EP10 Thierry B | Behind the Lens: Seeing What Others Miss

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So this is exciting, you're gonna give us all the ins and outs of what it takes to be a good photographer, because I've seen your feed

Ooh, loaded question.

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(Laughing) So I used to work at 24 Hour Fitness. And while I was working, there was like an actor slash model and he came to me one day and he told me that

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there's a photographer that I need to speak to because we had certain ideas. We used to look at the Super Street magazines and all these other car magazines where they would have like an exotic car and it would just have a model in a bikini. And you always used to sit there and go, that doesn't really match. Then you came to find out that they never actually posed with the car, they just basically did post editing where they took a car inside a warehouse somewhere, took the picture of the car, took a picture of the model somewhere in a studio and they just overlapped it.(...) And so for us, we had a different vision. We wanted to say, okay, if this is a car and we get a model with it, we wanted to see the model match the car. And so I'll never forget that there was one of the first shoots that we did, we worked with a wheel company and it was the owner's vehicle. He had a S550 at the time and he had just came up with a new set of wheels and we're just like, all right, it's a badass car, let's get the right model for it. And so he wanted the model that I was speaking to,

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he connected me with my foreign business partner

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and she said, okay, I have the photographer ready, I have everything all set, let's go, let's go do this. We're gonna go into design district and we're gonna do the shoot. And so we got the car, I found a friend of mine who I told her, I said, okay, it's an S-Class,(...) 22-inch wheels, lowered, beautiful S car and you need to dress the part, like you need to look like a boss with this car. So she went,(...) she came, she showed up to design district in the middle of an alleyway and it was like the one alleyway that had like cobblestones in Miami, which I've never seen, but that was fine.

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She had a blouse, a skirt, she had the big jewels, everything and I was like, all right, perfect. So we took a couple of shots and I'll never forget, my photographer at the time was laying across the street,(...) dead ass on the sidewalk and then one person came up to him and was like, are you homeless? Oh my God.

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He was just like, I'm shooting, leave me alone.

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He's taking the picture from across the street, a Miami police officer drove up, saw it and was just like, that's bad ass. He just drove off. Nice, sick.

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And yeah, we started taking the pictures and it just, it clicked, it looked right. So were you taking the pictures? No, at the time I was just a director. Okay, okay. So I was helping direct both the photographer and the model as well as my business partner. She was directing the model because she was doing the makeup, hair, everything else.

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But that got me falling in love with photography itself because we had a vision at the time. And so we decided to come up with a company. It was Cartel Management at the time. Nice name. And yeah, especially Miami. (Laughing)(...) And yeah, it was, we had a lot of models working with us. I would be that bit of an asshole because there were times where people would come up and it was like, I want a model for you guys. And I was like,(...) nah, you know how to look for us.

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And then we just, we started building ourselves a little bit,

but yeah, things started changing, business changes, but I always wanted to be behind the lens at some point because I always had, I felt like I had a vision that was far from the truth because trust me, my first pictures were horrible.

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So you never looked at a picture and you're like, oh yeah, this is what I'm meant to do, right? Like your first pictures were like, oh yeah, I'm so good. Like I gotta keep going. It took practice, right? For me, my first couple of pictures, I look at now and I cringe and I'm sitting there going, what the hell made me think that I could pick up a camera? And, you know, I look at my finances and go, I actually spent money on this?(...) What the hell was I thinking? I spent money somewhere else, you know?

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But yeah, it was that persistence. It was the love of learning.(...) So you studied it? You also get that experience. You studied photography or did you like, are you self-taught or did you go to school? How did that work? It was a little bit of both. So I went to school, so I went to University of Miami.(...) I got my degree,(...) my undergrad degree there and I did do a focus in fine art photography.(...) So at the school itself, they teach, there's three different schools that teach photography and there's three different types of photography. There's commercial photography, there's photojournalism. And when I say commercial, I mean like real estate photography, architectural photography.(...) Then there's photojournalism and then there's fine art.

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Commercial real estate photography, architectural photography, that is all about straight lines. That's when you're looking at a picture of like, when you're trying to buy a home somewhere and you see like the beautiful picture where everything is perfectly straight. Yeah, that is made for a reason. They do that on purpose because one, they wanna show the house is straight. They don't wanna show a crooked house. Yeah, I mean, you go to the house and it's all messed up. Exactly, it's the way of selling it. Yeah, exactly, yeah, yeah.

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But they have that and then the second part would be communications, which is photojournalism. Photojournalism, you'll see a lot of people going out in like different countries or different places of the world taking pictures like they'll do street photography where they'll go like in different places where you don't really edit the pictures. The only editing is if you want it to go from color to black and white, that's about it. Aside from that, it's all realistic imagery. And then there's fine art photography where they kind of focus on everything. It's like, how can you get creative? If you're gonna have a model, make your pose weirdly and awkwardly and see what you can do with it. Show like certain lines. There's so many rules, but then also one of the rules is to break the rules. And so you get graded on that. Nice. And it was fun and difficult at the same time because it's like, okay, so I'm following a rule. Yeah, but then you broke the rule. Okay, so I broke the rule, but then you didn't follow the rule. So what am I doing then? And so I had a photography professor who pushed me. He pushed me beyond my limits and he tested me every single time I submitted something. And there were grad students also in the classes that I took and they would test me also. And they'd be like, I feel like this is sexist. And I'm like, why? They're like, why couldn't you get any girl? And I was like,(...) okay, so if I'm gonna do certain types of photography, especially if you go into like body paint where someone's nude,(...) yeah, not every girl's comfortable being nude. Doing that, yeah. So I'm sorry, but if the models that I started using had a certain physique or something like that, because those were the ones who were comfortable. But then I started to find other people who were like, I wanna get into this. And so, it just kind of just transitioned from starting off to just feeling horrible and what I was taking,

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trying to pick up what I saw people were taking before when I was working with the company,(...) and then kind of doing my own thing and trying to transitioning. So it's like a long origin story, but it's kind of like everything ties in. It kind of gives me my experience where I am now. And it creates your own style. Like you have your own vibe.(...) I was gonna ask you, so the pictures that you took with the car that are on your feed, are those like, is that a car or is that a real car with the model next to it? Now that you told me that story, I'm like, wait a second, is that a real girl on the real car?(...) Yeah, that actually is. So a friend of mine owns a, it's another friend, another wheel company.(...) So he owns a wheel company and I had, you know, we've known each other since we were in the same car club together.(...) He eventually decided that he was gonna start a wheel company and I give him so much praise because it's hard. And he told me about some of the challenges he had. And so when he presented, like, he's like, hey, I have some cars, I wanna talk to you about some business. And we haven't spoken for, we didn't speak for years. Wow.

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It came to me, he said that I have, you know, I wanna talk to you about business. Like, I have the cars, I have the wheels obviously,

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and I know you have the models, what can we do together? And so we started taking, I started getting some cars and just kind of going out there and saying, okay, look, this is what we're gonna do. So I started hitting up some of the models. They were like, oh, okay, I want this kind of car. And I'm just like, There's not that many, I'm sure.

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(Laughing) You get what you get. Yeah, like, I'll have someone that was like, I want a convertible. I'm like, okay, you're gonna have to wait on that one. Yeah. I want a Lamborghini. I literally just had like three Lamborghinis already. I'm not sure I wanna shoot another Lamborghini again. I rather shoot you someone else. You wanna switch it up. Yeah. And so you get some people who have like preferences and that's fine.(...) It's just, I may not shoot you today. It may be tomorrow or next week or even a month from now, because it all depends on what cars he also gets. He gets. So is he do, like, are you doing promotion for him in a sense with the cars? And then you're promoting your stuff(...) through the, so that's a good, a nice little exchange there. It's a nice little mix. You know, one thing is that he already has a photographer that takes pictures of the cars when they first had their set of wheels on it. So he's already set in that sense. For me, it was more, I get access to the cars and also combining the models into it.

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And so it gave me something different to shoot because I'm used to shooting a lot like indoors on the beach.(...) So it gave me something different. In addition to that, sometimes you'll see like motorcycles on my beach. I did, I did see those, yeah. So those are always fun. Those are hot, those are hot pictures. I was like, damn, yeah. Actually, one of the motorcycles got upgraded, so it has lights all over the place. Oh, nice. So I'm trying to see if I can set up something with that soon. Okay, okay, I'm gonna have to like fit into your schedule one day. You let me know.(...) I need, and it's funny because I was just telling my husband, I was like, you know what, like, I need to focus more on my content. And I'm like, we need to hire photographers. We need to get like those, you know, okay, we got our phones all the time and we're taking pictures, but like when I go on your page and I'm like, fuck, like this is nice, you know, and I'm like, let me try to find like my favorite picture. And I'm like, oh, this is good. And then like, wait a second. No, this one's really good too. So you take, you have a talent and I know you said that in the beginning, it wasn't maybe like that, but you take great pictures and you have great models, obviously.

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For somebody who wants to get into photography,

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what are we looking at? Like price-wise, because I know it can be, it can be cheap, right? All that equipment.

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I know, I mean, we have cameras here and they're not like photography cameras, but it's pricey. And I'm sure that for you, when this is what you do, like you need to have, you know, some good equipment. So what are we looking at here?

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Okay, so. You don't have to tell me how much you spent, but just like a rough estimate.

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You definitely want to start with a decent camera.

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Personally, my choice has always been Canon,

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but then it's more in the, I don't want to say it's cheaper because you'll still drop easily. I think one of my newest cameras was about 5,000. Yeah.

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But you can start off with something a little bit smaller, especially if you want to try to get into the industry or at least try to get started just to know if it's even worth it.

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You can buy a used one for a couple hundred bucks, maybe a thousand dollars if you want to get a decent used one.

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There's different websites that you can use to find, you know, great secondhand products, and they'll tell you like what the wear and tear is on it, what the shutter life is on it, everything like that.

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But you definitely want to get a decent,

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like I said, secondhand camera would be my best option for someone who wants to start getting into it. From there, you want to get a decent set of lights.(...) Now lights, you don't have to go out and spend thousands of dollars on lights, you know, get something, you can get something on Amazon, Goldox is one of the most preferred ones, a Profoto.

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You can get a decent set of lights for a couple hundred dollars as well,

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maybe like 200 bucks, 300 bucks, you can find a decent set of lights.

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Then it's just a matter of like, what kind of lights do you want? Do you want stationary lights? Do you want strobe lights?

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I personally prefer using natural light. I love using natural light, yeah. I like shooting in a place that has a lot of light coming into the location, and if I have to, I'll just use like one extra light just for the background, just to kind of give it a little bit of glow from the other side, especially if there's too much shadow. But at the same time, I kind of like the shadow. It gives a little bit more of a dramatic effect, you know? That's cool.

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And then it's like the stands. I think you can buy a set of stands for like 40 bucks if you go to certain places, it's just a hold of the lights itself.

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And yeah, that's about it. Then you got to know how to edit, right? Yes, so editing is probably where you're gonna spend a little bit more time and money, because you have to get, you know, things like Photoshop, Lightroom, there's a bunch of other things, Capture One, there's a ton of software out there that you can use.(...) Photoshop is your primary though. Like that's where you do like all of your final stuff. A lot of the other ones are just like basic and like your preliminary edits, and then you go into Photoshop to do your final touches. Yeah, that must take a lot of time though, right? Yes, it does. Because I was gonna say like once you do a photo shoot, you know, you get to the location, you shoot the model, but then after that, it's like the model's done, but you still got a lot of work to do to finalize the pictures. So what is,(...) like,

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got that out.

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So, what?(...) No, don't leave it in. Loofers, you got bloopers?(...) I always have, what did he say? Tungtai. No, it's not tungtai, it's like a, like a, I lost that word too, God damn it. It's all good, it's all good. Like a brain fart, and then it came out of my mouth.

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So, tell us how a day, like how do you plan a day of shooting? So let's say you have a model. Where do you go? Do you sometimes have to rent a place? Like what do you have to do as the photographer to get ready for a shoot? Okay,(...) honestly, it really depends. If it's a personal concept, like something that I personally wanna do and I know the right model for it and they sometimes agree to it,

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sometimes I'll be fortunate enough where they have a location. Like I remember when I was doing a body paint shoot with someone, she had this beautiful backyard and she's like, just come to my house and we'll do a full shoot here and then we'll do the body paint also. So it worked out because she had like, she had like an own little grotto, a pool, like a pool house. I mean, she had like all this stuff in her backyard. So it worked out perfectly. So I didn't even have to rent anywhere, I didn't have to do anything.

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But part of booking me as a photographer is that you provide the location or you're paying for the location.

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If you wanna do something, like if you wanna do a concept shoot, like let's say you wanna go to a house that has a pool and this and that and it costs $500 to rent that house per hour because that actually comes up.(...) I'm not paying the $500 per hour. 1000%. Unless you do, you add it to the bill at the end. Exactly. And so it's up to the model for themselves to kind of figure out where they wanna shoot and if they book me, you have an idea. There's a reason why you booked me. Now, if you reached out to me and said, hey, I wanna do a beach shoot, okay, great. It's free for the most part, except for maybe parking at most. But also you're gonna get feedback from me too as far as the location of the beach. Because if you say South Beach, not happening. Yeah, why is that? Why is that too many people? South Beach has way too many people. The sand is flat. There's so many problems that I have with South Beach that it's not even realistic to shoot out there. Interesting. But I'll go to Mid Beach though. So Mid Beach is like, if you go to like by Feynau Hotel, like 35th and Collins. Okay, okay.

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Up there, there's not as many people. Okay.

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Also right behind that hotel, there's a set of rocks right on the beach that looks really nice. It's like coral rocks, limestone rocks.

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It looks, oh, I think it is, I don't know. I'm not a geologist so I couldn't tell you.

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(Laughing) But it looks really nice when you're shooting against those rocks as well. And a lot of times I've been there where the sand is nice and clean, the water is pure, there's no seaweed.

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You can look and you can actually see fish swimming up on the shore. It's beautiful. Nice. So that's a great spot.(...) I go to down here is usually going somewhere like Key Biscayne, Virginia Key, those areas.

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Sunset is usually on Virginia Key. It depends on the time of day.

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But yeah, these are like key places that I go for the beach. And again, it's free or you pay just to park. A little bit of parking. Yeah, and that's about it. How long does a shoot normally take?

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I like to think that I'm quick.(...) (Laughing) We'll find out. Just in that, just in that. Just in that. Just in that.(...) Let's clarify that one more second.

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(Laughing)

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But yeah, the thing is I feel that if you're shooting with someone, unless you have like 20 outfits you wanna go through and trust me, I would never agree to something like that. My max is probably like three to four.

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But if you're shooting with someone, if you can't get it done in about two hours, three hours, there's something wrong. And there was a time, I remember when I, and this goes back to like my early stages of when I was like, what the hell was I thinking?

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I used to take pictures and I would go, I felt like I was bragging almost, and I'd tell the model, we took 1200 pictures, and like, oh my God.

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(Laughing) And you know, at the time I was like, yeah, we took so many. And actually, well, you only use like three of them. Yeah. So imagine having to sort through 1200 pictures(...) and only using three of them. That's crazy. So I started getting a little bit more efficient at it and going, okay, I'm gonna use certain angles. And if I took a shot, I would look at it and say, okay, that's not your best angle, I'm gonna move on. So a little bit of ass-wholeness kind of transferred over into photography, but you need it. You need it because my husband sometimes takes pictures of me and he's like, oh, these are good. He never shows them to me. And I'm like, that is not good. Like, what are you talking about? Do you not see my FUPA sticking out? Like, that's not a good angle. Or like my, he's giving me the middle finger. (Laughing) Or sometimes my eyes are like this, you know? And I'm like, what? He just looks at it so quickly and he's like, oh yeah, this is good. And I'm like, and I always tell myself, I'm like, ask to look at the pictures. And I don't always do that, but now I've learned. I mean, I don't even want him taking pictures of me anymore because I know they're gonna be shit. I'd rather put it on a tripod and like fucking smile and then take the bite.

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So normally what I do during a shoot too is I also show the model, the picture, like mid, like, you know, I'll start taking out, like dope. I'll start giving you a little bit of feedback. I've heard some photographers get a little creepy when they say certain things. I try to avoid that as much as I can. And I just kind of do my own thing. So you'll hear me say like, oh, beautiful, great. Oh, awesome, this is dope or something like that. And then from there, I will show the model what the pictures are looking like. And you'll get times where the model themselves will say, hey, can I see it? But I like to show them so that we can see what works and what doesn't work. What doesn't, that's good. And if it doesn't work, it could be the shot itself or the angle itself was great, or maybe it was just a pose. And because you're constantly moving throughout the shoot itself, you may say, hey, let's retake that one, but let me pose different or let me suck it in or something. And it's little things like that. Like, you know, you'll kind of make corrections as you're going along. But that's good because you're showing it to them and then they, like without even you saying anything, I'm sure they're like, okay, that looks good, but I could do this. And then they're gonna modify it. And yeah, every time I take pictures, I'm like, oh, this is a good angle, but like, maybe I should tilt my head just a little bit more, you know, and then you go back. What is your,(...) what makes a good model?

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Ooh, a good model. And we're not talking about like people who, they're actually models. Like let's say somebody calls and says, hey, I want a photo shoot, I need some content. Like she, you know, posts her stuff on IG, but she's not a model model, right? What makes somebody who's not a real model, a good model for you?

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So one for me, I like to like, I like to have someone who's open-minded, you know, when you come into the shoot, I know everybody has an idea of what they want and it's usually because they wanna recreate something they already saw. Yes. The problem with that though, is that they're not the same person as what they've already saw. They may not have the body type of the same person they have already saw, you know, and for me, I love someone who's confident.(...) I don't care what your body type is. I've had anywhere from the most petite model to a plus size model. And to me, everybody was beautiful in their own way.

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But you can't come in with this mindset of, I'm gonna recreate that exact same image because I saw she did it. Great, you could try it, but I can't guarantee it's gonna be the same. Not to mention,(...) sometimes some of these shots are created, sometimes they're created intentionally, but sometimes they're not. For example, me and, like, let's say we're doing a photo shoot.

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You can have in your mind what you want it to look like, and I'll come in and I'll start taking the shots, but they don't see a better angle that works for you personally, whereas your friend, not the same.(...) And so for me, it's someone that comes in with an open mindset.

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Someone who's willing to try different things as well.(...) Again, it goes back to that open mindset. If I say, okay, I want you to pose on the sofa.(...) Okay, now I want you to sit in the chair.(...) Oh no, I don't like the chair. Just hear me out. Try it out, see what it looks like. And then next thing you know, you see that you actually liked it better than the one that you came up with. Yeah.

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Someone was fun.(...) I've had those shoots where I've came in and they're way too serious, and they started telling me how to take a photo shoot where I literally walked away. Wow, I was gonna ask you, did you ever have, like, a bratty situation where, like, somebody was just, like, telling you how to do your job? Yep, I came in, there was a shoot that I did, I want to say it was probably one of my last shoots with this group,

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which is unfortunate because me and the guy who,(...) he's a town scout and he's a great guy, he's like my brother.

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But we can get into that later. Yeah.

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But once we were shooting, I was shooting with a model, and yeah, she started telling me how to take the pictures. And she's like, oh, but why can't you take the pictures from above? Like, other photographers take it from above. I said, I'm six feet.(...) You are five, too. If I take a picture of you from above, you're gonna look like a little person. Yeah, yeah, yeah. Like, it's not gonna make sense. And I said, at the same time, if you wanted selfies, take your phone out and do your stuff. And do your selfies. And then we were gonna move to another location. I called my friend and said, hey, I'm writing out. I'm good. And he's just like, oh, you're out? And I'm like, yeah, I'm not doing this. Because if that's the kind of what I'm gonna be dealing with, it's not worth it to me anymore. No, because you also wanted to still be fun, right? Because it is a artistic thing to do, right? But then when people take the fun out of it, you're just like, bro, we're here to create something. And then you're here telling me how to do my job. If that were the case, just like you said, whip up your cell phone and take some selfies. Yeah, take your selfie, do your own photo shoot. That's it. And there's a lot of models who do that. They take a tripod out. They put their phone on it. They do their own shoots. There's a model now that I know, love to work with her. But she takes her own pictures for personal reasons. She takes her own pictures. And she edits them. And I love her pictures. And I keep telling her, I'm like, anytime you're about to post something, share them with me and I'll share them again. Really? Because her pictures are amazing. Nice. And she doesn't buy herself. Yeah, she doesn't buy herself. OK, you're gonna have to let me know who it is, so I can check it out after. I do see you have lots of girls on your profile. Do you shoot anything else? Or do you mostly shoot just girls? Do you do family photos? Do you do men, couples, stuff like that? So early on, I wanted to branch out and do everything. And part of my class projects, when I was in undergrad,

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was shooting a variety of stuff. So I did shoot men. I had a guy in a pool with a chain around his body and everything. Oh, it sounds hot.

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Editing-wise, when I look back at it, I'm like, yeah, this is one of those cringe moments where I'm like, that could have been better. But again, this is where the evolution comes into learning how to do it. So I did a shoot, guys.

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I think I maybe did a couple of couples, not many. But the people that reach out to me the most, or the people that I tend to reach out to, is usually women.

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And it just kind of fell into that kind of just the norm. It was just that if you want to do a shoot with me, it tended to be women. And I did a wedding once, which is a reason I'll never do a wedding again. Please let us know why. Weddings are extremely difficult. They're tough. And if you've ever looked at a professional wedding photo video team, it's multiple people involved. It is. And it's because if you're taking a picture of, let's say, the bride and father dancing,(...) and you're capturing the bride on one side, you're not capturing the father's reaction on the other side. At the same time, you also want to catch the crowd's reaction. Sometimes it's taking a picture of the mom. Sometimes it's taking a picture of the grandmother,

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your sibling, whoever it is. And so when you're one photographer, it becomes really hard. And then when it's time to turn in those photos, you only have so many. Like, you didn't capture when my grandmother was crying? No.

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I was capturing you when you were crying. What about my dad? He was in full tears. Sorry.(...) You can't get everything. I think I remember for our wedding, babe, did we have a lot of photographers or just one? There was two photographers and one video guy. Yeah.

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And then, yeah, and I was looking at my pictures and I was like,(...) that's why I was telling you, like, from my 10 year wedding anniversary, I need new pictures. I need to wear a white dress. Also, I'm thinner from when I got married. So I want to wear, you know, the styles have changed. I want to go into something a little bit more, you know, form fitting.

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Caliente. I'm going to have to do something. So actually it will be my 15. 15. No, actually no, I was like 15. Come on, you got to know the number now. You're thinking too hard. No, no, no, no. No, it will be 15. Yeah, it will be 15 next year. I know my number more than my wife knows.

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(Laughing) I quizzed her sometimes and she's just like,

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well, I'm this year, right? I'm just like, ah, you failed.(...) Really? That's funny. I quizzed my husband, like last year actually, I was like, I was in bed and I was like, hey, how old am I? You know? And he's, I'm like, I'm 32, right? And he's, and I'm like, wait a second, am I 33? And then I went in my phone to look, I always get the balloons. I love the balloons, right? Plus it's good content. I was like, holy shit, I'm 33.

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I'm like, what? And then, I mean, he always forgets my phone number and my birthday and stuff like that, but he's, my bro now, well after like 11 years now, you got it. I think it's because every time my birth is coming up, every time we're just coming up, I'm like two months. Bro, show daddy six months.

(...)

Well now, my birth isn't exactly a month. It's on the 17th of November. So today I was like, my birthday's in a month.(...) So he's gonna-- Well, my wife and I share the same birthday. Oh, do you? That is so cool. We're about three years apart, but we share the same birthday, so I can never surprise her because it's my birthday too. And so it's like-- You guys surprise each other? Yeah, we just like buy stuff for each other and I can't hide it from her because anytime I try to hide a gift from her, she hides everything from like our family anyway. So when it comes to that, it's hard for me to hide something because she's gonna find that same hiding spot. Exactly. I've been in so many spaces and I refuse to go into my attic because I always hear something crawling through it. So I'm not gonna say I'm a chicken shit, but if I hear something crawling through it and I've seen those big, you know, the big lizards that kind of walk through,(...) I'm not going in my attic. No, I wouldn't either. Not hiding anything in there. Yeah, I'm good. I'll hide it in my bed if I have to, if she finds it. Surprise. That's it, that's so funny. And you know what the thing is, is that like nowadays we get so many things on Amazon, right? And you share the same Amazon. So it's like, you can't buy anything from Amazon. Well, so I actually have a separate Amazon account. However, she orders so much stuff from Amazon that we get items at our house every single day. So I kind of laugh and I just sit there and when a package comes in, I'm like, what else did you order? I know it's mine, but I won't tell her that. She goes, I don't know, it's probably for someone. And I'm just like, okay, I'll just take it and hide it. And she'll have no idea. And I was just like, all right, there you go. Okay, so she doesn't see what you get to order. We get to see what each other order is. And I'm just like, what the hell? I'm like, what did you buy? We don't need all this stuff. It's like the rules have switched because I've chilled out with my Amazon spending a little bit, yeah. Oh my God, okay. So what kind of shoots do you like to do if you had to choose between fashion, portrait, or lifestyle? Because I feel like yours kind of fall all into that category a little bit.(...) Maybe not portrait per se, because you don't, just take the person's face, but what would be your favorite thing to shoot? Your favorite, like a walk on the beach or sunset, or I don't know, what's your go-to?

(...)

I feel like lifestyle is, I mean, not lifestyle.

(...)

Lifestyle is always incorporated within fashion.(...) So it's definitely a blend between the two. If I'm doing a beach shoot, you're seeing the model, but you're also seeing what they're wearing.

(...)

I've also done nude shoots, where you're looking at the model themselves, and in my sense, that's another style of lifestyle.

(...)

So it's a mix of a little bit of everything, but then I also like to get to the creative side, where I'm being artistic now.(...) That's when you start getting into the body paint. You're starting to get into different weird outfits that you normally didn't think would work, but then you made it work. But even when you're using harnesses, that's still fashion in its own sense.(...) So yeah, it's a mix between fashion, lifestyle, and then art, just in general art. Well yeah, fashion and lifestyle kind of mix together. Right, so that's good. Okay, let me see. I wrote, there's a few questions that I don't want to forget. So I'm gonna read them. All right, so you travel, you told me before, you were born in Boston, right? So you travel between Boston,(...) MIA, what's that?(...) Boston City of Champs. City of Champs. Yeah, every one of our sports teams has won a championship. I'm not big into sports, but I do know, didn't they win basketball or something? They just, yeah, I knew that. Boston Celtics. Yes, yes, I knew that. Everybody asked me about Miami, they're like, "Oh, you live in Miami, don't you go for the Dolphins?" I was like, "No."

(...)

I know New England Patriots have had a rough couple years, but we're looking good now, so we're turning things around and we're doing better.

(...)

But is that for what sport is that for? Football. Football, okay, see I'm like zero sport. Do you watch hockey? I do, so Boston Bruins is my team. Yeah, for sure. Unfortunately, Florida Panthers have beat us twice. Yes, that I knew.(...) That's, it's rough, but you know, Boston Bruins is always gonna be my team, it's the home team, so. I've been seeing some posts saying Edmonton is gonna get the, is it called the Stanley Cup? Yes. There you go. So yeah, so Edmonton and the Panthers have been going at it for the past couple years. Yeah, they have. Panthers have come on top, and so Panthers are a great team and they took one of our best players, which I still don't forgive the Bruins for that. How do you wanna go with Brad Marsha? Like I don't get that. Is that the guy who went to? He went to the Panthers. He left Boston, went to the Panthers, signed a multi-year contract, and now he just wanted Stanley Cup with them. But isn't like one of the best players of the NHL in the Edmonton team now?(...) One of them. One of them, yeah. I mean there's a good amount of them. I can't remember exactly who I know, yeah. Well apparently he's like really, really good, so and he's gonna bring them to the championship. He might, but I know there's also superstition because between Edmonton and Florida Panthers, it's like if you touch the Stanley Cup before you get to the Stanley Cup playoffs, or the championship itself, you're basically jinxing your team. Oh really?

(...)

I think the Panthers one year, they touched it and they lost, and then for the next time, they don't touch it anymore before and they've won. So I think if they get to the championship this year again, you'll see them go like, no.(...) Like you don't wanna touch it, no. No.

(...)

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All right, so between Boston, MIA, and ATL, also New York, which city has the best creative energy in your opinion?

(...)

Or like, I mean they each have their own, but which one do you get that vibe where you're like, you know, I wanna shoot something or?

(...)

Well Boston's very historic. Okay. So it's a beautiful city,

(...)

but you are kind of limited in what you can do.

(...)

For me, for photography, Miami poses to be the best place, which is why I, you know, I'm gonna say it's the only reason why I'm here.(...) Try to move out, life won't let me.(...) You try to move out of Miami? She runs the house. You try to move out of Miami? Yeah, she won't let me. No, don't do that. I stand with her.(...) Don't go. I'm teamed up though. Help me out. No, he's not gonna help you. He convinced me to leave Montreal to come here. So he's not gonna help you one bit. All right, all right.

(...)

But yeah, Miami poses to be like the best inspirational city, simply because you have so many different options.

(...)

And then a lot of people visit here. So a lot of times I'll get contacted either through Instagram or through my website that'll say, "Hey, I wanna do a shoot with you. I'm gonna be in town during this timeframe. And if I can schedule it, I'll schedule it." And then you have people that are just like, "Hey, I come here periodically. If I can't get you this time, I'll make sure I get you next time." So there's actually one model that I can think of. We've been trying to schedule a shoot several times, but we just never got a chance to connect. But she's like, "I'm here every month." Okay. Okay. We'll get it done at some point. At some point, yeah. But yeah, it's here is that you have so many places you can go. And yeah, Miami can sometimes be restrictive, especially if you're shooting in certain places. You can get either a police officer or a security somewhere saying you can't shoot here.(...) But there's always options. There's a lot of options, yeah. You can either rent a place. You can rent a hotel. You can go to the beach, which is, like I said, it's like anywhere. You know, if the model themselves, or if I have a location already, like I have my own house and I say, "Hey, we should shoot at my house." Because I have...(...) There was a concept that I was going to do with a friend, but then we ran out of mangoes. But I have this massive mango tree and we have this beautiful like wooden teak, wooden fence in the back of the house. And so I said, "I would love to do a shoot with mangoes where she's peeling the mango and then it's just like dripping." Nice.(...) Sexy. Yeah. So that was like, you know, it's like you can do anything, anywhere. Especially if you have the creative mind for it. Yeah. I did a shoot where we were on the tennis court down the street from my house. Really? Yeah. We just do it anywhere. Yeah. Speaking of sexy, you do take a lot of pictures of OF models. Yeah. Did that just happen? Or like how did that come about? They're like, "Okay, I see this girl." And then she goes, "Hmm, I like the pictures that, you know, he took so that they're going to reach out to you. Like, how did that come about?" So I used to work with, there's an agent.

(...)

I don't know if you want me to say his name. Yeah, you can go. Yeah, okay. Kelvin. Okay. He knows a lot of models.

know, his partner, for example, is gorgeous also. I've shot with her a couple of times.

(...)

She's an inspiration as well. But, you know, I used to work with them until I took a brief break.

(...)

Brief.

(...)

But yeah, I used to work with them. And so I started getting introduced to a lot of different models. And some of those models had their own, they were either an OnlyFans or they were content creators themselves in the adult industry. Or they were just, you know, "Hey, I want to do a photo shoot." And for him, you know, he finds talent everywhere. So he would reach out to certain people. Even there were times where there was a model that I wanted to work with.

(...)

She wouldn't ask for me, for example. Like, I would send her a DM or something and I'd be like, "Hey, let's shoot." And nothing.

(...)

A month later, "Hey, how's it going?

(...)

Let me know if you have any available time to shoot." Nothing. So I was like, "Okay, I have no idea how to get ahold of them." I'll see a friend who's, you know, or I'll see them in their story and they'll post something. And usually, I don't like to reach out to someone too many times. Or if I do reach out to you a couple of times, it's usually because I forgot I reached out to you before. Yeah, yeah, yeah.

(...)

But yeah, it'll be like a friend and I'm like, "Oh, you're hanging out with this girl? I was trying to get ahold of her to do a shoot." "Oh, yeah, I don't know. Let me ask her." But then nothing.(...) But the next thing I know, I'd...

(...)

Kelvin would hit me up and say, "Hey, let's go. We're doing a shoot here." So I'd go and meet up and the girl's there. Nice. And she'd be like, "Hey, let's shoot. What's your name?" And I'm just like, "Are you fucking kidding me?"

(...)

Like, you know, there are times I reached out to you and you just ignore it. Okay, well, I'm going to give you a little tip, okay? Yes.

(...)

I'm not going to pose and stuff, but... So when it comes to...

(...)

Because when you are going to DM somebody and you guys don't follow each other, you're going to go in their, like, requests. But if you react to their pictures, to their story, you pop up at the top and then I feel like when you DM them, it kind of goes into another folder, more like general. So if you're trying to reach out and they're not asking this because they can't see it, obviously, you need to react to the stories and then they're going to see, "Oh, who's this?" And then, you know what I mean? So that's just a little tip that I have because when I want to reach out to girls or whatever, as soon as I, like, do not a like, react, I'll put the eyes, the little heart eyes or whatever, then they always come back and like it. And I was like, "Well, that was easy." And then you start a conversation. So that's a little tip for you. Thank you.

(...)

I'll use that because I think I did that to one person and I can't remember what the outcome was now, off the top of my head. But yeah, normally, it's, you know, I see someone and I'll just, I'll send a message to them and yeah, and like you said, I get the same thing, literally wrong, because I'll get messages, like there's just one person right now that's like blowing me up and I'm just like, "Yeah, no."

(...)

You got to tell them though, you got to tell them, you can't ignore them because you get ignored and you don't like it. Yeah, I am fair in that sense. I do tell someone that I'm not really... Go to your room.

(...)

There are sometimes I tell someone, I'm just like, "Yeah, I'm not into what you create."

(...)

Sometimes it's... Respectfully. Yeah, exactly. Like I'm not going to be rude about it completely. Because, you know, again, sometimes it's a business reason.

(...)

Sometimes it's just a personal opinion about, you know, and at the end of the day, I have my own personal values. And so I'm not going to do something if it doesn't align with me.

(...)

But yeah, no, I get it. So there's times where I get, you know, you get a bunch of messages that(...) sometimes it's like, it's really, "Oh my God, she's so hot. What's her name?" I'm not entertaining you. No, 1000%. But if it's someone that's reaching out to me and it's for a business reason, yeah, I'll entertain it. And if it is worth it, then yeah, I'll definitely go forward with it. But if it's something that I'm just like, "I'm sorry, this is not going to happen." Like if someone reaches out to me and they're like, "Oh, what are your prices for a shoot?" And I'm like, "Oh, you know, it's on my website, but here's to give you a rough estimate. This is what the cost is." And they go,(...) "Okay, but so how much would it be? How much could I get for 150 bucks or $200 or $500?"

(...)

Not me.

(...)

I could recommend you to some starters or I could say, "Keep hitting up Instagram to see if there's any other photographers that would take it." But it's not going to fall in line with me though. Do you get a lot of girls who are like, "Hey,(...) do you want to shoot me and like, I'll promote you type of... Do you get a lot of that?" I feel like that would be something like, "Hey, I got a big following. Shoot me and like, I'll promote you."

(...)

I do.

(...)

What do you do in those situations? So it kind of depends really. If they're open to creating a concept that I want to come up with, that I want to do, then I'll see you as a fair collab. In which case, I don't mind doing a free shoot with someone only in that sense. Yeah. Like I'm not looking for clickbait. I'm not looking for you to promote me. Because at the end of the day, I have had several examples of when I've taken those, especially at the beginning, where I've done those kind of shoots. And at the end of the day, it panned out to nothing because they didn't promote me.(...) They would tag me maybe in a shoot. Sometimes they didn't tag me at all. And I would find out from somebody else that, "Oh, this person posted your shoot. I just saw your shoot on my friend's page." And I'm like, "Wait, what?"

(...)

But they were also like, "Oh, I'll tell all my girlfriends about you. I'll tell all my friends or whoever it was." And that never happened. And I was never booked by anybody else that they knew. So it doesn't benefit me in any way. The only person I benefited in that case was really you. You know, because you got these great pictures, but I'm the one who had to sit there for how many hours editing those pictures are for you.

(...)

So now when I do a photo shoot,(...) if it's a collab,

(...)

then I basically let them know, "Okay, this is what you're going to get out of it. Like you're going to get a set number of pictures. There's no more than that. If you want to get more, this is the cost." That's it. And I'll outline that. I'll have them sign an agreement. And that says, you know, what it all says. And they get an email of that. So they can't come back to me later on and say, "Oh, I thought you were going to give me everything."(...) Read the agreement. You signed it. I said, "This is the cost."

(...)

I'll work deals. Don't get me wrong. Like I could have said in the message, like, "Oh, it's going to cost you 30 bucks each for each additional picture. But if you're buying like 10 or 20 pictures from me, I may cut a deal with you." 1000%. Because I want that return business. Exactly.

(...)

But yeah, that's usually... Usually those are the only times I'll actually take a collab. Aside from that, I've had people reach out to me and again, I'll be cordial, I'll be nice about it. But I'm also going to say, "Okay, look, go to my website. See what kind of packages I have. And if you have any questions or if you want to create a custom one, reach out to me and I'll be able to help you out." So a lot of OF girls,(...) including myself, we tend to take a lot of our pictures on our phones and whatnot. But like I said before, I do feel like there's an importance to having that nice professional photo, right? What do you have to say about girls who, let's say, do what I do or, you know, are trying to do, trying to become content creators? Like, tell us the importance of like a good, good picture.

(...)

So when you take a picture on your phone,(...) again, it depends on what phone you have as well. You know, some take great better pictures than others. And it's always, it's cool to have them. They'll get me wrong. And you can get a little bit more personal with them, especially if you don't really know who to trust.

(...)

But if you find that photographer who you do trust, who can take great pictures of you, keep in mind the difference between, you know, what your phone's capable of doing versus what a professional camera's capable of doing. And also the person behind the camera. They can find your better angles where you may not have thought of that.

(...)

I've taken shots from above, you know, if someone's somewhere and like, I remember there was a picture I took at the beach and was right at the surf line and the water's coming up and I took it from high above.

(...)

And it was maybe as my height, but I took it from high above and it was a great shot. That's not a shot you're gonna take with your phone. No, you know, and so you do, there are times where you do want to trust at least one photographer that you know can deliver great product to you because the quality of imagery is going to be completely different than a phone. Like you can don't, I mean now it's getting a little bit harder, don't get me wrong,(...) but you can see it starts the artistry that goes behind it. It's the collaboration between the model and the photographer. Knowing the photographer gets the right angle, the model knows how to pose. And you guys are just clicking. Whereas if you're just posing in front of your phone, it's great. And you can take a lot of content yourself. And as I mentioned, there's a model that earlier, there's a model that she takes her own pictures and I think she has worked with a photographer before as well. But for the most part, she takes her own photos. Yeah, phenomenal. I think her pictures are great and I repost them, I share them and I tell her all the time. I'm like, hey, if you just share them with me. But she's not on selfie mode because I feel like the quality on selfie mode and like the front camera are so freaking different. It's crazy. I don't know if it's just me. I don't know if it's the Android. But like every time like why does it look so grainy and like, you know, and then when I want to take a picture, I always want to use the what's this the front camera, but then it's like I can't see myself. So like I got to put the tripod and then run and then say smile. It takes a picture of me and then I go back. I'm like, okay, that's fine. Or you know, so that's that's a little difficult. Does she do it in self? So with with her, she does.

(...)

She actually has a camera that she takes like, you know, a standard camera. So she'll flip the the back end. Yes. So she can see the screen. So when she takes it,(...) she's timing it so she knows that it's going to start taking the pictures for her.

(...)

And I know someone else who has they actually have a trigger for it. So they'll tuck it away. So you don't see it, but they'll press the little trigger, the little button on the trigger so that it will take the pictures as she's as their post. I have one of those I never used. Yeah, I never used it. So give us. It does work. I mean, it probably I just never used it. I had it. I ordered it on Amazon. It came and then I just never used it. I just I put my hand up with the Android. That's what you do. You put your hand up and then just kick.

(...)

So for girls, you know, you go like this and then the timer goes down three, two, and so I'm not going to lie. Like I love getting pictures taken, but sometimes you just like I don't know if it's because my husband's taking my pictures and I feel a little self-conscious and like I don't move the right way. Or you know, he's like do this and I'm like, don't tell me what to do. You know, like we get a little I get a little defensive.

(...)

What are some tips you can give models when they are getting their pictures taken?

(...)

When they're getting their pictures taken, I will say it's.

(...)

If you know the photographer, you trust the photographer, you've seen their work and you believe in their work.

(...)

Listen to them.

(...)

The photographer also has to have the same level of respect to listen to the model too, because sometimes the model will say, hey, look, this is my better side.(...) But from a photographer's perspective, we can also see what your better side is. So that is a real thing. Yeah, that is a real thing. Yeah. How though like it's the same. I think a lot of times, what is symmetry? You know, not everybody has the same symmetry on their face, but it's also their body. How you pose. There's times where if you're posing leaning towards the left, it accentuates your body differently than if you're leaning towards the right. So you're looking at that as for from a photographer's.

(...)

You're also thinking about, okay, what actually works. So a lot of times you'll have a model just go, I'm gonna pose like this and you're just like, that's not gonna work. Like you need to change that. I mean, it looks awkward.

(...)

And I've had times where I've had models sit there and say, no, but I really want this shop is I saw someone do it. And you take the picture and you show them you say, okay, from this angle, they're like, yeah, that angle. You're sure about this and like, yeah. And then you show them, they're like, oh my God, I look horrible. I'm like, well, I told you. Yeah, you know, so you can't. So from for tips or models, it's one is practice also.

(...)

If there's a certain idea mindset that you have or certain that you want to create with someone practice that pose, you know, sometimes it's just as simple as, okay, if I want to take a picture on the sofa. On, you know, in a certain position, lay out and do it and take a picture and take a selfie, see what you look like. At least it gives you an idea of how you can position yourself. One of the things I hear the most and honestly, it happens to me as well. I do my hands. Yeah.

(...)

And it's like, you know, that's where you get that practice in. Yeah, you can practice a little bit. You're open-minded to listening to what the photographer has in mind to say, hey, you should pose like this because they can actually see where you're coming from. Don't be too hypercritical because you have to remember a lot of the work comes into post-editing. So you can look at a picture and go, oh my God, my face looks so blurred.(...) It's like it's glistening. There's some things that we can do. There's some things we can't tell you flat out like I can't fix that. You know, you need to do something about that.

(...)

But yeah, if for example, if if you show up to a shoe and I'm filming and you know, I'm taking a picture and your feet are showing, especially a bottom of your feet and they're dirty as hell. I walk around everywhere barefoot. I can't fix that in post-production. Your feet are dirty and I'm sorry, but that's not going on my page. Yeah, for sure. No dirty feet on Terry's page, guys. Exactly.

(...)

Or crusty toenails.

(...)

Make sure your feet are clean.

(...)

So, you know, that comes up.

(...)

But yeah, it's having fun. Yeah. You know, you're taking these pictures for a time being. And believe it or not, some photographers are.

(...)

They would rather spend time with that one model, especially if they're an event where there's like 20 models around and there's two photographers.

(...)

There's times where you do. Yes, you have to kind of rapid shoot everybody, but you'll find that photographer also have a favorite of mine or a couple that they'll try to circle back to because they may during the middle of that shoot. They realize, hey, I have an idea and they're going to go back to the model that they like to work with and they'll go to that one and say, hey, let's go here. And do this idea, even though there's another model that's waiting. Yeah, you can wait. You go back to someone else just because they have an idea and they know that this person would be good with that person. OK, so I'm going to ask you two more questions. Sure.(...) Looking at me right now, what is my good side? Because I need to know if from my next episode I got to take your spot. I feel like, but it's also funny. I feel like it's this one. OK. But I'm left handed and I feel like it may be my left. But also it's like the hair. Where is the hair place? So I feel like my good side, it'll show my jaw. I won't like I'm going to lift this little bit. So if you had to like just say right now this sign.(...) Well, right now I see your right side more. Yeah. OK, but wait. And then if I were to.

(...)

Oh, the lighting will affect or this sign.

(...)

So or my both my side. Good. You can say that too. They both are. I know.

(...)

Yeah,(...) exactly. What the viewers answer this one. Hey, guys, how's it going?

(...)

Hey, guys, how's it going?

(...)

There's one female. Yeah.

(...)

OK,(...) so here's a better question. Well, here's another question, not a better question, but another question.(...) When you have your hair down, yes, what side do you normally put it down on?(...) Is it usually like this? Like you usually put it down on your left side or that's because I'm sitting on this chair. But if you're on the other side, then you'd flip it. I would flip it. OK, because I don't want to like hide on my face with like with hair. Yeah. But the thing is that I always thought the left side was my good side. And now I've started taking pictures with this. And I'm like, oh, is this my better side? I still haven't figured it out.

(...)

I mean, you do have I mean, you can literally take a picture with both.(...) Sometimes it's not just the facial features. It's just the overall. Overall. And so for me personally, if I was to take a picture of you, I would look at both sides of you. And then I would say, OK, let's take this same pose, but I'm going to flip it. OK. And then from there, I'll see which one looks more comfortable.(...) Usually it's your more dominant side. Right. Just because you feel more confident in how you pose,(...) hand placement, everything kind of falls like perfectly in line. If you were to hold your ass, for example, and grab it or something like that, you're going to be a little bit more central and sexy about it with your more dominant hand. Then the other one just kind of looks awkward. But just like it's just placement. Yeah. Laying it down. So like when I'm taking a picture and you know, you see my back and I turn, you just like I turn my face. Yeah. Then my body placement, it's better when like I turn to the left. OK. Because I am left handed and that's how I feel more comfortable. If I turn to the right, I don't know. Anyways, when I'm going to bug you. It does look more tense. It does look more tense when you turn to the right because it's not your dominant side. So it's whatever feels more natural. And that's what whenever I'm working with a model, I always tell them the same thing. Whatever you do, if I have you posing and I have you moving,(...) do what's absolutely natural to you and don't do something forced. I get that you saw something and you want to recreate it. But if you naturally turn to your left, do that. What's the kind of ask you one more question. I said two. I said one down. I have one more. What is your take on when when they lift the head up? I feel like that's not a good angle. He'll tell me sometimes lift your head up. I'm like, no, because it just was your take on that. I don't think it's a good one. Or you got to be really like been in the face to pull that pose off. I think it depends on the angle and depends on what shot you're trying to take. OK. Because there are times where I have models who are not always. I have models who they tend to do that a lot. And I'm the one who's trying to chin down, chin down, chin down. And they're like, I'm practically touching my neck. I'm just like, yeah, I know. It's just stupid when you're looking at the sky in front of you. So I'll joke about that. I won't even be taking a picture. I'll just be like chin down, chin down. And they'll start doing it. And they're like, are you taking my picture yet? I'm like, no, this is dumb as hell.

(...)

And so I'll make light of certain situations. Because I never want anybody to feel bad about it. But it's just like, what the hell are you doing? Yeah. But it all-- like the vibe, right? Yeah, it's the vibe you get with certain people. Obviously, if I know you and I get along with you, and from the second we started talking, we started clicking, then yeah, I can talk so much shit. Yeah, you can talk shit to me. And then--

(...)

Your husband's here. He can't. He can't, though. I get defensive when it's my husband. And I'm like, what do you mean?(...) He's like, if I were a real photographer, would you tell me that? And I'm like, no. Straight up. I wouldn't. I love you, babe. Shout out to you, my love.

(...)

But if you say your pictures, I mean, they've been great shots, though. So that's good. Yeah. Yeah. Yeah. Collaboration. On the 1,200 photos we take, we use two.

(...)

Oh, yes. So I shot for Brazzers with him. And the pictures-- he took the picture. So I don't know if you saw the one of me on the sofa, on the blue sofa. I think so. So that was him. Nice. So that was a good one.(...) Here.

(...)

You could even put it in the camera.

(...)

Yeah, I saw this one. Yeah, that was a great shot. There's a close-up here. Let me show the viewers. This one. Let me show the viewers which camera.

(...)

Well, you can put it on the screen. Yeah, I'm going to put it on the screen. Yeah, do that.(...) That was a good shot. That was a good shot. But you had a good model. What if he listens to you? But-- He's listening to the photographer works? Yeah, it does. It does. He had a good model, too. So-- Of course.

(...)

I give you credit. OK, my love, that was a great picture. But it was also for a very important thing. Yeah. Right? So--(...) But as far as the chin up, chin down thing, yeah, it really depends on the angle that I'm taking the shot at. Obviously, I have some shots where,(...) if I'm taking it from a higher angle,(...) I will have, obviously, to tell them to chin all the way up. Because I want you looking up.

(...)

There's a shot that I have where she's on the beach, she's on her knees, topless, holding her chest.

(...)

And from the--

(...)

(Laughter) That was a hot cushion.

(...)

Even I was looking like, damn.

(...)

And yeah, I was taking it from a higher angle. And so if she was looking down, it wouldn't have the same effect. So she had to look up. OK. And there was another picture I took where, same thing. Actually, I think she was-- no, she was actually fully nude in this one.

(...)

And it was a close up. So it was a crop shot from her, I guess, right under her noses. That's usually where, if I do a cropped, it'll be right under her nose, and it showed her full body.

(...)

And same thing, chin up was the right angle. Because if it was chin down, it wouldn't have the same effect. It's not that it would be a bad shot. It just wouldn't have the same effect, unless she was doing something like-- I don't know. Maybe she was looking sultry and looking into the camera, and then it was chin down. But in this case, where her eyes were closed, it made more sense to chin up. OK, I see. You do have the mixture. There's moments. It depends. There's moments that it works. But chin down, I'm always-- Yeah, it's-- It's chin down. Yeah, it's-- I'm always chin down. And then he's like, chin up. And I'm like, no, chin down.

(...)

(Laughter) Get some lipo here first.

(...)

I'm joking.

(...)

For me, I have that issue, which is why you never really see me in front of the camera. So it's like, I take a picture with someone, and then I was looking at a picture I took yesterday with a friend of mine. And yeah, it just looked horrible. I was like, oh my god. I was like, I need to put my head like this forward or something. It just looked bad for me. And I was like, this is the reason why I'm not in front of the camera. Yeah, that's so funny. Do you ever get girls who-- let's say you take their pictures, you edit them, and then they still edit it?

(...)

I had one. OK. I had one that did that. And I was like, what are you doing? What the hell are you doing? Seriously,(...) why are you editing pictures that I've already edited? Exactly, yeah. Like, oh, I just wanted it a little bit softer. I said, it looks like trash. Don't even tag me in that. Don't you? Yeah, that's what I was going to say. I don't want anybody thinking that I took that picture.

(...)

And I also-- to me, it's disrespectful. 1,000%.(...) I spent my time editing these pictures from the time I got home, plugged in my SD card, downloaded all the photos, spent through all the photos. And for the most part, usually what I do is I try to work with you two, where I'll let you preview the photos. I'll put it on my site. You are the only one who has access to it. So you can view them, and you can start selecting some of your favorites.

(...)

But then I may have a favorite or two myself. So then I take whatever you gave me as feedback, as far as what you want. I take whatever pictures I wanted,

(...)

and then I'll go and start working on them. Sometimes the turnaround could be a day or two, depending on how simple it is, if it's really very little for me to edit. And there's times where it could take me a week, two weeks, because I do have my other life. Yeah, for sure.(...) So it could take me a little bit of time, especially if it's a collab. If it's a book shoot that I give you a time frame, and if you agree to it, then great. And I have to deliver. But if it's a collab shoot, it's got an understanding. It's based on what available time I have to actually work on this, because I'm not getting paid. Exactly. And the only person that's really going to be paid is maybe you, because you might put it on your OnlyFans. Exactly, yeah. So I'm not seeing a percentage of that. I'm not saying, if you put on your OnlyFans, please send me 10% of whatever you got off of that picture. No, that's your money. That's your thing. And I've agreed to that.

(...)

Can I have a sucker move sometimes? But it is what it is.

(...)

It's an agreement that I made with that person.

(...)

But when they do that, and then they take the pictures, and they go and throw it into their own Photoshop or throw it into FaceTune or something else-- Oh, yeah, FaceTune, yeah. I look at it. I'm going, what the hell? What is that? Because that's not what I gave you. I gave you a picture that can either go into magazines, or it's going to be a rough edit, because that's the kind of style that you wanted.(...) So when you go and take it in the FaceTune, it's like, one, you don't trust me. So then in that case, why should I take pictures for you? Exactly. Go find anybody to go take pictures of you from that point forward. Yeah.

(...)

And if you-- this is my last question, unless another one pops up in my head. If you could shoot anybody dead or alive, who would you want to shoot? And what kind of scene? Like, what would the scenario be?

(...)

You could take your time. That's a tough-- do we have it this time?

(...)

Oh,(...) man.

(...)

(Inaudible)

(...)

No, I said,(...) dead or alive. I mean, yeah, she's on the list.(...) That's naturally known.

(...)

(Laughter) Is there like a celebrity that you would be like, oh, she's got this look, and I'd love to do a shoot like this way?

(...)

There's a lot.(...) Actually, the other day, my daughters are watching the Victoria's Secret fashion show. And so you're looking at that, and you're looking at a lot of these models that are walking through. And Victoria's Secret changed their whole image now, where it used to be the very thin super models were very tall. And now they've incorporated all types of builds, whereas from the very petite to thin to athletic build to plus-sized models.

(...)

So there's a few of those models that I would love to work with. Because when I started in photography, it was more to get into fashion, fashion and lifestyle. Then, as I mentioned, I started getting into where I was meeting a bunch of other models who initially that may have been the concept.(...) But because they do other things, it was like, hey, I really like working with you. I love your pictures. Do you mind taking pictures of me in this way? And so I started transitioning to something slightly different. And it actually got me a little bit more attention, which was great. And I naturally built my page. I didn't believe in paying for someone.

(...)

So when I built my page, I saw just getting larger and larger and larger based on what I was creating and who I was working with, which was great.

(...)

I kind of need to get back to that.

(...)

But it was--(...) when I look at the Victoria's Secret models that they were working with, and I looked at the different types of models they had from black, white, Asian, Hispanic,(...) Indian, any culture, any background, any ethnicity. And then it came to the body types. You saw a girl who was a plus-sized model, but she has a beautiful figure, and she's gorgeous. And then you have that petite model where you're known angels like Adriana Lima, Sandra Ambrosio. These are models that you've seen over the years of Victoria's Secret. And these are people I would love to work with because I can only imagine. And there's the one that's known, Candice-- it's whooping now?

(...)

I think that's how you say her name. I don't remember.

(...)

But she owns a company. When I look at her pictures, it's inspiring because she'll be on the side of a cliff in a bikini, and I was like, I would love to do those kind of things.(...) So it'd be working with people with that same similar kind of style where they're open to that. As far as a particular model,(...) that's a tough question.

(...)

I've worked with some great, great models, some of them I call friends now because we talk just about anything.(...) But there's a lot of models that I've worked with that I love working with them, and I would continue love working with them.

(...)

But anybody in particular, yeah, that's tough. That's a tough one. You'll get back to me. You'll get back to me on that one. Yeah, but like I said,(...) Victoria's Secret style is good. But one thing about photography is that the ideas are limitless. So like you said, you can be at the top of a cliff. You could be in the pool, in your backyard, next to a mango tree. So there's so much that you can do.

(...)

And it just never ends. You could get so many beautiful shots like walking down the street. Walking down the street could be like a stick-ass shot. It's just-- that's what's cool about it. And that's awesome that you love doing that. Thank you for coming on our show. Thanks for sitting down with me. If you guys want to follow Thierry, it's at ThierryBFotog on IG. If you guys want to book him, he's got his Lincoln bio.

(...)

He's got his Lincoln bio. Click it there. Anybody, you don't have to be an OF model. But if you are, he specializes in that.

(...)

So-- (Laughter)

(...)

Oh, yeah, yeah, go-- oh, yeah, do you-- well, I said them. Yeah. I mean, do you have a website? Yeah. The website is ThierryBFotog at-- I mean, ThierryBFotog.com. They can book me through there. They can see some of the pictures that I've taken.(...) They can see what packages I have, a little bit about me.(...) But again, if they have questions, they look at that. And they say, hey, can we combine something? Or can we do a mixture of something?(...) They're more than willing to-- they're more than free to reach out to me on IG and just send me a DM. And then, yeah, we can go from there. Send them a DM, guys. See you on the next episode. Ciao, ciao.

(...)

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