How to Prepare for your First Adventure Photography Session

In this episode, Robert celebrates reaching a remarkable milestone of 50,000 downloads. He shares his exciting adventures in Lake Louise and delves into the intensive preparation process for an outdoor adventure photography shoot. 
Key points covered include effective communication with clients, creating mood boards, scouting locations, creating a shot list, and gear organization. Tune in to learn about these critical stages and pick up some valuable tips to enhance your outdoor adventure photography skills.

Join us bi-weekly as we explore the world through the lens, uncovering hidden gems, and sharing insider tips to elevate your photography game. From capturing breathtaking landscapes to immersive cultural portraits, each episode is packed with practical hacks, creative ideas, and inspiring stories to fuel your wanderlust and unleash your creative potential.

Subscribe now and join our global community of adventure seekers and photography enthusiasts on the Travel and Adventure Photography School!

Find all the show notes and connect with Robert:
Website: robertmasseyphotography.ca
Instagram: @robertmasseyphotography

Transcript

Robert: 0:00

How's it going everybody. Welcome back. I'm Robert Massey. This is the travel image, photography school podcast. Thank you so much for taking some of your time today to listen and to be here with me. All right before we get into this episode, I need to say a massive, huge, thank you to everybody who has listened to this podcast because we've recently hit 50,000 downloads. Which is just mind blowing. I can't even begin to fathom that many downloads happening and it makes me so stoked and so excited and so grateful to every single person who has downloaded an episode and listened to an episode of being a part of one and being interviewed and giving me questions. Just everything. You're spectacular human beings. And thank you so much for doing this with me and for being a part of this journey with me, I really appreciate it. It's been an absolutely beautiful and wonderful journey and yeah. 50,000 downloads. That is just amazing. So, thank you. Thank you to everybody. All right, let's get into this episode. So I am on my way back from an adventure in lake Louise today, I did a little bit of Nordic skiing, did a little bit of hiking, a little bit of skating. It's a great, beautiful blue sky day. And I was thinking about a couple of questions. People have sent me in the last little while, but getting ready for your first outdoor adventure portrait session. Now at a few people reach out saying that they were working with couples and with families to go out and document them while they were skiing or biking or snowshoeing or whatever the activity was that they were up to that they were doing an outdoor adventure session. And they just had a lot of questions about how to prepare and what to look out for and things to do. And I thought if they were having these questions, maybe a lot of other people were. And so I wanted to today's episode on how to get ready for your first adventure session outdoors, especially when you're working with people that aren't necessarily high end athletes. You're working with families and maybe weekend warriors and people who like to do these things, or maybe don't even like, do these things. And it just looking for an outdoor adventure. But aren't necessarily a pro athlete because honestly, working with athletes is a lot easier to prepare. You don't have to worry so much about making sure that they have all the right equipment, that they know how to do things that you're on trails that are safe for them, all those kind of pieces. Because if you're working with pro athletes, They know that for themselves, they know what gear to come with. They know where they can and can't do. They know everything that they need to. So it's much easier to work doing an outdoor adventure session with a high end athlete than with those weekend words and those families who don't necessarily know, or sometimes over estimate their skill levels. So in this case, we're talking about how to get yourself ready for those family sessions. So some things will apply to working with those high end athletes, but this will focus on those other sessions and those outdoor adventure engagements, portraits, and all those sorts of fun. Beautiful pieces where you're not working with high end athletes. All right. So someone has reached out to you. They've said they're interested in outdoor adventure session. What do you do? The first step is to get a hold of that person who contact you and find out a little bit more about the session that they're interested in. Where their skill level is at Y what activity they want to do. If they have any skills in that activity where they want to go. All those sorts of questions. Now you need to figure out all of your basics first. And then you need to judge from there. If you can go with them and do this activity. I've had a few people ask if I could do a certain venture with them. And I had to say no, because I wasn't capable of doing the thing that they were looking to do. For example, I am not a multi-pitch rock climber. I will never be a multi-pitch rock climber, and we needed to be out on multi-pitch and I had to tell them, Hey, that's not me, but I sent them the names of a few local photographers who are multi-pitch rock climbers, and who could do this kind of work for them. So the first thing is to understand if you can actually achieve what they're looking for and if you can participate in the sport. Or if you can't. But you need to be honest.'cause you can't just say, oh, I've Rockland once, or I've done whatever, once it should be fine. In many cases you need to be just as good or better than that athlete. You're working with. Because you need to get there as well, but you won't necessarily be on route. In some cases, you're going to be off on another route. You're going to be running around ahead of them and doing all sorts of other things. You will be probably moving almost as much or more than your athlete. I don't remember. I think it was about a decade ago, 15 years ago now, probably that to skier skied off of Everest and they want Nat Geo's at ventures of the year award. Now their story was all documented by the amazing Jimmy chin. And he didn't actually get recognized as part of that group because he wasn't technically part of the expedition. But the two skiers who did win the adventures of the year. We're like, Hey, Jimmy skied twice as much as we did, he was up and down and all over the place around us. And that's really telling moment of yeah. There's these two athletes who took on the challenge, but the person documenting that challenge was right there with them and doing it as well. And in some cases doing more. So first things first look internally, look, to make sure that you can do this yourself. Then ask yourself if the people that you're working with can do this as well. Based on the experience that they've offered you. Thankfully, I've never had this happen, but I have had friends out here who people have contacted them. They're coming to the area. They've never hiked before. This is the first time they've been in the Rocky mountains. They're just coming here and they like to hike wherever they're from. And they're like, yeah, let's do Mount temple. Mount temple is a big, long, arduous day. There's a bit of glacier travel. There's some really good exposure. You need some good scrambling technique. It's not an entry-level. I've never seen a mountain before kind of hike. It's stunning, but it's not that kind of hike. So you need to gauge if your subject can participate in this activity. So ask your potential subjects questions. Like how long if you'd done this for and what other activities like this, have you done before? Where else have you participated in these kinds of activities? Just learn more about their skillset and then you get to learn more about them as well, which will make taking their photos easier. But you can also help them gauge doing the right activity. That's not going to put anybody at risk. That's going to make everyone happy and feel good and have a great time. Now, if you feel like they can do the adventure, they want to go on with you. That's great. If you don't, it's up to you to tell them that and offer other suggestions, expecially. If they're coming outside into your area and don't have a lot of expertise with where you are. You're the expert in that area, you should be offering them better suggestions. And being honest, if the thing that they want to do is comfortable with their skillset. Now when the best things that you can do is if they have picked a trail out and you know that trail and they're capable of it, but honestly it's a dull and boring trail. And even the viewpoint at the top is kind of doll, unless they have an emotional connection to that hike. Give them different options that have better viewpoints and look better. For where they want to go. Because things are just going to look better. If you do this, their images are going to turn out better. They're going to be more stoked. If it's a boring trail, it's honestly not that great of a hike. They're not going to enjoy it as much. The photos aren't gonna look as good. So give them better options and there'll be happier with it. And this is one of the other big differences between working with a family or a weekend warrior versus working with a professional athlete. Typically that pro-athlete has picked that line area, ski run, whatever it is for a reason, they're looking to be the first person to do something or to challenge something that somebody else has done and do it faster. There's typically a reason that athlete is looking for that specific spot. But if you're doing adventure porch with someone they're looking for cooler venture, but also pretty photos. See what offer them some better suggestions and ones that will turn out photogenic. Better for you and for them, and everyone will just be much happier about it. Now you've gotten a hold of them. You've talked to them about their adventure. You've understood what they want to do. You've kind of taken all these steps to be aware of. Everyone's signed up that's critical. Step one. Get that locked in because you need to know if you can do the work for these people and honestly, the adventure you're going on and the work you have to put into it and prepare. All those pieces will also work into your price. So figure out these details before you start quoting a price to somebody. You should obviously have a starting price for adventures that are somebody who wants to go on an easy adventure where you hike around the lake shore or do have an easy to go longer. Hypo hike. A couple mountain or something like that. The really easy, basic things you should have the app be your baseline price. And then from there, you need to decide how much more effort you were putting into the shoot and then change your price accordingly to what amount of effort you were putting in. So if it's a multi-day backpacking expedition, you're working basically 24 hours a day. You're shooting while they hike you're shooting. While they're putting camp together, you're shooting night photos of their camp sitting under the stars. Your. Up before them in the morning. So you have photos of them as they're making breakfast, you're doing a lot. And you've still got to make your own food. Get your own tent set up. Make sure you still get enough sleep. Get everything else done. So if you're in a multi-day shoot, Our multi-day expedition. You're going to be doing a ton of extra work than if it's just a couple of hours around the lake shore. Now, even if you're out for 12 hours in the mountains and you're doing something that's dangerous, you still got to prep a little bit more gear. It's still be a little bit more prepared. That's still a lot more work than two hours around the lake shore. Go and get that worked into your pricing as well. Now talk price, lock that in figure out a comfortable spot for everybody. And if you still wanna move forward. Happy you've got your first adventure, a couple of workout. And now we can get into the fun part because let's be honest. That other bits, not the fun part. It's super important to get all those dates and the logistics stuck aside. But now we can get into the better pieces. And it's time to start working on your mood board or a style board, but I prefer to call them mood boards because I don't see them as just the styling for the shoot. I see them as how you want the shoot to feel. So obviously you're going to have your photographic style that you like to work with, whether it's moody, light, airy, vibrant, whatever, you're going to have a style that works for you and the people that are hiring you because they like that style. So keep that style there for sure. But you need to build this mood board out for the chute to understand how they want to look and feel during your photo shoot. So mood boards should include some example, poses, some outfits and some ideas for what they should wear and what they should bring with them. Potential expressions and feelings you want to express. Because your style while it should still be there, it should also be able to be expressed across an emotional spectrum. So whether somebody is happy or sad or exuberant or non-committal or anything. Your style should work, but it should be able to be expressed across an emotional realm. Nope. Start by building your mood board based off of your previous conversations with your subjects. But once you have something built out, send it off to them, talk with them about it and make sure that they are happy with the direction this is going in. This is your collaboration space. This is making sure that what you envisioned for their shoot is what they envisioned for their shoot. And you are connected before you ever even get on the trail. So when you're doing portraits with somebody typically, it's great. Like, they want to look good in their portraits and they might have. Slightly different changes in expression and things, but really the ideas make you look really, really good. But when you're working with an athlete, they might want something very specific and a little different. They might not want to look incredibly pretty during the shoot or incredibly handsome or whatever they might want to look like they're working hard and there's chalk on their face. And. All those sorts of things or conversely, they want to look amazing and perfect. Well, they're out rock climbing and they don't want any of that chalk on their face. Who knows? So you need to talk to your subject. Figure it out and put your mood board together based on that. Now I've had a couple of mood, board programs, specific ones that are made for mood boards. But if you don't have anything like that and you don't want to pay for anything like that, Pinterest works incredibly well for building a mood boards. It's a great resource. You can pin basically anything onto those boards and it's free and pretty much anyone can access it. So. If you're just starting out, you just starting to build a mood boards and figured out I'd suggest just starting out with Pinterest. You can also build out a Google doc with screenshots and formatting and all those other things. But I find Pinterest just to be simpler and cleaner, to organize. All right. That's your mood board. And you're going to keep refining the mood board as you go along. So once you build it once. It's not done. I want you to keep thinking about it and building it and processing little pieces and adding little things. You find new poses and think about stuff. So keep building upon it. This isn't just set and over with. So, but your mood board it's built, it's going to move on to the next phase. Location scouting and thinking about location scouting. So location scouting is precisely what it sounds like it's going out and it's scouting. your location so that, you know, the shape that it's in, the condition that it's in, in the viewpoints that are out there for you to work with. So I know a lot of the trails in this area, especially a lot of the classic trails, but I couldn't tell you off the top of my head exactly where I want to stop for each type of photo and where certain pieces will look good. And where I want subjects to walk into images and stand. And it could depend on what type of images I'm going to take. So I like to go back and re scout a location. With my new photo-shoot in mind with how I am thinking about this new photo shoot. Because it really does depend on what activity that they're doing, what activity we're doing together. So, and then while I'm out doing this location scouting, I will go off and mark off points either on a map or on Google maps or anywhere they might have access to it while we're actually out in the field. So I am not constantly guessing about where I need to stop for my next shoot. So this takes a lot of that extra brain power out of going like, Ooh, I think it's up here. Oh, I think it's up here. Ooh. It's around that next corner. It takes that guessing out around what's coming next. And if you take that extra work out of your head, you'll have a lot more room for creativity. So go on a Prisco walk the area, make sure it's in good shape. Because location's coding. Isn't just critical for looking for viewpoints. Like we just talked about. But you can also find things about potential hazards and dangers. So if a tree has fallen on the trail and you're working with someone who might not be able to get up and over that tree type trail may not work for you. If you don't encounter that until the day of, and you do beforehand, you can ruin your subject's day. And all of a sudden you have to do another photo shoot and you have to figure out where you're going. So go out, look for these potential hazards as well. Now if you have the time scout, a second or third location as well, if you don't have the time for that, at least look around for a second or third location. Because it's great to have a backup plan. Because who knows, you might show up at the trail head and there's been a bear sighting, so you can't go on it or it's unsafe for another reason, or it gets closed because part of the trail washed out or the parking lot's full, who knows there are any number of reasons that you might not be able to get onto whatever trail you were looking at working on that day. And you need to be able to right away tell that person that you're working with. Hey, this didn't work. This is why we can't be here, but there's a trail five minutes down the road. It's very similar to scuff use like this. Let's do this one to sit, or we can do this one or this one, and you can offer them a plethora of other options. Right away. So the day doesn't start going downhill really quickly. All right now you want to build in your backup plans. So think about, can this shoot and will the shoot happen regardless of the weather, unless there's severe thunderstorms, massive blizzard, whatever, whatever extreme weather might hit you. Is this happening, even if it's raining and snowing. Is there anything that's odd or does it have to be crystal blue skies for what you're looking for? What will that mood entail and what will you still go out and achieve in that activity? If the weather isn't ideal. I know I've done shoots where we've had to go back and reproduce images because we shot them on a gray day. And they just don't work. So we were looking for fun, sunny biking. And it was gray. It was slightly rainy earlier. So the ground's a little wet and they didn't feel like fun in the same kind of images. So we needed to go back and reshoot them. So what's your backup plan and what does that backup plan look like? What's your cutoff time for deciding on if the shoot goes ahead, what's your deciding time to turn around when the weather turns bad. All those sorts of factors that come into deciding if the shoot is actually going to happen. And then what do you do if the chute doesn't happen? Do you have weather windows? Are you able to reschedule? Do you have indoor locations figured out. If I'm shooting an adventure moment, I like to have a window of two days after the day they want to do it on. So it's a three-day window. They have their first day and then two backup days. Now, if these are critical images, they need to look a certain way and feel a certain way. And we can't do them on the day of for whatever reason. Then we have two other days to make it happen. Now, this has to be worked on in conjunction with your subject and what the people that are hiring you to produce the shoot, but make sure that you talk to them about this. Make sure you put a plan into place. Around, what's going to happen on that day. If the weather's not ideal. On this planning note, also make sure that you have a plan for emergency communications. So if someone gets hurt, how are you going to get them out? If you need to call in a helicopter, how are you going to do that? Do you have a satellite communications device? Are you the only one who knows how to use that device to someone else have to get trained up on it? Just ensure that there are multiple backups in place. You know how to get people out safely and then make sure that you have a good well-stocked med kit with you. And we're not just talking band-aids and some mole skin. Talking like, you know how to brace things like a broken leg. And you know how to put somebody together and be able to carry them out safely, if you need to do that. And thankfully, I've never had to do anything like that. But my med kit is prepared for us to have to stay out over night somewhere if that's a necessity, because things like this happened in the mountains, we don't want them to. But we want to be able to survive it. If it does happen. So take that into account as well with your planning, what type of medical needs are you going to meet out there? What is the risk of injury and what type of injuries are you actually more likely to encounter while you're doing this activity? All right. Now it's time to build it. One of the most critical pieces of your production, which is your shot list. So your shortlist is critical so that you're not forgetting anything on the day of the shoot. So in the excitement of shooting, things can kind of just go over your head and having something that you can turn back to and make sure you are getting what you need. Can really help calm and center the day. So this is the list of images you have to produce during the shoot for it to be successful. Now that can be prior to you by the client. But it's something you should also be looking at and deciding on as a creative as well. And then giving it and showing it off to the person who was hired. You. Because they've hired you for your creative input, they've hired you because you know what you're doing. And so providing them with insights into that is, is an important part of doing your job properly. Now there are a large number of ways to build shot lists. I like to have my built in a particular way, find out what works for you. But the way I like to build mine is based on times of where we are during the production. So what I mean by that is. Let's take hiking for an example, if I'm doing some hiking photos for a couple, we don't want to just think about them at the top of that viewpoint, that big critical end point. Of course we want photos there. But that's not part of the whole journey and part of the whole story that we're going on together. Maybe we want to get photos of them sitting together while they're getting their hiking boots on. Maybe we want them sitting in the car and having coffee, or maybe sitting on the trunk and having coffee. What are those other images? That we need to get to tell the full story of that hike. Maybe there's the getting ready images and there's the hiking on the trail images and there's viewpoint one viewpoint two. And then the top of the hike. What are those kinds of points to put those down in your shot list ahead. And then what happens when we get out onto that hike and we're headed up and we're heading to viewpoint one. So, what are we shooting in that first? Say kilometer two kilometers. However you want to divvy out the timeline for those hikes. And then when you are on those moments of the trail, you're heading towards viewpoint one, or you're heading towards kilometer two kilometer three, however, you've divvied it out. What shots are you looking for in those locations? This is where your Prescale comes in handy, where you can be walking down. You know that at kilometer two on the trail, there's this viewpoint and you want them standing there in a specific pose because the mountain frames, a perfect triangle above their heads. Or, you know that at this point on the trail, it's a perfectly straight shot with a little bounce into the background. And you just want to photo them walking ahead of you on the trail. You'll know that because you've done your pre-school and then you'll know that you want to do that because you've worked it into your shot list. And as you stop at each viewpoint, You can stop and review and be like, yeah, we got that yet. We got that yet. We're telling the story that we need to tell, to be able to build towards the climactic viewpoint at the end. Now what this really does is it saves you basically playing around in the field and not being sure what will work and what won't work. And. Kind of feeling some things flow through you now it gives you a really solid foundation for creating images. Of course leave some room for creativity and being able to produce something spontaneously, but it's important for you to have these critical shots in mind. Because this is also going to stop you from repeating images. Let's say that there's three viewpoints on this hike and at each viewpoint you do the same five poses because those are the ones that are in your head and you're exhausted from hiking. You don't really know what else to do. And all of a sudden you get back and you're looking in front of your computer and you realize you've only given them five images. Yes. The background is different. But really the photos aren't that different cause you post them in the exact same way, just with a different background. So this should help prevent that from happening because you are setting up specific shots in each location. So you should at least have some good things to give to this couple. Now, the other thing this is gonna do is it's gonna help you stay on time and on track, which is critical. During these moments, you'll find, you know, shooting on a lake shore shooting somewhere where you're really close to your critical viewpoint. It's not really too bad. If you spend a little bit of extra time in one spot, taking some photos. But on a hike. If you've set aside about six hours on a hike that, you know, should normally only take four, that gives you two hours for stopping and taking photos, getting food and water, all those other break pieces that you need. You don't want to suddenly realize that you got to viewpoint one and you've been there for an hour. And that was because you were trying all these different poses and you're seeing how all these things feel and all these different pieces kind of mold together. And all of a sudden you've been there an hour and. You weren't ready to move on. Now, if you have your shortlist figured out for that location, you should know. I can move through these shots. It's going to take me 20 minutes to move through these. We're going to feel around. They can slick five, 10 minute buffer window to just kind of screw around and have a little fun and creativity. Now we're done. I guess you want to take advantage of those critical viewpoints, but. Let's say you're hiking up somewhere and you've spent that hour at that first viewpoint. And all of a sudden you're looking up in the lake was beautiful. And then it's like, oh no, since it's happening. And you're an hour away from the critical viewpoint for your hour away from the top. And it was because you weren't prepared enough and you didn't have your shot list in mind. And you weren't keeping that on track as you were going. So prep your shot list, especially if you're working with a couple or if you're working with a family. They really need to be kept on track as you're doing this, they're relying on you to guide them through this experience. So. Keeps them on track. Keep that Charlotte's going and make sure you get to that top critical viewpoint. And you aren't suddenly getting off track with all of these other beautiful, spectacular spots. All right. Now, the last thing that you really want to work out with your models is. To have one last conversation with their subjects and make sure that they are on board with everything they have, their words are figured out. They've got good examples for the poses and they're happy with them. They've got examples of the type of shots and the mood board is on track. Everything is just feeling right and ready, and they're good to go for the adventure. Now this should be done a few days before just in case stuff really has to change. But make sure to reconnect with them and make sure everything is on track. And then you also want to confirm your timeline. I know we haven't talked about this just yet, but make sure that everybody agrees on what time you're meeting up in the parking lot, what time the sunset is and what time you need photos up there and make sure everybody is in total agreement of the timeline for things, especially if you're doing something like on a lope mint image, they might have idea of, they need to read. Vows to each other at the top or something that you didn't take into account because you were just going to photos the whole time. And all of a sudden there's an extra 45 minutes that has to be taken to account to the topper or something like that. So get that timeline figured out and make sure that everybody's in agreement on it. And remember when you're building out this timeline, there needs to be some extra little buffer time. So I've come to realize on a lot of the productions that I do that we almost always need another 15 to 20 minutes longer at each location than I originally think we will. And that's partly so we can change wardrobe when we can mess around and people can have a little bit of a breather. And so we can have a little bit more creativity worked in. So if I think something's going to take an hour to produce, then I'll typically give us an hour and 20 minutes in that location. And there's nothing wrong with giving yourself a little extra time. Yes, it means you're probably going to be out on the trail a little longer. Yes. It means that they're going to be out on the trail a little longer with you. But what that also means is that you can move a little slower. You aren't rushing through poses. You have a chance to inspire some creativity. People can actually stop to take in the views and have some water and have some food breaks. And if you happen to get to that climactic final viewpoint an hour before sunset or an hour before sunrise or whatever your timeline is, that's fine. There's nothing wrong with being there early. The problem comes when you get there late. So when you're building out your timeline, give yourself some extra buffer zones and make sure that you're going to hit that critical moment. When it actually happens. All right. I'm not going to talk much about gear in here primarily because that's going to change dramatically based on your style, what you're doing, the activity you're doing. Everything, but I will say that around the gear, make sure that you have everything charged up, make sure everything is cleaned and ready to go before you get on the trail. And that goes for your adventure equipment as well. So, if you're going to be going on a biking trip with your subjects, make sure your bike is tuned to make sure your chain is cleaned and ready to go. Make sure your brakes and everything else are working. Make sure that you're not running around the morning of trying to find your helmet and your bike later. Any of those other things. Because it's critical to not just have a working camera, obviously that's critical, but it's also critical that you can actually be a part of the activity. And you're not the weak chain in this kind of sense where it's your bike. That's falling apart where it's, you, that's having an issue because you don't want to impede on their adventure while you're out there doing it because you are an athlete in this situation, you are doing these things. See if you're going rock climbing with them. You also need to have all of your rock climbing gear and all of your camera gear. And honestly, All of your stuff as a producer. So that make it maybe some extra food, a little bit of extra water. These are all the pieces that go into this as well. So you're not just wearing one hat when you're doing this as a photographer, you're wearing two, sometimes three, because you're the photographer, you're an athlete and you're helping produce these images. So you need to make sure that you are really prepared. Now I have a terrible memory. And I need to have everything laid out directly in front of me so I can see it all before I put it into a backpack. And I've created little checklists just to make sure that I know depending on the type of shoot that I'm going on, that I have everything that I need. All right. And the last thing that I'm going to talk about quickly here is just that when you were there on the day of the shoot and you're getting ready, make sure you arrive early. You want to be in that parking lot? But for your subject. So, if you know that it's going to take you 40 minutes to get to that Trailhead, to give yourself 60 minutes to get there. And if you're waiting around for 10 minutes, that's totally fine. Go over your shot list to make sure your gear is all good and ready to go and make sure everything's packed. I honestly like to have about a 20 minute window because it means that I have all my gear ready to go when my subject arrives. I don't have to worry about trying to find things or how things down or make sure everything's good to go. Well, I am also trying to talk to them about how they're doing and what's going on and maybe getting some photos while they're trying to tie on their shoes or getting their coffee or doing anything else. And it also means that I'm not delaying the production because I'm ready when they get there. So I'm ready to start work as soon as they show up. And that typically means an extra 20 to 30 minutes before they get there. All right. And that's it. That's all the advice I have for you for preparing for your first adventure shoot. Like this. I get that. This can be super intimidating. It's super terrifying, especially depending on the activity that you're participating in and what it is that you're up to and all those kinds of things. This can be really, really intimidating. But these kind of shoots don't have to be. If you're a good photographer and you're good at the sport you're doing, then you know what you're doing? Just take a deep breath, relax and enjoy it because somebody is paying you to do a sport that you love to be out doing something in something beautiful. And you get to be there with your camera. So because they've hired you and obviously they want you to be there. Obviously they love the work that you're doing and they want you to have some fun with it. So enjoy the moment, enjoy the adventure while you're on it. And just do your best. That's all anyone can ever ask for in these situations. Oh, and make sure that you keep safety, paramount front and center in front of everything. All right. Thank you so much. If you have any questions or thoughts. Or other pieces that you'd like to add to this list? Let me know. I would love to hear what other people do when they start these kinds of intersections as well. I know this advice is super generic, but it's really hard to nail down really specific advice unless you know, the exact situation that you're working in, and this is going to be much more comfortable as you go along and you do more of these productions. So. The first one's going to be really, really scary. The second one's going to be really scary. The surgeon's going to be. Fairly scary. And it's just going to keep getting better and easier. The more you do it. So put yourself out there. Participate go have fun. And yeah. Thank you so much for being here. If you do have any feedback for me, find me on Instagram or a massive photography. Find me online at Ron Massey photography dossier. And thank you so much for being here and for taking some of your valuable time to listen. Bye for now.