looks good at the same time. So really factoring that sort of time in, you know, also, how much time will you need for outfit changes or hair changes even if you're just doing a shoot and it's just you, as you know, you're doing a brand photo shoot. You still need to really treat it as if you are the model. And what are you going to be wearing in each shot. I tend to wear quite bright clothing when I do say events or speaking gigs. I also wear a lot of black. And one thing that I probably could have done better in some of my photo shoots for myself is to not wear such bright clothing all the time and to have more in like a black top or black dress, because then it doesn't look so obvious if you're reusing that shot over and over and over and over. So thinking about, will you need time to change your outfit or change your hair or change earrings or do different makeup, if you're doing makeup? Will you need natural light? And if so, how quickly can the shots be taken? Because, you know, natural light, depending on time of year and where you're based in the world, is going to be different. You're going to have a very short window of time or a long window time or you want to start maybe really early. You'll see a lot of times I'm campaigns, they'll start at five a.m. or earlier. So something at the beautiful sun light that comes up early in the morning. So thinking about how quickly can shots be taken and what's the kind of timeline? And also remember that things on set. And when I say on set, even if it's just in your house, always take longer than expected. So really think about creating a rough run sheet and share this along with any mock-ups with your photographer well ahead of time. If you don't know what a run sheet is, if you've never been on a on a photo shoot, simply Google photo shoot run sheet and you'll find a bunch of templates. A run sheet is literally how is the day going to run? It's like an agenda for a photo shoot. The last thing that anyone wants is a rushed and stressed vibe on set. So this is really, really important to plan this stuff out. You will always get fewer shots than you think you're going to get. So that's number five.
Number six is to mix it up. Mix it up. So one thing that is really important to raise at this stage, particularly if you are using models in your shoots, even if it's just their hands for product shots, is do have a mix of people being shown. Are you truly representing your audience? If you are, what are you making sure that there are people who don't just look like, you know? Is everybody else white in your campaign shoots or your images on social media or your images on your website? You know, it is 2020 people. And if we have learnt nothing from this year, it is that we all need to take the blinders off and be as inclusive as possible. And I don't know if inclusive is the right word, but, you know, it's really important then that we all make an effort to show our full audience in their full, beautiful glory in terms of our shoots and the shots that we share in marketing. And I have consistently champion people of all skin colours and ages as well in the campaigns when I've worked with brands. And it's something that I really believe every business owner should be checking when they're planning their brand photo shoot. Even things like if you're selling scarves, if scarves are a part of your business. You know, have you considered showing them as a headscarf rather than a neck scarf? You know, are you really speaking to, say, your Muslim audience or other parts of your audience that may not necessarily be seeing themselves represented in your business? How might you work to make sure that your photo shoot is as inclusive as possible and really represents the people that are wanting to buy from your business? And likewise, if you're doing a solo photo shoot, consider the brands that you're wearing in terms of the clothing and the accessories. Are you championing other small business owners? So if you're like me and you don't actually sell your own apparel or accessories, consider using a brand photo shoot to support up and coming brands or other small business owner brands. You know, you'd be really surprised how many times I am asked when I put a photo of myself on, say, Instagram, where my earrings are from or where is that top from? And it's a really great opportunity to then get in a discussion or to shout out another small business owner. So wherever you can mix it up, just remember, same same is lame lame.
So number seven, good vibes only. So this is really when it's you've done your planning, you've made sure that you've mixed it up. You've understood the timelines. You've got your sheet, you've got your dream team, got your objectives, set your budget. And number seven is really about what actually happens on the day. So good vibes only. So think about, you know, it's finally the day of your shoot and naturally, nerves can kick in. You know, everybody has this, especially if you're suddenly in front of a camera. But try to remember how much work you have put into this and just enjoy it, like enjoy it as much as you can. This means bringing good vibes only to the set. Leave all the Megatron at the door, and you can help this happen by creating a really fun playlist on Spotify and ensuring that everybody on set, even if it's just a photographer at your house, has a coffee or tea or water or juice or whatever it is to make them feel as comfortable and as calm as possible. And then also make sure that when you're providing feedback that you're not letting your own stress or anxieties come up. So if you're providing feedback, remember the photographer, you know, they may also be feeling a lot of pressure. If you've got a stylist, you've got makeup artist. Everyone's there to do a job. And it is, you know, one team, one dream. You're all there to get the same thing out of this, which is ideally great shots and whatever else is that needs to hit your objective. So keep that in mind if you're providing feedback as you go. You don't want to make it really awkward by being sort of nasty or doing anything kind of it can ruin the vibe on set. So really thinking about good vibes only. And remember that you have chosen these people because they're experts in their field. So also take on their their viewpoints and don't be afraid to ask questions, you know. Don't be afraid to say, is this a flattering angle or, you know, can you see this or can you say that or should I move my hands this way? Or they are the expert and they can guide you in that. So just to try and chill out, try and put on some really good music if you need good music. You can always check out George Clinton. Always makes me feel. He's got a song called Hey, Good Looking, which is a really upbeat, fun song. And you can blast that and just imagine that you sing it just for you. If you are having to get in front of the camera. But most of all, just have fun. Everyone's there to have fun. It's a really creative, fun part of running a business. So just enjoy that. Enjoy that day. That's number seven.
And the final tip is to review and revise. And again, this could be this could be used in any part of business, but your shoot might be done and dusted. But I think there is always a lesson for the future from our past. So make the time. Once a month or a month on to meet with everyone involved or at a minimum, get them to answer some questions over email to see what they thought worked, what didn't, what could have been done better next time. This may mean things like more preparation, fewer shots or, you know, hey, even a different playlist. Not everyone loves Beyonce. I learned that at some of the campaigns that I welcome. It didn't stop me trying to play it. But arming yourself with this knowledge allows you to enjoy your next photo shoot even more. So just going back and reviewing it, thinking about what could I have done differently? What might I have prepped more? Should I have really put more budget into that part? Or this part? Should we have run over four days, not two days? Was it all a bit crammed and rushed, but really trying to set aside time to really review those things and revise them and make things better next time?
So that is the eight of key tips and photo shoots can still with all this stuff, they can be daunting things to plan and execute. And I really hope that these eight steps help you get a little closer to actually enjoying the experience.
So let's recap the eight steps.
No. 1, understand your objectives.
No. 2 set a budget and stick to it.
No. 3, do your research.
No.4, find your dream team.
No.5, plan it out.
No.6, mix it up.
No.7, good vibes only.
No.8, review and revise.
I really hope that this episode helps you plan out your next photo shoot. If you want to see the full show notes, including the transcript of this episode and that basic budget template, you can head over to mydailybusinesscoach.com/podcast/12 and you'll find all the other show nights for other podcasts in the past. And you can go listen to them if you need to at mydailybusinesscoach.com/podcast. If you enjoyed this episode and I hope that you did, I would absolutely love it if you can leave a review on iTunes. So it just helps other small business owners find this episode and be helped for their photo shoots, too. And if you'd like to share this episode on social media, please feel free. I'd love it if you could tag at my deli business coach so I can see it and see what you thought. Yeah. There you go. Thank you for listening. Good luck at your photo shoot and I'll see you next time.
Please don't forget to subscribe so that you get not only these coaching episodes plus my weekly tip ones, but of course, my longer interviews with amazing small business owners across the globe.
If you've never worked on a shoot budget before, I do have a basic template and you can grab that at mydailybusinesscoach.com/podcast/12 because this is episode 12.
I have a bunch of example ones on my Pinterest, which is just you go to Pinterest and you search for My Daily Biz Coach, you can also see that in the show notes as well, the link for that.
I would absolutely love it if you can leave a review on iTunes.
And if you'd like to share this episode on social media, please feel free. I'd love it if you could tag at @mydailybusinesscoach so I can see it and see what you thought.
