Mapping the Shoot
Mapping, the shoot, the storyboard, presetting your props and your poses. When I've got my corners sorted, and then I've got my windows sorted, all I have to do is look at my props. I want anything my client can recline on and anything my clients can stagger on. Now, right now, after lunch, we're gonna photograph Camille, who's got short, short hair. So we're gonna do beauty shots without having the benefit of posing hair. We are then gonna photograph two sisters, and then three girlfriends. So, I'm gonna show you how I use staggering in posing, staggering in props, to make all of those looks, but still use the same corner. So, in a very small space, I just needed one box, one ottoman, and one bar stool. Now the more props you have, the more options you have. But what I'm looking for in a prop is this. I'm looking for something somebody can possibly recline their body on. I'm looking for something they can lie on on their tummy and kick their feet up. I'm looking for something that the...
y can sit on this edge while someone sits up behind them and do a staggered pose of two sisters or a mother and daughter or a couple. But I am looking for something that has basically a level. And if I can get a level, it doesn't matter what it is. Those boxes are just wooden boxes painted white. Now, in my studio, I get asked this a lot. I have polystyrene, solid polystyrene boxes just like that. They're really handy, 'cause they're light to move and easy to stack and put away, but at the same time, they dent. If you stand on them, kneel on them, they dent pretty quickly. But they're cheap. They're cheap and they're disposable. So, I do get different cuts, and when people go, "But where do you get those from?" I have this thing called "things you could Google.com." Because I found mine on Google. I found a polystyrene company that cuts those sheets, 'cause they're standard sheets. So they don't actually cut them. They're standard. And I said, "Oh, what do you guys there?" And he goes, "Oh, we cut polystyrene shapes "for the movie industry, and we make "polystyrene furniture in sides." And I was like, "So you could cut me a polystyrene couch?" And he's like, "Yeah." And I was like, "So you could cut me a 600 by 600 block?" And he's like, "Yeah." And I was like, "So you could me a," and he was like, "Yeah, just tell me what you want." So I ordered all these blocks, and then next minute, all these blocks of polystyrene arrived. It was hilarious. You can stack 'em up, and I just use them. I find that polystyrene is easier to kneel on than the wood. Okay, so from there, I just have to take my scarf off, 'cause it's getting too hot in here. Mapping the shoot and the storyboard. You asked me if I mapped that out, what I just did there. And I'll tell you how I did it. In my mind's eye, I know I had one corner. I came in and I saw the ottoman this morning. I got some paper out, and I thought, right, I don't have the benefit of a Sue Bryce Posing Manual, but mine's kind of remote. So, I've got an ottoman, I've got a box, I've got a bar stool. Without changing her clothes, I'm gonna introduce flowers for a beauty shot, scarf for a colored backlight shot, and the skirt so she can move at the end. Those were my options to introduce more poses in a short amount of time. Then what I did was I sat down with a bit of paper and I did this. My ottoman is at 45, and she's reclining this way. I knew I could get her into lots of different poses once I pushed her back onto the ottoman. Then I stood her up on the box. I stood her up on the ottoman, and I got her to lean back. The reason I do that is because when people are standing, they can't lean back on their own, but when they're kneeling, they can. Also, when she's kneeling, she can kick her booty back, which gave me that beautiful triangle shape in the back of her arm. When I turn the ottoman sideways, I can shoot it straight down the front. Then when I brought it to the front, I can turn the ottoman this way. In my mind, I start to map exactly where I'm going with this. Stretch out like a little cat, hands to the face, looking down the body line, compose left and right. See that compose left and right? I didn't actually do that with that shot. I could've knocked out another three shots if I had have done that. But I actually moved on before I did that. And then, I had her sitting against the wall, leaning forward on the wall, and then freestyling on the wall. Now, I just draw stick figures, but what it does in my mind is it maps out. Every correlation I have to any image I've ever seen or taken before, I start to visually see it. One thing I do not do, and I say this to everybody, do not do a Photoshop session before you go into shooting. Don't go into your accounts before you go shooting. Go into a quiet place, 10, 20 minutes, meditate, relax, get your groove on, whatever you have to do. But it must be creatively stimulating. If you go in there on the wrong side of your brain, you will lose all of your creative visualization. And that is your ability to see images in your mind. And the creative mind is really, really fickle, because it can see images, but it doesn't retain a lot of information. Who's had this? Sometimes I walk into a shoot in my creative brain, and I'm all up in my creativeness, and then I walk in and my client goes, "Hi, I'm Kyra," and I go, "Hi, Kyra." And then I turn around, and I've forgotten her name, because my creative brain doesn't remember names. That's my logical brain. And then I think, "Oh my gosh, she just told me her name, "and I have no idea what it is," you know? It's completely gone from me. So, make sure that you're prepared before you go into your creative brain with who your client is. I get in there, and for me, I just map out what I know. At 45 degrees, that body works. I can sit her on the side. I call it my FQ shot, which is my Fashion Quarterly shot. That's the shot you ask me when we're shooting if it's not for all body types. The longer and leaner the body is, the bigger your triangles are gonna be, which makes that look more fashion. The shorter and curvier your body is, your triangles shut down, and it looks less fashion, and it looks less flattering, okay? I don't care about looking less fashion. I care about looking less flattering. I would not put curves in that position because once you lock down all those triangles, it shuts down her body line, and no longer does she look good. And all I care about is her. I'm not trying to create a fashion look for her. So, there are very few poses that you can't do for all body types, and that's why I've gotta show you what they all are so that you can really cement in your mind what those body types can and can't do. Now, I do the turn on 180, and I've got a really gorgeous video demonstration of that for you tomorrow. What it is is, when I shoot a girl, I shoot that 180 round the wall. I didn't do that in here today, okay? I didn't move. I stayed in one position. So, I could have shot another 10 easily, actually, another 20 images, had a done a 180 rotation. So I'm gonna do a 180 rotation on the brick wall, because it's a little bit hard on a V-flat that's not leaning up against the wall, because she couldn't use her body weight on the wall, and I couldn't get around here. So if I take the V-flat away and do a 180 tomorrow, in fact, I might do it this afternoon. Oh, we'll have to take those images off. So then, I've got my face, my CoverGirl shot. Now I know that when I get her into this position, I can shoot it from the top of her sort of mid-thigh to the top of her head. I can give it space. I know that I can come in in three different stages and change up my hands and my expression. That's all done on my zoom. So I'm like, boom, boom, boom. And I don't actually have to move. That's what makes the zoom lens so incredible. I mean, I know that the fixed lenses are magnificent and they're sharp and they're sexy and they're all those things, but that 24-105, that 24-105 was the only lens in my studio, we had three of them, for the first four years of building my business. And that one lens was on a 20D, Canon 20D, 'cause we hadn't upgraded to the 5D. Even though we were making a lot of money, we had the most basic kit: one lens, one camera. It was that simple. Okay, I built my business on one lens, one camera. I didn't use the couch. I could've brought the couch in and got another five shots out of the recline, but I used the ottoman on the floor instead. And then I know with my wall, I can create lots of different wall. I also didn't lie her down on the backlight, and I didn't roll her forward. So there's another sexy shot. So, I think all up, I missed quite a few. I missed quite a few shots. But I got a good flow going, at least you saw a good flow. I could've maybe gone two hours and done 200, and I could've pushed it out a little bit further. At the end of the day, what it comes down to for me is, I wanna teach you more about freestyling. Because I find most photographers say to me all their clients wanna know is, "I wanna look candid and not posed." And there's no such thing. It's posed in a way that you're directed and posed in a way that it looks like you are candid. And a good photographer can create anything, any situation, that looks candid and not posed. It's that simple. Straight ottoman in front, we did that. That was from our original shot. And basically, that's my map. So, I sat down. I did that this morning. I try and do it as fast as I can. I access my visual cortex and I go for it. And then I just think to myself, "God, I hope that girl can move "in any way, shape, or form." (laughs) Just kidding. (audience member laughs)
Funny. How many images did you just go through right now?
I don't know.
Now for someone line us just learning, would you recommend just us learning a couple just so we get that correct, or try to--
Okay, what I would do is, you've got my Posing Manual?
I would take the posing manual, and on my Posing Manual is every one of these poses. Then, instead, I want you to first nail that pose. You just get that pose right. And you know the deal. When they're sitting there, and they're in Fashion Quarterly, and you know that Fashion Quarterly card is telling you how to do it, and you've seen me do it, and now you're doing it, you look at it and you go, "Does that look right?" And then it's like, "Yeah, I got it. "That looks right." Now, move around in the pose. So once you nail that pose, now give me five variations of that pose. So from that Fashion Quarterly shot, I was here, and then I got her to do that. And then she did that. And she just looked like a fashion model. Did you see when her chin came up, her shoulder locked down, her legs were staggered? Now that's a simple movement. But she went from there to there, and it just opened up everything, you know? And you can then go to there. You can keep turning her. But until you nail that first one, don't move on. Get the first one right, then move within the image. Then bring this hand to here, and then make this work. And then show me all of those variations by bringing hands up. But they're not gratuitous hands. They're body language hands. So don't make me do this, and make sure she's doing that. Make sure she's working it. And if the hands are too big and clumpy, you move them back, but you don't ditch them. And if you're not finding it, stop. Move your body this way, look back over your shoulder at me, keep bringing the face back to you, lift up a little higher, change your angle, lift up, lift down, go back up. Just take your time. Look around in there. What else can I see in this image? Can I connect her shoulder more? Can I make her laugh? Can I bring her hand up and do it here and just freestyle it? Do I believe that? And there's 10 more poses that I missed that I could've just done there, because I was going too fast and I was freaking out. So yeah, map it out. You can look at my cards before you shoot. But I want you to map your studio, because I'm not in your space. So I want you to go, "I have this great chair that works. "I'm gonna do the back of the chair, "the side of the chair, leaning, the recline on the chair." There's four shots straight away. Now, then my client comes in, and I've gotta check off what outfit she's got with what shoot that I've got with what pose I've got on what V-flat. So, a black outfit looks good on dark gray. But black hair and black outfit doesn't so much look good on the backlight. Even though we shot Rose on the backlight in black and black, we put the beautiful flowers there, because we needed to bring up the color. So when they go to the backlight, I tend to bring in lighter colors. When I'm on the powder wall, I tend to be in jeans and casual outfits. Very rarely would I put a black evening gown on the blue powder, 'cause black on powder blue is just too much contrast for me. So I'm always looking for what outfit looks good and what backdrop, what lighting situation, and then changing up the same poses over and over again and the same rules over and over again. See, it's a formula, right? It's an easy formula. And it's so much fun to learn, especially when you nail it, when you get a shot, and you just go, "I have got the ottoman shot." I get it every time. My clients buy it every time. Now here's the cool thing. When you start to get shots, it's gonna be reflected in your sales, because when you're getting it, and it feels good and you're confident and you've got the connection, your client buys that shot every time. And then you start to be knowing this is a key shot for me. So that face shot, for me, that up-close face shot that I do all the time, that sells for me every time. I nail that shot, I sell it. So I start realizing that if I get that formula going in terms of what I'm good at, I start doing this thing where I walk into every shoot and I'll do four shots that I've done before, and two that I've never done before, or try and stretch myself out of my comfort zone. Or you can do three Sue Bryce poses with your own composition and really work those poses and then freestyle yourself for half an hour and just do your own thing and see what you come up with and see what your client likes. It will not matter, as long as you're executing with confidence and getting lots of connection. Because if you're executing with confidence that you're gonna sculpt their body well, and if you're directing strong and keeping talking, then you're gonna stay connected with them, and they're just gonna absolutely go with it. It's just so neat to watch. Also, when you keep talking to people like I'm doing now, nobody has time to think about what they look like or looking in the camera. Everybody's just locked on me like this because I haven't given you room to even think about anything else. So, that's how I shoot, okay? And I'm gonna be talking like that for the rest of the day. And I'd just like to say, I haven't had any coffee this morning, but shooting is coffee, right? It's coffee.
We'll make sure you stay hydrated, Sue.
Questions? In the audience? Starters?
I have a question about the whole setup, if that's okay. I noticed that you've got the wall of your styrene board to the window. And I guess what I've been doing is flipping it so that the light isn't blocked by the wall. But I noticed that your lighting looks way better that way. Are you filtering your light that way?
I work under the assumption that I have a wall. I'm creating a fake wall there, 'cause there is no wall. So I'm covering part of that window so I can recline. So in a normal house, like Simona's studio, I open up her curtains, there's a space of wall between the back wall and her window where they can lean on, which just gets, that natural light just comes across them, and then we bounce it back here. So it bounces here, here, and here. So, if I turn the V-flat to the window, they're getting assaulted by direct light, and they don't have anywhere to lean. It's the opposite. I lean against the window and let the window wash in, and Tiffany was bouncing the light from the window back to my client, and then it's diffused again. So I diffused the window with a net curtain. And there is no net here, but it's frosted glass. And then I bounce the light back with my reflector. And so--
Yeah, the V is to the window, not the other way.
What's Up Doc from Amsterdam is wondering if you could reexplain, "Connect the shoulder "in line with the vertical line of the face."
Yes, the shoulder pose in itself is body language. And I've said it 100 times. And I know that in the CreativeLive chat room, I jump into the chat room every time one of my friends are on CreativeLive. When Tamara came on CreativeLive, I wanted to come and support her. I jump in the chat room, and when I log on, I'm seeing in the chat room two things keep popping up. One is bacon. Good, I hope you all drink. The other one is chin forward-and-down. So I keep going, bacon, Sue Bryce is in town, and then it's like, chin forward-and-down, chin forward-and-down, chin forward-and-down. So everybody was always taking the Mickey out of me for doing the chin forward-and-down. The rules of my posing are chin forward and down, and the second rule is the shoulder. I connect to the front shoulder. So any time the body is directly to the camera, I try and work the hips sideways, and I try and work the shoulders up and down sideways. But when the body turns towards the camera in any way, so when you're 45 to the camera, side on to the camera, any time you're not directly straight on to the camera, you're always working your shoulder towards your chin. If that camera stays on, the body language of that is significantly different. Kyra, call my name.
If I look at you this way with no chin and shoulder connection, now call my name again.
And there's a connection in the body language to working that shoulder forward. But you don't wanna shut that shoulder down. So it doesn't sit on the shoulder. It just goes towards each other. So it's always working that shoulder forward. Working that shoulder forward, connect the chin. And so, if you think about it in terms of how we use people to model, who have I got here? Have I got someone? I just wanna do, come here, Kyra. Can you come up? I just wanna show you something that's really important. If you just sit down, remember the rules here, is that's my chin pan, so everybody knows what that means. It's how I move the chin. And then this is how I move the shoulders. So I push like this. So I kind of do that puppet movement where I'm there, and then I bring the shoulder there. And so I can push the shoulders back like this and then connect the shoulder that way. And then I lift up nice and tall through the back of the neck and then connect together. And so those simple movements just make such a significant difference to when you're posing and when you're directing women. And you don't even have to say it, you know? And making sure your chin forward-and-down is coming from that access there, not from your neck forward-and-down, because it doesn't work. So chin that way, chin that way. And just rocking that shoulder, it's always towards the chin. It's even a very subtle movement. It's more like that than getting it all the way across, although I do like the look-behind. Cool, thank you.
I always worry about sort of the neck.
Okay, so when you worry about the neck thing, there's two reasons why you worry about the neck thing. One of them is, people lift their shoulder up, not forward. And secondly is, if you bring your chin around and stretch it out long, you're elongating your neck and you're not getting this. You only get this when you kick your head back, okay? And that's where I would look at Rose and go, "Straighten your head up to me. "Now just bring your chin forward." So can I bring your chin forward to me, and now go that way. And as soon as it comes forward and down, you no longer get neck wrinkles. You only get neck wrinkles when it's in here, and then it looks awkward because then you don't look sexy. You just look like a dork. Dork's not a swear word.
Couple people in the chat rooms and also from Twitter: where do you look for for inspiration and new ideas? From magazines, or...
Movies. Movies, fashion magazines, although fashion has become so different to what we do. It's almost like modern glamor has taken over what old fashion used to be. And now fashion has become something we don't even wear. Fashion has become an art form. And when you watch someone like Lara Jade, she creates art with models. And it's very compelling, and it's exciting to watch. But the truth is, portrait photography now is what fashion photography was 10, 15 years ago. Fashion photography now, 20 years ago, a model was within 6% of the average body size of an everyday woman of the average body size in the world. Now, it's 24%. She's 24% lighter than the average size of a woman worldwide. So when, for years and years, people come into my studio, and they have beautiful photographs taken, and they say, "Oh, Izzy, you're so beautiful. "You could be a model." And then you think to yourself, well, okay, for starters, that is a certain demographic. They have to be very, very tall and very, very, very naturally lean. And there's very few people that actually fit that physical demographic. There's a lot of beautiful women in this world that are short, and there's a lot of beautiful women in this world that'll never be supermodels. But the truth is, I just find now, fashion does not inspire me to shoot portrait. But old fashion does. When I look at Herb Ritts and what Herb Ritts was doing 10, 15 years ago before he passed away, when I look at Annie Leibovitz, I love her portrait work, when I look at anybody who shoots natural light or anybody who shoots that really classic style of glamor or fashion portraiture, that inspires me. But modern fashion now is too avant-garde to really be inspiring. But as a genre, it's incredible in itself.
So, we have a little bit of time left. Are we just gonna keep going with questions, or--
Well, we're gonna break for lunch. We've got our twos and threes getting ready. I would just like to bring Camille on. Camille's my next model. Have you got a microphone?
Yeah. I just thought, because they're not models and they are clients and photographers, also because we source all of our models from my blog and Facebook, which came from all of the girls that follow me and all of the girls that are connected to me in some way. And so every one of them had such a cool story. And I thought I'd introduce every one of them from now on. We're not gonna get to reveal everybody. They're gonna get to see beautiful images. But we won't get to sit down and do an afternoon reveal, 'cause we're gonna be too busy shooting. But I just wanted you to meet my next model up. I get asked a lot if I can make somebody with no hair look gorgeous, and I can. So, Camille obviously has short hair. Welcome, where did you come from?
I'm from Post Falls, Idaho. We just moved there a few months ago from Texas.
Yeah, cool, and what's your website, Twitter handle? You wanna share any of that?
My website is camilledenae, C-A-M-I-L-L-E D-E-N-A-E, .com. And my Twitter is @camilledenae.
Cool. And I asked you to come because you sent me a picture of yourself, and you said what on that email?
(laughs) I pretty much said that I have an interesting body type. And I wanted to see what she could do with someone who had almost no hair. Because it's always beautiful when you see the flowing hair and everything. But when you don't have that, which I chose not to. I was kinda pushing a reset button. Just my husband and I, our family is kinda starting a whole fresh chapter of our lives, and to me, it's just a declaration that this is brand new. And so I was excited to see what you could do with that.
I'm a mom of three. I have three boys, eight, 10, and 12 years old.
So I'm the princess of the family, and I'm used to making other people feel like the princess. And so I wanted to know what it feels like.
Cool, well here you are. So after lunch, I'm gonna photograph Camille. I've then got two gorgeous sisters from Seattle. And I'm gonna photograph, show you all the posing that we went through with two girls. And then I'm gonna show you three girls. And we're gonna talk curves, and we're gonna build our shoots, and we've got a great afternoon set. So, unless there's some more questions there for me, I'm ready to go.
Well, we are gonna take a couple more questions. But I also just wanted to say how wonderful it was when we walked in this morning, and Camille gave me a hug, and I was like, "When have we met?"
'Cause her hair's changed.
Yes, and it's because we met at WPPI. And Camille had bright--
Hot pink hair.
Hot pink hair.
Hot pink hair.
And so you talked about how you wanted to celebrate your new look. Since we do have a few minutes, I would love for you to tell your story, if that's okay, that you told me at WPPI about CreativeLive and kind of what it means to you and your son.
One thing before you start. Because the idea is, everybody that's come here is attached to CreativeLive in some way or me and CreativeLive, 'cause we're all together on this. I didn't open my Facebook page, my business page, until my last CreativeLive. That was five-and-a-half months ago. So the community that's been based around my Facebook page has come from CreativeLive. So everybody I've connected with, and of course I got to meet you at WPPI, as well, yes, please tell that, 'cause that's why I wanted you here. I want you to tell that story.
I have a couple of things I wanted to say. The thing about CreativeLive is that I watching the Matthew Jordan Smith CreativeLive class, and my youngest was seven at the time. And he sat next to me at the computer feverishly taking notes, and I thought it was so cute that he was taking notes. And at first I thought he was just doodling. But then at one of the breaks, he showed me, and he was talking about, "He's so smart, Mom, "the way he was doing the light and this and this." And so I shared with him at WPPI that CreativeLive, it's inspiring a whole different generation and maybe they even realize when they're doing these classes, Sue could be inspiring little girls who are watching with their moms right now who may not pick up a camera for several more years, but it may inspire them. So, I just thought that was one of the things that was really powerful about CreativeLive, is that there are lots of kids who are watching along with their parents and who are picking up things and becoming inspired and starting to think about their futures in a different way. And I know that when I first heard about Sue, I was sharing this with her a little bit ago, it was maybe about a year ago. It was before she was on CreativeLive. And it was at a point when my husband and I were really starting to rethink our whole lives, just everything, about what we wanted out of life. And reading Sue's blog, I probably read every single entry in your blog, I just couldn't help but be inspired by your story. And I came away from reading your blog entries just thinking, who am I waiting to give me permission to live the life I want? I need to give myself permission. That's all I need, is just to decide that that's what I want, and that it's okay to go for what you want. And my husband had tried to get some books published that he had written by submitting them to some agents and had lots and lots of rejection, and--
Hey, you're not allowed to cry, 'cause you're in my--
I know, someone gave me a tissue. (both laugh) (Sue exhales quickly) And you just came along at a time in our lives where it was crucial to hear someone say, "Go for it," you know? I went for it, and I made it, and I love my life. And it's okay to do that. So my husband kinda took the bull by the horns and started self-publishing, and now he is a best-selling author on Amazon. And I decided to follow my heart and just photograph women, which is what my heart was at. But I kept thinking, I need to do the thing that's gonna make money. I need to shoot kids or shoot weddings or this or this. And it just wasn't where my heart was. And I just kept thinking, I don't know if I can make the money I need to make doing just what I love. But my husband and I both found that the key to success is doing what you love. Because no matter what happens, you're going to be happy. And when you're happy, it draws people to you. And we pinch ourselves every day to make sure that our life that we're living right now, which is totally different than it was just a few months ago.
I hope your husband's watching.
We picked up and moved from Texas to Idaho to get away from the heat, and we just thought, you know what, now that he's selling novels like crazy and I'm photographing women, we could pick any place we wanna go. Why don't we just start a new adventure? And so we picked up, moved to Idaho. We had never even been to Idaho, just heard it was beautiful. So we just did. And now we're living our dreams and encouraging other people to live their dreams and to be bold and to give yourself permission to live the life you want, to create it, to step out there, and not wait for someone else to give you permission. And even when I saw you at WPPI, I just kept thinking, I wanna go up and talk to Sue, and I wanna hear her say, "You can do this." And then I just thought, you know what? She's already told me that, and I'm the one who needs to tell myself, "Go for it, Camille. "You can do this." And I just wanna thank you for just the inspiration that you have been to me and to my family and there's no words.
Thank you, 'cause that's not why I picked you as a model. (both laugh) Wow, thank you very much. I'm really honored, because I don't think I gave you anything. I think you did it all. But I think there's a lot of "you can do it" messages out there in the world, but permission is one of the greatest things. Everybody keeps sending me that Marianne Williamson quote, and I love it: When you liberate yourself, you unconsciously liberate others. When you give yourself permission, you unconsciously liberate others. That's cool, that's fine, I get it. You can sing the, "Chase your dreams" as much as you want, but at the end of the day, you have to just get up and do something. Just get up and do something and make it happen. Action, action (coughs). Excuse me. Action defeats stagnation on every level. All right, now are we breaking for lunch? Or do you have more questions for us?
I do have one question from the Internet from Stacy Byers. By the way, everyone loves that you shared your story. Thank you so much. And this inspired from the Internet. If you are able to spend, Sue, this much time with each client before a shoot, are you able to connect and talk to a woman before actually picking up your camera and photographing her?
Stacy, women don't need encouragement to talk. I joke, and I have the last CreativeLive and every talk that I do, that women are spewing volcanoes of emotional mess. And they talk very freely and very openly and very emotionally about who they are. It's quite easy to connect that to just about anybody. If you ever heard the old adage that when you go to the hairdresser, you tell your hairdresser everything, there's something about touching people, in terms of touching their head or their face, that makes you relax and talk. I find most women are very vulnerable when they're photographed, so their story comes forward very, very quickly. I could get that story and connect to that in the first five minutes of meeting someone. And I wouldn't need a lot of time. I don't want it to be an interview process, because I don't want it to be about where they've come to get to me. I just want it to be about the experience of being with me. So, I love to hear it, but I don't need to hear it in order to connect with them in the studio. I just wanna connect with them on the beautiful, like you said, "Make me feel like a princess." That's what I'm here for. It doesn't have to be sharing. So that's just a bonus. In fact, to be honest with you, I would rather the sharing went down after the shoot when we can sit and have a coffee and then say, "I had a great time. "I had a great experience meeting you. "I had a great experience connecting with you. "I cannot wait to show you your images." And then I say goodbye. And to me, I've had the best of both worlds. I've met a new girlfriend that I can have coffee with. I've learnt something about another human being, 'cause I always learn something. I've learnt something about myself, 'cause that's the mirror we hold up. And I've made a great client for hopefully life. Brand loyalty. Because you enjoy it.