Kurt Stockham Yarning with Jannah

Read about our events, places and people.

Published December 2nd 2018 in Photographer Stories by Team AR

Animated passion? You can't bottle it but it's HIGHLY contagious...

I believe, two of the most essential elements of anyone in business are curiosity and adaptability.

Kurt gets excited about his photography. Without a doubt, Kurts clients get excited about Kurt's photography. Heck, I’m even excited about Kurt’s photography.


Kurt oozes curiosity, and his curiosity leads him in directions where Kurt discovers new things. Then Kurt's excitement and passion causes animation.

And animation? You can’t bottle it, but it’s highly infectious.

World, meet Kurt.

Special thanks to Tella Photography, GraphiStudio & Pixel Smart Albums

Full transcript:

KURT: This is Chloe and Dean's wedding, and what I did is, you can get a little matchbox size album, a complete version of the original size. I actually gifted these to them as a little surprise, they didn't know that they were actually getting them. I got 30 of them. They're pretty sweet, like you can see.

JANNAH: Oh my God! How cute are they!

K: Oh, and they're awesome quality too, for a tiny little book.

J: Yeah.

K: Yeah, they're awesome, and you know fits in your purse. But also too, I do personalized thank-you cards, so what I was telling to the brides and grooms is, what you do guys is, I can on sell this as a product.

J: Yep.

K: or, I've been gifting them away; I say 'hey guys', it's just a nice little surprise, 'Oh wow look at these'. So personalized thank-you cards ,and this goes in the thank-you cards as a gift for the wedding guests. Boom!

J: Boom! Look at that, that's amazing. How cool is that?

K: This is the one that was crowd funded, so I added these two extra pages in the back, so beautiful shot of them, backlit, night time, and then there's the list of all the people that contributed to the wedding album. It's a little mini version, so they do that size, then they do the next one up, that one, that's a little bit bigger, so...

J: Hi everyone, welcome to the first episode of 'Yarner', where we spin some yarns and we spread the yarns around the world. If you're not sure what a yarn is, in Australia it's where we tell a story, which is basically what my name is. I'm a bit of a yarn spinner.

J: So welcome to the first episode, we've got Kurt Stockham from Tella Photography today from Townsville, and he's gonna be spinning some yarns, with Jannah.

J: Welcome to the first episode of Yarner

K: Yarner.

J: How long have you been a photographer for?

K: Um, well, oh jeez, I started the business in 2009, so um I started part-time and then, um, this year will mark seven years full-time professional.

J: Wow, nice.

J: What did you do prior to doing photography?

K: Um, I was in civil construction, so I was dogging cranes and I was driving trucKurt: for a living. So a bit different to what I'm doing now.

J: Oh wow!

K: Yeah, so I was doing construction for about seven and a half years in total. roughly since I left high school. So I went overseas for a couple of years, come back, did more construction, and um, yeah, thought, this is not my passion and started photography and got that busy that I had to leave my construction job.

J: Wow

K: Yeah that was nearly seven years ago now.

J: So were you shooting photography on the side as well as doing your civil construction at that time?

K: So I did pretty much an actual two years sort of transition. So I started in 2009, part time, I registered a business name and then work in construction six days a week, ten hour days most days, and then when I 'd book a wedding, wouldn’t work the Saturday, shoot a wedding, go back to construction. And um during my smoko and lunch I’d just be reading textbooKurt: front to back, Lightroom, Photoshop, and at night time, edit the photos, which wouldn’t last as long because I’d be that dirt tired I’d probably fall asleep at the computer.

J: Yeah.

K: And then, yeah, it just got that busy that I was getting enough bookings that I was right, I’m going to make the leap. So, I told my boss hey, I'm leaving, he didn’t want me to go, but my passion wasn't there. The whole time I was at work doing the um, dogging cranes and whatnot, I was like, I just want to get home and finish these photos. So I thought, right, so I took the leap.

J: Did you have young kids at the time?

K: Yes. So what helped with that transition is, my wife's a primary school teacher.

J: Yep.

K: So, with the construction game it is like six days a week, most sort of jobs. But it can be quite good money. So when my wife had our first daughter, which is Talia, and our second daughter Ella, that's where we get Tella Photography from, we joined the girls names together.

J: Oh, I see that now.

K: I didn't want Kurt Stockham Photography, I wanted something different so my wife and I chose both our daughters' names and joined them together. So yes, when we had our first daughter Talia, my wife obviously stopped teaching and I was still dogging cranes and driving trucKurt: for a living, which is good money. So it’s enough money for us, for my wife to stay at home for four years. Because we didn't want to put our kids in daycare and have someone else bring our kids up. That was just our personal choice. I was making enough money that we could actually financially do that.

J: Yep.

K: We didn't do much! Made ends meet and went out for dinner once every six months. And it got to the point where my wife was ready to transition back into work, and that's when I said, 'right'. So I needed my wife's security of her full time job to help me transition into me taking on the prospect of a full time career as a photographer.

J: Oh cool. So it would have been nice to have that buffer, to make you feel like you could take that jump. When you did it, did you need that buffer, do you think?

K: Oh yeah.

J: Yeah.

K: Pretty much without my wife's job, I have would have gone bankrupt. I would have been living down in the park.

J: Oh wow. Ok yeah, how long did it take?

K: What was that sorry?

J: How long did it take before you started making decent enough coin to support your side of the…

K: Yeah, to be honest, it took quite a few years to be honest. It took about at least, three or four to start making any decent money, but I was doing it all by myself, until I found AIPP so that's when I come across all the different workshops, and all the different, like the people shooting also, so we met up and then I was seeing what people were earning and I’m like, oh my God, I can actually earn this much money? So, um, put it this way, what I've learnt in the last two years by attending business workshops, I wish I knew back then, cos I'd be killing it from the get go.

J: I was gonna ask you, if you could look back and do things differently, what else would you change? Obviously AIPP and those business workshops, anything else?

K: Um, I would have attended a business workshop straight up. Because I think a lot of the problem that people come across these days when they're starting to do, starting their own business to do aon photography is what people get caught up in, is they love photography, oh, I can make some money doing this. But, and I myself I actually started off with this, the passion for it doesn't sort of relate in the business mind. You need to know how to run a business, because it is a business.

J: Yeah.

K: So I wish I had that business sense when I first started, knowing what to charge, charging what you're worth, and also knowing, um, what I've learned in the last couple years in regards to the wedding albums, like adding that into your packages, and the money that can be made additional to offering products, instead of the old, well not old school, still happening now, the actual shoot and burn mentality. Where it's, you shoot and burn, ‘thank you’, 'see ya later', and um, this is a bit of an injustice to your clients as well because they got nothing to take home bar a little USB stick.

J: Mmm.

K: Just, take it home, put it in a frame and hang it up on the wall, won't they Jannah?

J: Ha, we've all seen those ones.

J: I'm blown away about how many people actually, so I am a 'recovered' shoot and burn photographer.]

K: Yep.

J: Are you a recovering shoot and burn photographer, or have you always offered prints, or how many? I guess my question is, how many phone calls do you get of people saying they've lost their USBs or DVDs and…

K: Actually I've only had one or two brides, and what happened there was, before I used to offer online galleries for my clients for their actual wedding guest to view the photos what the bride would do is hand the USB to their mum or to their guests so they could have a look at the photos and print some off, then they would lose the USB. So then the bride would come to me, 'hey Kurt, I've borrowed it out and I've lost it', so I'd actually redo the USB. So I now have an online gallery, which I use through Photo Merchant…

J: Yep.

K: and it totally cuts that away; people can email the link and password to all their friends, locally, overseas, and they never have to give the USB away and also I've got a little info card. When they pick their photos up I tell them to back the USB up, don't actually rely on the USB. Back it up hard drive. And I've got it on-site, off-site up in the cloud, so um yeah, try to avoid that happening, because as you know, you can't reshoot a wedding.

J: No. You can't.

J: And I guess that's the point of having a photographer as well is that at least you know it's going to be backed up correctly. Um, how long do you hold onto the files for, for your clients?

K: Well, um, we have rules and regulations being a member of AIPP, and it's minimum eight years on file…

J: Yep.

K: last I read, so I keep them. I actually never get rid of them. I've had, some bride said to me 'do you actually delete these after a couple of years?' I said 'no no', I said, 'there's no need for me to delete them, so I keep them onsite, off site, on hard drives and up in the cloud. So, if anyone wants a photo, I've actually still got them. Like if they've lost their USB or want an actual bigger print, or want to get a canvas, or they actually do want to get a wedding album, I've still got the files to back track. I did a wedding three years ago and the bride contacted me recently and um, she chose a custom package back then it didn't have the actual digital files so she said 'I actually want to buy the files now'. I said sure and offered her an album and stuff like that.

K: And I went back and archived and brought them back out and, I still have them. So, being a digital era, it's not a case of of if my hard drive will fail, it's when. It is gonna happen. So you've got to have backups and backups and backups. So, yeah I'm pretty diligent on that because, like I said, you can't reshoot a wedding.

J: No.

K: Once it's gone it's gone.

K: You can't recreate that passion and that feeling.

J: Yep.

J: And so what are you mainly photographing these days? Is it mainly weddings, a mixture; what's your specialty?

K: Ah weddings.

J: Weddings, yeah.

K: Mainly weddings, so doing about twenty plus weddings a year.

J: Yep.

K: Um, do portraits and graduations and debutantes. I've also done a fair bit of commercial work like I've done some work for a local gold mine lately just about an hour and a half south of me so more sort of um, they did some team-building events and I've done some on-site family day shots and shots of the process of the actual site, and stuff like that. Commercial head shots, I haven't done much real estate, doesn't really interest me, real estate and, yeah I don't want spread myself too thin, but no, I love weddings and that's what I mainly specialize in, weddings and families, so um, but plus I teach as well so I teach worhops as well, so keeps me busy throughout the year.

J: That's it. Very busy I'm sure. Lovely.

J: And, um, how long did it take you to, like, perfect your look for your wedding photos? Like, I know for me personally, I'll go and look at - so I've been in business for almost ten years now, and I'll go back and get the photos I took in the very beginning of that stage, and I'll kind of look at them and I'm like, Oh my God! Do you ever do that? Like how long did it take you before you started hitting that point where you're like, I'm really confident with my look and I know that I can be consistent with that.

K: Yeah, and your final edited image which you give your clients makes a big statement, and not only that, when I look online now I can see photos of that scene, who's actually shot it, and from their style know who the actual photographer is. So getting to that point where I was confident in my work and I loved the final edit, which I do, took quite a few years of testing, trialling, but I didn't jump too far, like when I was initially starting I didn't go, you know, lots of black and white with chocolate tint and all this sort of stuff and then, full-blown colour, and colour popping - don't do colour popping people!

J: Double colour, Double colour, black and white, with just the flowers in colour!

K: Yeah.

K: Took me quite a while and with Lightroom I would tweak the different presets until I finally found a preset which I'm happy with, and I love it, and that's my final edit, and people can see my work and know that I've taken it, just from my edit style.

J: Yep.

K: Yeah it took me a couple years and that's something I think we just have to work our way through and, and like trial and error, because um, like not only that is, looking at other people's work. You know, like, to get inspired and go I actually love that look or oh my God, I don't like that look. So, you just, it just takes years of um sort of weeding your way through your different techniques and then finding something you love, and then, particularly like I said to have that your final edit style which is prominent in your in your sctual portfolio; people then can recognise you from your work.

J: Yeah.

K: And that's why when I teach worKurt:hops, I tell people never give away an actual real tile, because of that reason, because someone can re-edit your photos, look horrible, your name's on it. So. Don't do it.

J: Yeah. Don't do that.

J: Um, so, how do you determine if you would like to work with a couple? Do you just take anyone on, anyone that comes in, or do you have a guideline of will you work with me? 13:09: K: Yeah, well my process before the last year or so was someone would contact me, 'Hey Kurt, are you, I'm checking for this date, show me your prices, for this date show me your prices. So I'd send my pricing PDF out, and I'm priced sort of mid range to high around this area,

J: Yep.

K: and so a lot of people will say 'Kurt, you're out of my budget, sorry,' and then they wouldn't even take the time to meet you and actually see my work.

K: And I think that's very important because we aren't just a generic product, we're not a Samsung 1-2-3 TV which is the same TV you'll find in every different white goods store in town. We have our own style, we have our own personalities, and I think it's important that everyone meets their photographer because we're with you the whole day, and you need to um, you need to actually connect with your actual client, and also me because I'm in your face, popping lens all day and if you don't, if you can't get along with me you're not gonna enjoy your day, it's gonna show in the photos and so forth and so forth.

K: So, now my process is people ask for me, 'is this date available Kurt? What's your pricing?' and I say my prices start at, and then say I'd love to meet you in person and show you more of my work, and actually chat about your day. That way we're having that connection of coming in to meet me, and ninety-nine percent of the time, people book me once they meet me, they see my work, they see my albums, um, so, yeah I've, people that sort of, don't want to meet me, are the people that, I would, are pretty much not my clients.

K: So, they're not willing to invest in my work, and invest in an album and stuff like that.

J: Yeah.

K: And, nine times out of ten, a lot of my work comes from friends I've shot weddings for, they've been the bridesmaids. Or they've actually seen a friend's wedding, 'Oh Kurt, can you do my wedding?' So, word of mouth has worked great for me, so.

J: Yeah, it can.

K: Yeah.

K: I don't do too many 'where next?' phase now because of that, because word of mouth is working great.

J: It's nice to have a nice reputation isn't it?

K: Yeah it is, it's good.

J: Yeah.

K: So um, but I always tell people you may shoot fifty amazing weddings, you shoot that one bad wedding, that's all they're going to remember you by, so.

J: That's it.

K: I take my job very importantly. Very seriously.

J: All right, um, you've been with Album Registry since the very beginning; we met at the AIPP event, didn't we?

K: Yes.

J: Or did we meet? We met over the telephone, didn't we?

K: Yeah we did, yep, because I met some Cairns photographers within the AIPP wedding worKurt:hops,

J: Yep.

K: and then um yeah we met, I actually seen Album Registry pop up because Matthew was using it.

J: That's right.

K: And I said Matt, what's going on? So I rang Matt and he goes 'yeah, ring up Jannah and have a yarn.'

K: And so um, that's how we met. And then we met in person, which was pretty cool.

J: It is pretty cool.

J: Um, that's exciting as well. So, you know how last year you had some great success with it, with um, it was Chloe and Dean.

K: Yep.

J: So tell me, when you met with Chloe and Dean, how did the conversation go?

K: So, Chloe and Dean, how I met them was, I've done a family sheet for them previously, which was Dean's family, and ah we had all the brothers and sisters, and their actual partners as well. And plus also I'm from Ayr, which is the Burdekin, and they're from Ayr as well, so they've known me because I always go back to shoot Burdekin weddings, so I'm known quite well in that area, that I'm an actualy wedding photographer, so they've seen my other work and whatnot, so they wanted to contact me and meet me. And then when I come across Album Registry, before I did AlbumRegistry, I never used to sell albums, to be honest. And the reason being is I was that busy, and my editing workflow wasn't that amazing. And I would probably take too long to edit photos and you know, procrastinate and stuff like that on the actual finished job, I'm a bit of a fusspot so take me a while. So I never used to worry about designing a wedding album because I thought, I haven't got time. I'm not really good at design. And no one wants an album, and, how wrong was I?

J: Oh that's it. You made that decision for them. Yeah.

K: And that's the thing, so, a lot of people that complain oh, people don't want albums, I'd say, well are you offering them an option to have an album? Oh well no. I said well, you're not giving your client the option to purchase a beautiful wedding album. Which was, when I got married, that was - you had an album, it came with the package, and we actually love our album, we bring it out every year, show the kids, show how chubby Daddy looked when he got married…

K: Um, so yeah so back to when I met them, I actually had a simple album done up, to show the bride and groom, and they loved the album, and then I said, and then I explained how much the album was and the extra pages and stuff like that. And now, they chose wedding packages which was, about a year and a bit ago when they booked me, I didn't include a wedding album in my package. So it was a separate purchase. So um, and I find it harder to, like, if people haven't got it included in their package, most people say I actually don't want one.

J: Yep.

K: So when you include it and you show them what it is, everyone want one.

J: Yep.

K: And so I showed them the album, and then I told them based on the sample this is would be this much and I think it seemed a bit out of their budget to purchase the album by themself, then I said Hey! Have you heard of AlbumRegistry? And that's when I whipped out your little card, Jannah.

K: And I showed them that and, absolutely loved the idea. So we set it up for them, so, we used an image from the family shoot that I did with Dean's family, and Chloe was, they were partners back then, a couple of years ago (pardon me) so we used that as a sample image on the Album Registry site.

K: And then, what they did, I think they'd already sent their wedding invitations out, so we went via social media to post a link on their personal pages saying, hey guys, we've booked for our wedding and we'd love to get a beautiful wedding album to showcase our day. Here's a link to help you purchase pages of the wedding album, as your gift to us. And it went great guns. So, I think they asked around about a sixty, they wanted a sixty page wedding album.

J: Yep.

K: Um. And pretty much, nearly three-quarters of that was purchased by the wedding guests.

J: Yep.

K: I think out of sixty, I think forty-six pages was purchased by their wedding guests.

J: Lovely.

K: And um, yeah, and so I love the system too where, as a page is purchased, not only do I get notified, the bride and groom get notified too that, hey, someone bought a page of your wedding album.

J: Yep.

K: So they can see their album growing, live, so, which is pretty cool. : Excellent.

J: So how many, what did they get in the end? How many pages? Did they purchase any extra pages? Did they get a forty-six pager? Or did they get some more on top of that as well?

K: No. So what I did is I designed the album, based on how I could tell their story without cramming too many photos in it and, you know, putting fifty photos on one page. So I spaced it out nice. And it came to, it ended up being like a sixty-four page album.

J: Yep.

K: So what I did is, I said hey guys, so many pages have been purchased by your wedding guests; I have designed a sixty page album. We can cull it back to design, just pick your forty-six, but, I'll be missing shots, I'll be taking out shots to make that happen. The choice is yours, so what would you like to do? And they said no, we love the design and don't want to change a thing. We're going to purchase the extra pages.

J: Yep.

K: And they did. So um, yeah.

J: Lovely. And did you incorporate the names of everyone who contributed to the album into the design?

K: So what I do is, every time I use Album Registry now, I got a couple of people, brides and grooms this year who are going to be using it, and so what I tell them is that once I've designed your wedding album, I will add an additional two pages in the back of your album free of charge. And then I'll list every single person that has actually purchased a page in your wedding album.

K: And they love that idea to know that. Hey, oh, Mum and Dad, Uncle Bill, bought a page in the wedding album. So it's nice little keepsake at the back of the album too, so I don't charge them, I put them in myself.

J: Oh, lovely. That's cool to know, yeah. I like to hear all these ideas so then, you know, I can pass on that information to others.

K: Yeah, yeah.

J: That's really cool.

K: Everyone loves the idea of that. Having that crowd funded. And like you told me, it doesn't really stop at the album.

K: Like, I've got a beautiful montage framed canvas of a wedding that's montage and forty-two photos. I think it's a 40 x 40 inch framed.

J: Yep.

K: And I said well you can just have that as well; we can just add additional pages on and that can be crowd funded for you also.

J: Yep.

K: So it doesn't just stop at the album, which is which is great, and when you tell the bride and groom you can be crowdfunded by your wedding guests, they're like yeah! Awesome.

J: Awesome. Yeah, so with the um, I'm looking at the list of people that contributed here. Do you usually have more, not just one, but usually two or three at a time?

K: Yeah.

J: Like two or three gifts at a time, rather than just that Base 65. Do you know if a lot of them were out of towners? Or whether they were actually people going to the wedding, or whether they were guests that couldn't make it, or colleagues?

K: I'm pretty sure the majority of the people that purchased albums were actual guests.

J: Right, okay yep. Yep.

K: Yeah, because some of the people I actually know, being family, I've seen their names pop up, I've said, that's their aunty or uncle. Then there's close friends, so yeah.

J: Yeah.

K: Yeah, I think pretty much most of them were actual wedding guests.

J: Yeah. Lovely.

K: But that's why it's good to, if you can get the Album Registry card to your client to put in the wedding invitation, it gives the guests an option to purchase the pages prior to the day.

J: Yeah.

K: And even after the day.

K: Because they had already sent the invitations out, we just used social media and it actually worked great.

J: Lovely. And so, last question, what does Album Registry mean for your business, looking forward? So you said you've got a fair few other couples that are booked in to do it this year.

K: Yeah.

J: Do you see it as part of your workflow now? Do you have it as part of your workflow? Is it part of your initial conversation in the initial meeting?

K: Yes.

K: It's definitely part of my console now, so once we have the viewing, I bring them in, we have a chat, they have a look around and see my work hanging up on the walls, we just have a chat about their day, how he proposed, how long it took him, stuff like that. And then I show them a slide show of my work from a full day wedding, start to finish.

K: I've got a big screen that pops down behind me, it's a hundred inch screen. I put a slideshow on and show them a full day wedding. So I'll show them how I captured the full day, from groom getting ready, to bride, ceremony, speeches, night time photos, dancing photos, stuff like that. So I show them a full day.

K: And then, from that we go into my product, my package pricing, so I show them exactly what each package includes and on my coffee table when they come to meet me, is one of my wedding albums. And so are my other products which I offer, like personalised thank you cards and stuff like that, and I've got the Album Registry card sitting on the side there, and so when I explain that two of my packages have a wedding album which is part of the package inclusion, and a certain amount of pages which is included, and then you can crowd fund the rest of the pages via the Album Registry, which is a free service I offer to my clients to make the album as big as they wish, just to get a nice full album.

K: Because the album I show them is an 80 page album.

J: Yep.

K: So in 80 pages, I've tried with full day weddings to cull it back a bit more, and it just doesn't fit, it looKurt: it looKurt: too busy. I think 80 pages is a nice size to showcase a couple's beautiful day, and a beautiful album too, so, and as soo as I show Album Registry, when I tell people the prices they're like, oh yeah okay, and then I say well, it can be crowdfunded by your wedding guests. And they're like, oh, that's an awesome idea!

K: Who thought of this?

J: Yeah, some genius!

K: She's amazeballs!

J: So tell me, you did mention that you never used to do albums; it was like, I don't have time to design.

K: Yep.

J: So, do you have any, what software do you use to save you time on wedding album design?

K: So I've been introduced to Smart Albums and yeah, I started using that. I'm like, oh my God, this is awesome. Like, I suck at design, I seriously do. If someone wants a montage, I'm ohh, okay. Swapping photos, like, oh my God. So, Smart Albums, I can design an album within an hour, two hours, which is great. And um, so many different layouts, you can swap and change photos, so that has been a game changer for me. So, my previous weddings that have been booked on my old package price that didn't have a wedding album, I still design a wedding album for all my clients now.

J: Yep.

K: Whether they purchase or not, I say well hey guys, because you can't sell something people can't see.

J: Correct.

K: So obviously I've got the wedding album to show them, this is the albums I can offer you, and this is a quick design I've done for you guys. You're quite welcome to make any changes to the album design, as you wish guys, so you have final say before it goes to print. The album's fully customisable, from the font, to the colour, the rhythm, the whole show.

K: So it's a pretty sort of final product which is pretty spectacular, so um yeah, and they love it and a lot of the time I've got a ten. I've had a couple say, oh, we don't want an album, and that's fine. It's just this day and age, I think the value of photography and the printed product is, it's not as valued as it was years ago, especially when I got married, you actually got a wedding album.

J: Yep.

K: I think it becomes more prominent as, people nowadays, I think the print is coming back. The print's coming back for sure. And that's how I run my business now is, I actually get professional prints. My products get prints. I don't push the old shoot and burn style anymore, because, like I said, it's not a good business model, for one, and I think it's not a complete service for your client either.

K: Because I've had so many people, I had a bride, I shot a wedding five years ago, before I did albums, and I seen her about a year ago, and she said, oh Kurt, hey, how's things. Hey, I've lost my USB, I haven't printed off one photo, and yeah, pretty slack hey. And I'm like, well, what did you want the files for mate?

K: So that got me thinking, and I got to meet some amazing photographers amongst AIPP, that have been around, they're industry leaders, and albums, albums, and then being that I started off with digital, I never used to print myself and never seen an album in person, so it's pretty hard to sell if you don't have knowledge of yourself, what you can give your clients.

J: Yep.

K: And, I think, us photographers when we start out are probably part to blame, that people always want the files, they don't want an album, because that's how we start out, you know. I'm going to give you all the files for $1,500 and take a whole week of my life…

J: It's like, why do we want them? It's like, we ask ourselves that question. It's like, well why DO I want them? Like I get it, it makes you feel like you have some sort of control, but if you're not going to do anything with them except put them on Facebook or something like that.

K: Yep. Yep.

J: Yeah.

K: But I think it comes on to us as running our business that we've educated clients that they need the files.

J: Yep.

K: What they do with them; a lot of the time they'll just put them on Facebook. Which is great, and a lot of the time, I've actually asked some clients, I've said now do you want the high-res files you can print and do your own canvas? Oh no no, we want to come to you and get canvases. I said, okay, so you just want low-res files to put on Facebook. Oh yeah, yeah. And then, and like, people will advertise their business saying, I'll do your wedding, I'll do your family shoot.

K: You get so many files. So we've sort of educated the actual public and our clients that, everyone needs files.

J: Yep.

K: Not that they know what to do with them, most of the time. And not many of them print, or they'll go to a cheap 45 cent lab and doesn't do your prints any justice.

J: No it doesn't. So, final question, who do you use as your album manufacturer?

K: I use Graphi Studios.

J: Nice. Yep. I just went over and visited Graphi.

K: Oh did you?

J: Yes, I was in Italy.

K: Did you go to the castle?

J: No, I didn't get to the castle, I'm hoping that I get the invite to the castle at some stage.

K: So you went to the Production Warehouse.

J: Yeah, went to the Production Warehouse.

K: How was that?

J: It was amazing.]

K: Oh yeah?

J: It was AMAZING!

K: Cool.

K: Have you seen the new Young Book with the LCD display?

J: Yes, yes, yep, yep.

K: It looKurt: cool.

J: Yeah.

J: Amazing. I saw how they actually make the buttons there, for the screen, and I was looking at these 3D printers. Blew my mind.

K: Yeah. And they've got a new album out, it's called the Raw album. It's sort of like a textured paper with torn edges, and it's got a bound leather front cover, oh, it looKurt: beautiful. Really amazing products which you can offer to your clients, so um, I come across them, I think was at the, not the Hair of the Dog, the AIPP event two years ago, down in Melbourne.

J: Yep.

K: And I'd come across them before through, I think Yirvon uses them, Rocco uses them, so I come across, always follow their work, and seen, where was this guy getting his album from?

K: And then, I got some samples sent to me, and, oh I love this, so, yeah,

J: Yeah.

K: I use Graphi now.

J: Excellent. And what's your turnaround like coming from Italy?

K: Yeah, they usually say 3 to 4 weeKurt:.

J: Yep.

K: And I haven't had it any longer than 3 to 4 weeKurt:.

J: Yeah.

K: So it's quite good, and I just notify my bride and groom that when it goes to print there is a rough turnaround time of 3 to 4 weeKurt:. Um, sometimes it comes back in two weeKurt:, all depends on their workload as well, and my bride and grooms are happy with that.

J: Yep.

K: As long as you educate your clients, you know, hey guys this could take 3 to 4 weeKurt:. Because if you go, oh yeah, I should have them by next week guys, and it doesn't turn up, well then, well you said a week. So, it's important that you, um,

J: Let people know.]

K: Yeah. Let people know what's happening.

J: Yeah.

J: All right, um, before I let you go, what's your plans for the year? Any goals, audacious goals, any aspirations, what are you going to do?

K: Um, well I'm sitting on about twenty weddings already for the year, which is pretty much what I shot last year, I did twenty-one last year, so I only want to get a couple more, because I have a wife and two lovely daughters that I'd like to spend time with. So, a couple more weddings, teach a few more worKurt:hops, um, I'm off to the landscape event, which is in the Gold Coast, which is coming up shortly, I'm looking forward to that.

J: Yep.

K: Just booked a wedding in Fiji, so this is my first international wedding.

J: Ooh!

K: So yeah, so a local couple are heading to Fiji and asked me to come, and I'm like, yeah, I'm there!

J: Yes!

K: So the wife's coming over, so my wife and I are spending five nights there, we're shooting a full-day wedding there which is going to be amazing.

J: Yep.

K: And then off to a family trip to Adelaide and Melbourne at the end of the year, and so yeah I just want to, in regards to my business-wise, I just to, um, I've got a new website coming out.

J: Oh, lovely.]

K: New logo, new business cards. I want to get that sorted in the next couple of weeKurt:, because it's been on the back burner for a while.

J: Yep.

K: So don't go to my website, it's an old one now. They're old photos, just wait for the new one. Coming soon!

J: Coming soon, yeah, that's it, excellent.And so, um, so you're doing your workshops in your local area, is that correct? Or are you travelling around doing those?

K: Um, I did one in Cairns. I did one in Cairns not last Christmas, the Christmas before.

J: Yep.

K: Um, so I did a small Fundamentals of Photography workshop that I teach, teaching the basics of the camera lens and stuff like that. I've been to Charters Towers a couple of times. Yeah mainly the Burdekin, like down to Ayr I travel sometimes. Mainly Townsville workshops that I do. Fly.

J: Welcome to Australia.

K: Yeah. I'll put my cork hat on, I should be right.

J: Oh yeah cool. Excellent. All right, well, um, thank you very much for coming onto the first episode of Yarner.

K: No worries. Thank you for having me.

J: No worries.

K: It's been an honour.

J: Yeah.

J: It's great to, yeah, thanks: for taking the time to do it, and we will catch up again soon no doubt.

K: Yeah. We shall.

J: Excellent.

K: We'll have that drink that we've always been talking about.

J: Yes. We have been.

J: I can't believe that was two Christmases ago, that you were up here, I was like, oh my God was it two? Years are flying by. There you go.

Team AR Written by Team AR

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