ready. How you doing? So my name's Andrew Funderburg. I'm a photographer and founder of Fundy Software, and today we're going to really talk about three important things. Right? Print shooting for the album and then being able to sell bigger about better albums, which everybody wants, Right? That's why we're here. So one of things we need to dispel right away is that's clients seemingly only care about the digital files and saving money, right? Who? Who has this problem? Right? Well, the key word is seemingly this. That's what they seemingly want, because that's what they're told. And so we're gonna talk about how we can dispel this myth. We can communicate to our clients so that they want what we want to give them. And when we do that, most importantly, we're gonna be a more satisfied photographer who has had that feeling of walking into a Platte past clients home and seeing your work displayed on their walls are on their coffee table, right? Who's had that feeling? The best feeling i...
n the world, right? So if we could do that for each and every client, we're gonna be happier, right? And we could be more profitable business owner, right, Which is important, and that allows us to make our own family happy because we all have husbands and wives and Children that we need to take care of on a daily basis. Right. So by the end of this course, we're gonna be able to better communicate the value of print, and that's the key Cornerstone. We have to communicate just how important print iss to our clients. And this is what's really important. We have to communicate. We have to shoot the unique story of each and every one of our clients. Right? And we're actually gonna have some clients up on the stage later that had this very thing happened to them and talk about what that means to them. So we've all been in that situation where, you know, we had two weddings this weekend to weddings last weekend to weddings week before, and we're just creatively drained and every wedding technically is the same. But every single one is different because everybody has their own unique story. And then, on these two principles, we're gonna be able to conduct profitable designed consultations. Right? So we're going, I'm gonna show you how you can take your clients from pre consultation, consultation shoot and then how we take them through a design consultation. So they end up with a bigger and better album that they're happy with, and they're happy to reward you with the higher sale. But in order to do this, we must shift our focus, and this is where I'm going to challenge you. We must shift our focus away from capturing that single image that we all love. That's that epic shot we all of the posts of Facebook We love to enter contests with that epic shot, which is important to us is photographers, which we can still do, and we can continue to that. But we must focus towards capturing a story ready for print. We have to capture a story that's ready for print. So one of my favorite books ever is the seven habits of highly effective people whose read that one right. I read it like five times, so my favorite habit bar none is. Begin with the end in mind. We have to start with the end in mind. So if the end goal is to create an epic story in an album for our clients. That's what we'll do if our end goal is to create that one epic shot that we can share on Facebook. That's what we're gonna create. And that's what our clients are gonna want. And that's where the story is gonna end, right? So we must shift our focus from Onley capturing this to capturing this. So today we're gonna do a lot of lessons. So some of the lessons are gonna be communicating the value of print to your clients, how to find the heart of each and every client story. We have some wonderful guests today that will be helping us do that understanding the three act structure that Aristotle laid out thousands of years ago and how that can help us and how looking at even modern cinema and classics like Die Hard can help us understand storytelling and how to tell better stories for clients how we can shoot for the scene. Each spread in an album is a scene, and we need to shoot for that. Seem to be able to design it. If we don't have the pieces, we can't design the the full spread, right, Just like if we don't have the correct lumber. We can't build a house, right? If my contractor told me to go by all the things that I needed and then he was gonna build me a house, he would not be able to build a very good house because I have no idea what to purchase, how we can price and present album. So it makes sense to our clients and how we can present bigger albums that they want to buy without feeling like a sales person. Because we're all creatives. And for the most part, creatives are horrible salespeople because we just don't have it in us. We just want to share our love of the craft with the world. Right? But we can't be homeless photographers, at least not very long. And then how to conduct designed consultations with our client, Right, How to make that happen physically, So it makes sense to you and it, and it's easy for you to do it. And I think you're gonna find a lot of success in this. I would like to thank you for joining me. This is great. I've been creativelive a couple times before as a guest, but this is my first course. I'm really excited about it. So I've worked professionally as a professional wedding photographer in two different countries. I actually started wedding photography in a second language. I lived in Japan for 13 years, so that was a lot of fun. So imagine all of the struggles that you went through starting your business in in wedding photography. And I do that in Japanese, right? So it's a lot of fun. I would get emails from the bride and I try to piece together and have to grab. My wife would be like, What? What it's saying, You know, trying to make album changes, the email. Yeah, which is horrible in your first language. I was lucky enough to film to bridge film and digital. Who shot film weddings? Yeah, and then bridging, bridging to digital. In some ways, I miss film. I would get 10 rolls of film. Why was second? Shooting for a wedding is like there's your 10 rolls and you had to pace yourself because you ran out of film. That's all there. Waas. I have a personal relationship with all the big labs and album company, so I've been able to go into these places and see how albums air made even the largest, uh, labs in the world I toured. For example, Miller's lab, which we see them, is this huge automated process, right? Do you know that 20 individual people touch an album before it leaves the door in their facility? So there's so much love that goes into crafting these books that our clients are able to cherish for generations, and being able to see that behind the scenes just really ignites that passion. And what on album is I'm unlucky toe work with some of the biggest names in our industry? We have, ah, a lot of photographers here that I know personally with two photographers that are sponsored by camera companies and here this is great. And being able to take all of this information has helped me over the years that I've been in business. Take all of this information that's out there, hopefully distill it into some easy, understandable chunks for you. And so it'll all make sense because there's so much information out there that were on information overload, right, who feels like they're in information overload, trying to figure out how to offer and sell albums to our clients. So that's what will be discovering are covering in the course, and I'm really excited about it. And I think if we can all remember at least one thing from this course that images in a photograph until it's in print.