Keeping up with your creativity is great… until life, clients, deadlines and expectations begin pulling you in every direction at once. In this episode, we discuss how you can safeguard your creative energy while also showing up professionally for your clients. From honoring your own style inside your client work, to understanding what projects will fill your tank, to the tiny habits that keep your artistic brain from melting down. This episode is about sustainability... not hustle and perfection. Just staying creatively alive in a service-based business.

Foreign.

Laugh, learn and take your photography to the next level with your favorite cowgirls with cameras.

Kara, Kim and Phyllis, Welcome to the Cowgirls with Cameras podcast.

I'm Kim Beer with Kim Beer Photography and be more business.

I'm Kara with Fast Source Photography.

And I'm Phyllis with Phyllis Burchett Photo.

Good afternoon, y'.

All.

Good afternoon.

It is a, it is a way unseasonably warm afternoon as we were all discussing this beautiful before the holidays which we are recording before the end of the year.

But it is a warm spell in Missouri, Georgia and Florida.

Today is not warm here.

It's like the wind is blowing and it's like in the 40s, but it's coming.

It's going to get warm.

It's going to be like 70 for Christmas week.

Yeah, you know what, we might as well enjoy it.

It's not going to last very long.

We'll all be bitter cold before long.

I mean, you guys will be bitter cold before long and might as well enjoy it while we can.

No, I'll be bitter cold.

Phyllis will be moderately cold.

Yeah, yeah, yeah, yeah.

Well, we got down to 10 one day and if it only got that low for the whole season, I would be happy.

But it is.

So what have you ever been up to other than the weather?

We're like a bunch of farmers.

We got to talk about the weather.

I am in pre holiday craziness because I am editing holiday images for my clients for their Christmas cards so they can get those out and just doing the very last minute stuff that has to happen before Ed's family arrives here in two days.

So I'm doing the last minute rush to the border of the holiday season.

I've made all the deliveries, all of that's done and I might be able to finish my shopping in the next two days.

Since we are, since we have like four days till Christmas or five days till Christmas or something like that right.

Now, we are doing no shopping for Christmas.

Good job.

I am not buying one stage single Christmas gift this year.

Good job.

You obviously don't have a 13 year old or 12 year old.

No, I do not.

I do not.

I do not.

And yeah, we have adopted the I did my Christmas presents that I purchased were things to go in the blessing bags that we did through the Wellness Consortium on Wednesday.

We stuffed 99 bags and through the window to homeless or unhoused individuals that are in need.

And I wasn't even 10 minutes away from the place where we did the stuffing.

It's amazing.

I hand My first one out to someone who was definitely appreciating the warmer weather, but hopefully has hand warmers and gloves and socks now for it when the weather does turn a little.

Oh, that's amazing.

That's a lovely feel.

Good thing to do this time of year.

So wonderful.

Yeah, we were, we were a little miffed by the 99 blessing bags.

Like, can we get to a hundred?

But yeah, that's an interesting number.

99.

Yeah.

And we had stuff left over, but it ended up getting donated to the women's shelter here in our little town.

So is that what it just came out to, was 99 or was that your goal, was 99?

No, we just, we take donations, so we ask for donations from individuals and then we contribute and you get what you get in the donations.

Right.

This year we got a lot of toilet paper and we were a little bit like we could have used smaller rolls of toilet paper.

Somebody went to the extent to buy the bonus sized toilet paper rolls and those are a little hard to get into the one gallon bag.

So that took a little ingenuity.

We had some people that are very good at Tetris there with us and we were able to get it done, but we had extra toilet paper left over.

We didn't have any extra food, but we had a few extra items, some extra water and some other things.

And I took those things to our local women's shelter and dropped it off so that they would maybe have a little relief on their financial burden for the holiday season.

So that's wonderful.

Yeah, that's kind of what ours is, a shoebox.

We do like a shoebox thing.

Yeah.

So it's similar, kind of.

Yeah.

Well, we should adopt.

Where do you get the shoeboxes?

Well, I collect them and everybody just collects them and finds them.

And I don't, I don't know where they all get them.

I know I collect them from my family and all that.

So.

Yeah.

Yeah.

Because we were feeling a little restrained by the gallon bag.

But anyway, I like that now most because a lot of boots, you know, have the kind that fold down instead of the lid that you just take off.

So they're bigger.

So that's kind of nice.

Yeah, you can put more stuff in them.

Kira's looking at us like, this has nothing to do with photography.

No, I was actually, I honestly, I was thinking about what someone that's unhoused is going to do with a giant shoebox.

Like, what's going to happen with that after there's stuff in it?

What do you mean what they're going to do with it?

Well, I mean, like, what does it, does, do they recycle it?

Does it get thrown away?

Like, I'm just thinking, like, how does that pack in?

I was just thinking of the logistics of like, what.

Oh, okay.

All the good stuff inside is good.

I was just trying to picture them carrying around an Ariat fox with.

They'll probably carry around the Ariat box with all the stuff in it with their clothes and everything.

What a little bit they have, you know.

Anyway, I.

And happy to have it.

No, I think it's really, really wonderful.

And I love that you both have done that in your communities this year.

So.

Yeah, Eason and I did that one summer when it was really hot and we just use Ziploc bags.

So I, I, that's what we used.

I was interested in, like, the means of delivery of stuff.

I was finding that.

Yeah.

Yeah.

And I think the box, because we were feeling a little shorted, we would have liked to have done fewer boxes that had more stuff in them.

But the gallon bags, there is a limit.

And when you put a roll of toilet paper in there, that is a limit.

But you also don't realize, like, we did a lot of research on what to put in them because people want to donate things that are not useful.

And we had good things.

We, we had good, healthy food that was able to stay for a long period of time.

Didn't matter if it froze, didn't need refrigeration, didn't need any kind of extra stuff.

We had lots of hand warmers and toe warmers and lap warmers and, like, ponchos and blankets and scarves and gloves and all kinds of things.

So I, I feel like we did a good job for our area.

This is the fourth year we've done this and we'll continue to do it.

And we are interested in doing a summer one, too, because I can tell you being outside in Missouri in July is equally as uncomfortable as being out outside of Missouri in January.

So.

Yeah, so, yeah, that was what my.

I had an entire day of spreading kindness and donations across my little community.

So I thought that was great.

That's wonderful.

That's what I've been up to.

What about you, Phyllis?

Anything cool you've been doing?

Well, other than I didn't take a whole day to do it, but I, I did do that.

And I don't know, just.

We, I've had family and friends over for dinner.

We had unfortunately had a couple of deaths in the family, extended family That I have to go to another funeral tomorrow and just, you know, holiday stuff and trying to catch up on some stuff that I had on my to do list to do before December 31st.

So.

Which is your birthday?

Yes.

I didn't say it for that reason, but it's also the end of the year.

It's also New Year's Eve.

Yep.

Yeah.

The turning of the.

The ripping of the page of Phyllis from one year to the next.

The ripping of the page.

Okay.

The turning of the.

The turning of the calendar page.

The leaf turns over.

Yes, whatever.

Usually you just have to throw the whole calendar away, get a new one at that point.

Oh, gosh.

Are you turning over a new leaf, Phyllis, or is that just.

I keep saying I'm going to, but, you know, that leaf is getting heavier and heavier.

It's going to take more to flip it over than just a rip of a palinder calendar page.

I may need help.

Oh, good grief.

Good grief.

All right, Well, I think we should get into our episode for today because the folks that are listening to us are already in the future and it has done ripped the.

The calendar page.

And today we're going to be talking about staying creative when life and clients keep pulling you in different directions.

And I know for me, I was just reflecting on this earlier on a call.

And as I look back over the last 30 plus years, I am like, there are some things that I would do a lot differently.

And I have tried to solve this problem in a multitude of ways because it is hella hard when you are a creative business and then you have everybody else pulling on your creativity as well as interjecting their own thoughts into your creativity.

So I think this is a very timely topic and we kind of split it up in three ways.

Of course.

What other math would we do?

Right?

So Kara is going to talk to you about how to bring your own style into your client work.

Phyllis is going to talk to you about some personal projects and choosing projects that are going to refill your tank.

And.

And then I am going to give you a little bit of wisdom around some small habits that you can utilize to protect your artistic brain so that you don't get into burnout because of this situation.

And that is something that I have had to learn the hard way multiple times over the last.

I don't even want to say the number of years.

So, Kira, off with you.

What do you have to share?

So, so this is.

I was happy to talk about this part because I have had a couple of situations this year where the requests from my clients have butted kind of right up against my style or my beliefs around the work that I'm doing and that sort of thing.

So I think one of the best ways to like, really make sure that you're staying true to your style while also taking the time to honor what you're clothing client wants.

That has to happen long before the session day.

Like, it can't just be a conversation you're having when you arrive there on site to photograph your client.

So for me, this usually comes up first at the creative consultations that I have with all my clients.

And that's where we're talking about what they'd like to achieve with the images that we create together.

So it's more than just like, what shots do you want?

But we ask questions more like, how do you plan to use these images, like, in.

In your life after you get them home?

Like, what are you gonna do with them?

What matters most to you in terms of what we're capturing or about the experience?

We'll talk a little bit about that.

But also, I just had this conversation with someone that I'm in the process of booking today, actually.

If there was like one dream image you could have, what would that be?

So we talk about like in your mind, when you picture this experience, what's like the one image that you keep coming back to that would be amazing if it could be created when we work together.

So as the photographer, this is where our expertise comes in, right?

So saying something like when they give you these wild requests or things that are outside of your style, saying things like, okay, here's what will work really well or will work beautifully, and here's what might be really tricky and what won't translate well.

So kind of having those conversations is really important.

You can also say things like, and here's what else is possible that maybe you haven't even thought about yet.

So I like to take this time to kind of honor what it is is that they're requesting and what they're saying, but then also think about how can we incorporate that realistically in a way that is going to meet their needs and is also going to work within the product that I can produce and will want to produce.

So it's like collaboration, basically.

And I think having those conversations is going to help build trust with your client, and it's going to set us up to create the session that they want without us as the photographer losing what makes our work ours, like, what makes it really work continuously.

I'm.

Personally, I feel like I'm trying to grow in this area.

So, for example, you know, I have a whole bunch of, like, my favorite tried and true anchor poses and session flow processes that I like to use.

And those are going to continue to stay.

Those just.

They're not going anywhere.

They're dependable.

I know that a lot of times they can be accomplished.

They're flattering, and they're a big part of my style already.

But now I'm really looking for ways to create more movement in my work with my clients, to.

To encourage more interaction with my person that I'm photographing with their horse, but also in the environment around them.

And then I want to lean more into creating opportunities for more real unscripted moments.

I want the images that we create to feel like they're part of my style, but also to feel like.

Like what it is that feels like to be a horse owner or to be with a horse and to hang out with a horse and to love a horse and to ride a horse so not just standing nicely next to each other.

I want those images to feel more lived in.

That's where I'm going.

So this is how I work to make my clients feel heard and appreciated, and then also as the photographer, to stick with my style.

And I'm going to add a little touch of saying creative and fulfilled in that way.

Like you guys, I want my images to continue to look like my work and not like a collection of random requests that were kind of being rallied at me from mom and dad on the sidelines.

The Pinterest board.

The Pinterest mood board that came up.

Yes, Right.

So, like, I think that's really important.

So I don't know.

That's kind of where I'm at.

What do you guys think about that?

So for me, this is the way that I have adopted doing any weddings that I still do, which, by the way, are only for friends, family, friends, kids.

Like, it takes A lot.

Nobody listen get any ideas?

Yeah, nobody.

Nobody get any ideas.

I am not doing weddings on a regular, but I still do them.

And.

And I now will sit down with the bride and groom and say, listen, here's the deal.

I have a shot list, which for my weddings, I created because there are expectations, and there are certain expectations with equine photography, too.

There is a certain.

Certain set of standard poses.

And if I did portrait photography, I probably would have that same list.

For equine portrait poses, you would want.

To have a flow of some kind, because it keeps you moving.

It does.

And I actually made an entire document that I sat down with the bride and groom and their parents, and we checked all of the photos that everybody wanted because, frankly, mostly time, it was the parents paying me.

And I wanted to make them happy, but I also wanted to get the people.

And then what I would do is I would fill the gaps with what I wanted to shoot, which is a lot for what for wedding is editorial.

And that sounds to me a lot like what you're doing in your equine sessions is you're bringing that editorial feel into a portrait session, which I think more and more people want these days because they want to remember that experience rather than just the.

The perfect moment that got captured.

And I think from a creativity point of view as a photographer, it means that our job doesn't start when we pose the first picture.

Our job actually starts even before we get there.

But as soon as we step our foot out of the car, we need to start being creative and looking for places to shoot in this kind of situation.

Well, from a selling perspective, too, Having images that fit multiple buckets, like, this is what I know my client really wants.

This is my style that they hired me for.

They liked these things that I already work was creating and then adding in more of that storytelling piece, which I really want to do a better job of this year.

I think about it in terms of putting together gallery walls, albums.

Like, those are pieces that help tell the full story and really work well in a collection.

So I was just gonna say that I totally agree.

I think I've already.

I've been trying to do that.

I guess since I don't do the portrait work like you do, I have found myself even going back in some of my older shoots going, okay, this was a grab shot, but I really like it in this series.

Yeah.

And I've gotten to where I hardly even like anything that's posed anymore.

I just want natural moments that flow within that whole scene that's going on.

And not that I'm.

Not that we're.

I'm not going to grab a post shot every once in a while.

I'm not saying that at all, but.

Well, no, because they have their place, you know.

Yeah.

It's just that it's funny how I. I had some images I was having to go back through and look for.

For something else and ended up grabbing some stuff, and I'm like, gosh, there's a lot of just totally random pictures in here that are so good that I didn't think were great at the time that I was like, oh, that's not good, because it's not perfect, you know, but the client rarely likes the perfect one.

I mean, they like the ones that are.

They're being themselves.

They're being quirky.

They're being.

You know, are just doing what they do, you know, so.

Yeah, I totally agree.

Yeah, totally.

All right, Phyllis, what you got for us?

Totally.

Well, I'm going to talk about choosing projects that refill your tank, because I do a lot of that.

I guess that's why y' all chose me to talk about this, but.

Exactly.

I do a lot of personal work, which I guess is kind of the industry term for it.

But when I pick a personal project, I like to call it spec work.

That way in my business, I can say I.

It's spec work, you know, that way.

I'm thinking about making money off of this shoe, you know, and hopefully I do.

So call it spec work, call it personal work, whatever you want to call it, and project that refills your tank.

All of those are good.

But it's basically work that's not created for a client, per se.

It's work that was created because you wanted to see the images brought into existence or, you know, that I want to.

I'm sure they may eventually find themselves to the public or, you know, or even turn a profit, hopefully.

But making money initially is not the primary objective.

I'm not saying that.

That you.

That I'm.

I'm advocating that you work for free, Although I do a lot initially work for free because I'm.

Like I said, I'm speculating, even though it's something I love.

I'm also speculating that maybe it might money.

But I do really highly suggest you generate your own assignments and decide what you want to shoot.

You put the pieces together, you execute the shoot.

You make the world a better place by sharing the images that are in your head or hopefully you do when you're shooting for a client.

More often than not, we're confirming to what they want, their artistic needs.

Like Kara said, their collab.

It's a collaboration.

And not that collaboration is a bad thing, because we do that a lot.

But creating personal work allows you or me to break free from those constraints and interpret a subject exactly the way we see it.

We're the ones in control.

It's our voice that becomes the loudest in the room when we're at a shoot that we have set up for ourselves.

On a personal project, you're also in a way better position to learn something new.

You're free to fail if it doesn't work out.

All you have lost is time.

But you're free to experiment and learn new techniques and new skill sets, which I think is really cool on your own time and not have to worry about.

I think it's cool to get to go try something new and not have.

Have a client that's, you know, looking over your back the whole time.

There's less risk involved and you can be creative.

Definitely.

What sets your work apart from all the rest is your unique personal voice and what you have to say and how you and only you would choose to say it.

Individual work is where you find that voice, or at least it has been for me.

It's where you develop what sets you apart from the pack.

Clients are always looking for a unique perspective, and your personal work is where your individual perspective is most clearly on display.

These projects that refill my tank remind me.

They really remind me of why I fell in love with photography in the first place.

These projects don't drain me because they don't ask me to perform.

They only ask me to pay attention, I think is a good way to put it, because sometimes I have to.

I get there and I go, okay, well, it's just for me.

So I don't really.

Sometimes I am bad to kind of miss something and then go, what?

Hey, wait a minute, this is for me, I need to pay attention.

But I think this isn't indulgent to choose refilling projects.

I think it's really sustainable because when your personal work disappears, for me at least, and I think for a lot of people, burnout hidden far behind.

You don't owe your creativity to anyone.

When your tank is complete, I think your work is stronger.

I know mine is.

It's more honest, it's more intentional, and all that shows in every image that you make.

Do yourself a favor and make personal sheets a regular part of your, your journey.

You never know where your own vision might take you.

And it is a great way to reconnect with your muse.

Yes, yes.

And she's the one that brought me to this place.

So yeah, yeah, I do leave her behind a lot.

Well, sometimes you have to.

And that's kind of what I want to talk about today, is a little bit about some ways and some habits and some things that you can do to protect yourself.

Because I don't think any of us got into photography to be told what to do with our camera.

So we got into it to be able to share our vision.

And when you start working for clients in particular, there's a lot of push and pull because that client has expectations for the images that are coming out.

I don't think people rarely if ever come to you with no ideas about what they want this shoot to look like.

Like they come in with distinct ideas about what they would like.

Some of them are much more specific than others.

Some people are like, hey, I like your style, I want more of that.

And other people show up with the full on Pinterest board, as in, these are the things I've been dreaming of having photographed with me in them.

And we are in a service oriented business.

When you hang your shingle out, if you're a fine art photographer, you can do what you do because that's you and somebody is buying that, that finished image.

But when you are doing commissions or when you are a portrait photographer or commercial photographer or somebody, you are in a service oriented business and your clients expectation fulfillment is part of what you have to do.

And that's where you can get really into the burnout and into all of the really sticky place in your business and your life.

Because there is sometimes friction between those two things, as in why you came a photographer and what your clients expect.

And holding onto your creativity through that process is absolutely integral to you holding onto your happiness and joy.

And so couple of things, first of all, a lot of people who work in an artistic or creative and that the creative energy is a really important key, they don't tend to work as well in a lot of the traditional systems of how time should be managed.

So I figured, I've been doing, we've been talking about, I've been talking about this on other podcasts lately, but I want to bring it up here and it's called capacity based time management because in your creativity I, I think your muse, and I'm going to call it that, even though I know that kind of bugs Kara with the muse.

But your muse gets pissed off at you when you don't honor your own creativity.

And I think sometimes as Phylissa, she leaves hers behind.

I think sometimes mine is like, oh, I've had it with you.

I'm gonna go, I'm gonna go do something else for a little while.

Because if you're not honoring your creative energy, it, it tends to disappear, right?

So those things that you honor tend to attract more to you.

And the things that you don't honor are things that don't show up in your life.

It's kind of what you focus on is what appears so.

Capacity based time management is taking a look at honoring your energy flow for any given period of time, whether it be a day, a week, a month, a year, that you can look and say, okay, I have the capacity to do this and I, I don't have the capacity to do that.

And here's where you've got to learn a little bit about yourself and your business.

And as far as flow, flow is concerned.

So if you have a portrait based business and your creative tank is empty, it is not the time to take on a whole bunch of new clients.

Now is the time to go do one of the personal projects, spec work that Phyllis talked about, and really connect back to yourself and then come back to that client.

So one thing is honoring your capacity for taking on a new client when you're in that burned out phase.

And it's really easy.

As entrepreneurs, we're hungry, we want the business.

We don't want to pass anybody over.

But what happens is when we approach those jobs where we are in that capacity space of I just don't have anything left in my tank creatively to give you, and people are dictating it, it ends up not being a good experience for them, which is actually much more detrimental if you'd have just taken a pass on the job.

So do take that into consideration, but also honoring what it feels like when you get up.

I know for me, when I get up in the morning, I am super creative.

I usually wake up with a good download from my sleep and I'm ready to go do something really, really creative.

And I've actually restructured my entire day so that I can have openness in the morning to do creative things.

So I think you have to start to learn how to judge what that means for you and make sure that you set the expectations with your clients, clients that fit that.

And also, please, for the love of all that is holy, if you're a person that has to take some time in your editing.

Do not be like me and promise.

People edited images in a really short turnaround.

Be super honest from step one.

If your muse is a fickle little bee and sometimes does not show up when you need her to make sure that you explain to your clients that you need a realistic free for you amount of time.

That does not mean that like if somebody hired both Cara and I, I can tell you they get their images a lot quicker from Kara than they would from me.

So.

And I know Phyllis is going what?

You're always the first one done with all the images.

But in a client situation I may need actually longer.

And I also honor my time capacity management.

My capacity time management.

So I don't.

I want to do it when I can know I can do a good job.

All right, so off of that particular soapbox for now, just check out capacity based time management and see if it's going to fit for you.

The other ones that I have are a little bit more woo woo.

One is get a good self forgiveness practice together.

So there are times when you just, it just does not go the way that you would like it to.

And again, creativity is so much about being in gratitude and in connection with yourself.

And if you don't have good self forgiveness as a practice, you know you will get stuck in that burnout.

You will not be able to proceed to the next step.

So whatever self forgiveness means to you, as you know, letting it go, just let it go.

Elsa, that thing off on to, you know, let it go, let it go.

Play that song.

Or I know the horse trainer down the road, he's like, you got 15 minutes to cry about it and then you need to get over it.

But it so 15 minutes to sit in your self.

Anger, pity, whatever you choose to do.

And then forgiveness.

So that's a good one.

You can also use breath and mindfulness moments.

So breath practices breath work box breathing, which is breathing into the count of four, hold for a count of four, out for a count of four to six and then hold your lungs empty for four counts and do that four times.

It resets your nervous system and then you're much more likely to forgive yourself.

That's another way that you can do it.

Or just taking a moment to be mindful of the fact that you are human and there are times when things just don't connect that the way they should.

You are not a machine and your creativity is not a machine.

It is a living breathing entity that, that needs you to be present with it.

Even in its not so good moments.

So all of that also honoring your muses frustration.

So sometimes creativity can feel very frustrating.

And I, I market it as the muse, as my part of self that is the muse that gets frustrated.

It's really me, I get frustrated with myself and it's really important to reconnect.

And again this is where go back to what Phyllis suggested and take a look at maybe doing some personal projects.

I know for me when I get into that space what I want to do is just go for a walk with my camera and that takes all the expectation out of it.

I know for a lot of artists, artists like oil painters and sculptors and those types of people and this works for photographers too.

Get something that is not your chosen art and go do it.

So think or paint.

There is a multitude of connection to creativity when you get your hands in paint.

So that'll bring you back to your photography friend.

Trust me on that.

And so much of creativity in this case is a little bit like an introvert networking.

You've got to figure out what works for you and how to change the tide when your creativity doesn't want to show up.

So there are times it's just not going to want to.

One of the things I love is from Julia Cameron's the Artist Way, which is an artist date.

So just take yourself.

I. I'm going to tell you one of the best things you could do is find your local camera store and go touch the cameras.

All the cameras, all the cameras.

You know, I don't know what it, I don't know what it is, but the smell of new camera equipment.

It's like a bookstore too.

I just get all kinds of creative energy from taking a whiff of that overly plastic smell when you open a camper box.

That may have to do with some kind of chemical high.

But we will not going to question the process here.

Make a contract with your muse.

Like sit down and write with that part of yourself that creates a contract that says hey, I will honor these things.

Another thing that I personally do is I keep a firefly butterfly journal.

So fireflies are notions and thoughts that light me up that I would like to follow.

And then my butterfly journey are ideas that I would like to chase.

So butterfly journal.

So that would be like Phyllis's projects.

Like all of the things that she dreams of doing in her spec work.

Those would go in the butterfly firefly journal where you have those things written down so that you can connect with them.

And sometimes on those days when you just can't pull into your creativity because clients are being demanding.

Your family is just like, overwhelmingly knocking on your door.

You can grab that firefly butterfly journal and take a look at what it is that you can do inside of there.

That would seriously help you to keep you on track and to reconnect you with your creativity, your museum, whatever you want to call that part.

Those are my tips.

Awesome.

I like it.

Yeah, I like it.

It's funny too, because sometimes I'll be.

I don't know about you guys, but I'll be at a shoot and, like, nothing is going well.

And you're like, screw creativity.

I just got to survive this session.

Yes.

I. I have been to those y.

I think we've all.

I think we've.

A week ago.

It'S this just.

It's getting to the other side.

I know.

I just.

I said to my client, we said to each other, this isn't how either one of us expected this to go, is it?

Yeah.

Yeah.

You know, it sounded better in your head.

Yeah, I had a lot of creative ideas in my head.

And then when you get there is just a lot harder.

That's right.

But I think, don't you find that it doesn't seem to matter that once you get those images home and get them worked on, you're clear.

Client is still, like, over the moon.

Happy.

Not in this case.

It's a re shoot.

It was that bad.

Some days you do have to reshoot it, though.

It happens occasionally.

Horses will be horses.

So horses be worsened.

All right.

Well, I hope folks have enjoyed this episode and we're getting ready to head into the holidays.

So I hope they all got a good break and we've all had a really good break in individual.

Enjoyed it.

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Thanks for listening to this episode of Cowgirls with Cameras.

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