Event Photography Can Bring Fun and Challenges
Thank you for listening to episode 40 of The Photo Flunky Show about our recent experience with event photography.
We were invited by our friends and fellow photographers Kevin and Sarah Graham of DSW Foto to attend the Orlando Taste of the Nation as working media.
Lee and I wanted to cover the event for one of our other web sites, Orlando Local. One of us could work as the event photographer for our team and the other was technically a guest.
Of course, we worked as a team. I shot with my Nikon D800 DSLR while Lee worked the room with her iPhone.
There’s more to this show than just photography, but also some discussion of how we were able to interact with the chefs and staff at the event. Our choice of camera had a distinct impact on how those interactions developed.
Event photography is about telling a story. We cover our plan to get our photos, network with local businesses, and also share more than just photos of food.
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THE PHOTO FLUNKY SHOW: Episode 40
Welcome to the Photo Flunky Show, Episode forty.
For today’s show we are going to be talking about our experiences with some event photography lately.
William: Hi, welcome to the Photo Flunky Show. My name is William Beem.
Lee: Hi, I am Lee Beem.
William: Recently we just went off to photograph a charity event in Orlando and we want to talk about some of our experiences with that. But before we get into that, I want to let you know show notes are going to be
available at williambeem.com/episode40. If you want to keep up with us, we’ve got a Twitter handle @photoflunky. Of course you can go to photoflunky.com and find all of our episodes.
And also, before we get into it, I just wanted to give a reminder that I can get you a twenty per cent discount on OnOne products. So if you are looking for plugins or stand alone software that will help you do a better job of developing your photos, making better portraits, converting to black and white, OnOne has some spectacular software. Just go to williambeem.com/on1.
Lee: If you pick up the transcript you can read it and copy and paste.
William: Yeah, I might screw it up, but if you get the transcript you’ll be able to see exactly what it says. In fact, there will be a link there and we will put a link in the show notes, too.
I really do enjoy OnOne products and I hope you take a look at them. They make it very simple and easy to do and if you’re not into Photoshop and even if you don’t have Lightroom, they’ve got a little browser that just makes it easy to go through your photos and you can do everything inside of the OnOne package. Like I said, I can give you a twenty per cent discount by using the coupon code WBEEM16.
The folks at OnOne are great. They are very generous to give us a code that we can share with you, so you can save twenty per cent off some wonderful software. Go to williambeem.com/on1 and when you check out, be sure to use my coupon code WBEEM16.
So we have some nice friends who do photography in the area and they invited us to join them to photograph a charity event and it was called Orlando Taste of the Nation and we are recording this on Sunday and it just happened last night. It was something that I’ve done this kind of thing before – not necessarily this particular charity – but I’ve done events before and typically I don’t like to do events, but we have another website that is called orlandolocal.com and this is the kind of thing that we want to cover. We want to cover events and activities that are happening in the Orlando area and it was really a wonderful treat for us to be able to go out with media credentials and be able to see all of the food that the local chefs and restaurants and resorts are providing and just kind of cover the party atmosphere that was there.
Lee: I really enjoyed. I mean, that’s right up my street. I could live doing this.
William: So it’s not something I do on a regular basis, but it really was enjoyable. It was one of those things that’s a bit formal so we kind of dressed up a little bit. I wasn’t necessarily wearing a tuxedo or anything like that, but it was business attire, at least with nice slacks for me and business shirt and Lee had a lovely little black dress.
Lee: Yes, I did.
William: I’ve got to admit, I asked her at the beginning. I said, you know what? We are photographers. We kind of want to blend in. You don’t want to stand out and I asked her to wear a short black dress. Not short, short, you know, but I mean just a little black dress.
Lee: You wanted something subtle because the things I pulled out were colors like bright reds and turquoise … I’m a color person.
William: And now I’ve got to tell you, this has nothing to do really with the story of what we are talking about, but after we got separated, I’m looking around for my wife and I thought, my god there are a lot of women here in a little black dress! If you had worn one of your colorful outfits I could have found you very easily!
Lee: Yes. And you’ve heard about the little black dress.
William: So that’s my advice to you. If you are going to go off and photograph an event with your wife, let her dress the way she wants to dress.
Lee: But you liked my dress anyway.
William: I loved your dress. I thought you looked lovely and our friends thought you looked lovely as well, too. So everything worked out nicely.
Lee: It was a good evening.
William: OK, so here is the deal. One of us could go there as a photographer with a DSLR and the other one was technically a guest. But we don’t work that way. We were both there to work the room, so I went in with my Nikon D800, a couple of lenses and a flash. So I brought the 24-70 mm that I used most of the time, I brought the 85 mm prime and my flash.
Lee went in and had her iPhone. We found out that there are advantages and disadvantages to each one of them.
William: So why don’t you go ahead. You got to go in with the iPhone. Tell me what the advantages were for you.
Lee: I liked the versatility. I mean, the advantage for me was being able to throw myself into the event and participate and experience it; getting some shots but also engaging with the people. I think it is a lot more difficult to do that and more tiring to do it with a camera on your back. If you’ve got more than one lens you probably have a bag and maybe some spare batteries and whatever you need in there.
I didn’t have that. I mean I was just free to slip in and out between people and engage with people. I was able to get really close up, because I like my detail shots, and position the iPhone against the food.
The nice thing with being able to engage with the people – I’d start conversations because I’m a chatterbox and I never shut up – but I would start chatting to the people and they would actually help me position or set the scene for the food. Some of them were actually moving things around and asking me what I wanted and where, to try and help out.
Sometimes it backfired. I mean somebody thought, oh she needs a light! And I was perfectly focused, I had the light just right on this dish and the guys said, “Oh let me help you and shine some light on there.” Yep, I lost the shot.
I enjoyed being there with the iPhone, I think because of the type of event and also because I like to engage with people and I’m a bit of a social person, it worked out perfectly for us the way we decided to do it.
William: Well, let me bring up something else. One of the things that we really wanted to be able to do was to network with some of these folks for our site, Orlando Local. We want to meet people in the community and we particularly want to meet businesses and restaurants and chefs, because part of the experience, no matter where you are going to go on a travel destination, is going to be your food.
So these are wonderful resources to meet. That was key for you with the iPhone.
William: Very different for me with my DSLR, you can kind of hold the iPhone away from you and see what’s going on and still maintain a little side eye contact with somebody. Whereas when I went up there with the D800 and I put that up to my eye, I have essentially blocked out everyone from any conversation.
Lee: Yeah, you kind of disappear into the tunnel of the lens.
William: And I noticed that when I went up there to take photographs, people would stand back, away, and let me get my shot. I appreciated it, but I also wasn’t as engaged as a photographer for taking shots of the food and the sets and even some of the people that way. To get shots of the people obviously I would go up to them and say, “Hi, do you mind if I take your photo?” And most people would smile and say yes. I’d get my shots that way, but as far as having a conversation with a chef or one of the other people working the booth while I was taking photos, it didn’t really happen whereas for you, it happened on almost every one.
Lee: It did. I’ll tell you something else. Because I was shooting with the iPhone and chatting to people, I got a hell of a lot more booze than he did!
William: Yeah! People offered me a whisky sour and then they offered me something else with whisky in it and then apparently there is someone in Florida who makes whisky and has a distillery here and I thought, alright I’m not going to be able to photograph and drink.
Lee: Well I would get thirsty, but everything seemed to have alcohol in it so I was going for these shots and thinking I’m really thirsty now. It starts to get a bit dry in the room and people were saying, “Oh, you’re back? You like this?” I said I loved it and that’s, of course, what they wanted to hear and I kind of floated around.
William: Alright, so here’s the other thing I was a bit jealous of. Lee could walk in there very comfortably just carrying her iPhone. She had her purse with her, but you just had the iPhone to carry.
William: I was dumb. I walked in there with a ThinkTank backpack or sling pack and then a heavy D800 with a battery grip and a lens on it. I just had a lot of junk with me. I used a couple of lenses, but I wish I had gone in there with just the camera and one lens, like probably the 24-70 mm.
Lee: Next time we just need to think and decide if it’s one lens, then I’ll take an appropriate sized purse and we can just put the spare lens into a purse. Because we can share it that way.
William: The other thing was there was an immediacy with the iPhone. You could send things out on Twitter or Instagram or Facebook or something like that. A lot of the other media that were there, like the local food bloggers, were putting things out as they happened.
Lee: They were. Now I didn’t actually do that. We work as a team and I like to get together with you and check things. Also I like to check the photos properly. I don’t tend to throw things out immediately without having a good look over them and we tend to discuss things as well.
William: We do and I think the only thing that I put out was a photo of some people; there was a photo booth there and they had silly masks and accessories to go on. So I took a photo of a couple of women. One of them had a mask that looked like Hillary Clinton and the other one had a mask that looked like Chewbacca and I put those together and said, “You never know who you are going to meet on assignment.”
So I was taking my iPhone and taking a photo of the back of my D800 display and then put that out there. It got a little bit of traction. It was a cute moment.
Lee: It was. I think the other problem I had that you don’t have with the DSLR with my iPhone was about two hours into the event I realized that my battery had gone from a hundred per cent down to about twenty-eight per cent. I thought, oh dear!
I had, at the last minute, thrown back the backup charger that I was going to take, thinking I never run out of battery. But I forgot that with the location services on, which is how I like to sort the photos, it was really eating the battery. So that was a disadvantage for me because it threw a bit of a damper on my ability to continue at the same rate as what I started.
William: I ended up with probably about 200 shots. I had the battery in my camera, plus I’ve got the battery grip that has eight AA rechargeable batteries in it. I had no problems. I had plenty of room on my data card. I had plenty of charge left to go, so I could go all night in there taking photos and put in another 64G card if I needed it later on.
Lee: Yeah. And the quality of your photos is going to be so much better. If you want to put them on a full screen. Mine is fine for instant sharing and things like that.
William: Well, there are advantages and disadvantages to each one, so when we got in there as media they let us in early and we were in a hotel convention room. So if you’ve been in one of those before, you understand what the lighting is. It was normal lighting when we walked in and we could go through all the stages.
After about forty-five minutes they let in the people who had paid for their tickets. The lighting dimmed dramatically and you had to work by the light on the tables on each of the stations that you went to.
Lee: Yes and that’s where it got tricky. We were not even midway round the room by that stage. It’s a fair size.
William: We made it about halfway around. Or I made it about halfway around the room. Now our friend, Kevin Graham, had invited me and he was there with his wife, Sarah. They had already made it all the way around the room. They have done this before so they kind of know how to just shoot and move, shoot and move and then come back and grab something to eat before the lines get too long.
This was my first time. I was a bit of a rookie on this particular event. But what I found though is that I started off shooting up …. shooting up? That sounds horrible.
Lee: It does! What are you doing?
William: What I was shooting started at ISO 1600. Clearly after the lights went down, that wasn’t doing me any good. I went up to 4000 and thought, you know what? Let’s just go up to 6400. So for most of the evening I am shooting at ISO 6400. You get noise at that ISO level. In order to get a shutter speed I was having to open up my aperture quite a bit to get a decent shutter speed, and it depends on where and what you are focused on. I was kind of looking through and the noise, unless you’re a pixel peeper, you really don’t have a problem with noise on that camera when you look at the full sized image.
Lee: No, you don’t. I mean we were having a look on this big screen here and it looks absolutely lovely. I would never … I am so glad that we didn’t take my camera because it does not handle noise and swallow it up the way yours does.
William: We had luck with the D800. It’s really good. It’s a 36 mega pixel camera and so I’ve got very large files, they have got very good detail and the noise isn’t bad unless you just really zoom into it. How was it with your iPhone? Did you have problems with noise or were you getting in close enough to the lighting on the table?
Lee: I knew about the noise and you know me and noise! We just don’t work nicely together because I’m a little bit aggressive towards noise. I just got in really close and also there were times when I would try and get a shot and the light was horrible or I could see there wasn’t enough and it was noisy and I didn’t even bother. I know I’m going to delete it. Some people will rather take noise and suck it up so they can have the shot. I don’t. That’s just my preference. I didn’t have too much of a problem. But then the quality of the photos that I am getting versus yours … if you put them on a big screen like this they are going to look horrible. If you are sharing them on social media and you see the little picture in the screen, it’s fine.
William: Yeah, it’s fine.
So I’d say given our target of what we were going to do to put it on social media or put it on a blog post, the noise wasn’t really a concern for me. Then I started realizing I’ve got a lot of leeway here and I walked in there setting myself up with aperture priority. I wanted to shoot at F2.8 or when I switched lenses, F1.4
That was the thought for a while, until I realized I was getting a really shallow depth of field that’s good in some situations, but not good for food photography. So I ended up stopping down and cutting out some of that light. I didn’t change my ISO, but what I did was I decided I’m going to go with manual mode and I just set my aperture and my shutter speed at something that was comfortable for me and I walked around where the food was or whatever my scene was. I could see where the light sources were coming in and I watched my light meter until it got in a range that I thought was good and then I would take my shot.
There are a couple of different ways you could do it. If you go in there just letting the camera control something, I think you are probably going to be, in that kind of lighting environment, particularly when they turn it down, a little screwed up.
Lee: Also, as soon as you start zooming in on things, each restaurant had a different theme going; a different atmosphere that they had tried to create so the lighting was different. Some of them had more light over the food, whereas others had very little or very red light. Depending on what they were doing, red light on food? I know you want warm, but red and food does not go!
William: Some of them were a little too warm and setting your white balance was actually another problem. I didn’t want to go in there with a gray card to measure each set of light that was coming on. I figured this is something I’m just going to simply take back and post. I was looking around.
Fortunately a lot of them had black tables or they had white chefs coats. They had things I could use that I could put my eye dropper in later on. But those are the kinds of things that I needed to think about while I was taking the photos at the event, because the lighting is changing constantly; too much, too little. Also the way I wanted to shoot the light in some cases. So the same subject … there was one, and you were in the scene, I was able to get some very nice low, dramatic lighting on the chef behind the table and two seconds later I would change my composition and it was very well lit on her; almost over-lit.
Lee: I think you, Kevin and Sarah had all just happened to come up behind me. I was about to take a photo of some food and everything was perfect and right behind me, somebody decided to open the fire escape door, for whatever reason, and all the daylight came in and everything was just screwed up. And they would not close this door! They were lingering in there. So I eventually left that section and didn’t come back. I just forgot about it.
You know, when you are prepared for different kind of light, adding the light that you might have been fine using in the first place doesn’t help.
William: That happened when I was taking a photo of you with the Chef from the resort and he introduced himself. “I’m the face of Taste of the Nation.”
And he’s right, because I saw him on the commercial. And I just got a nice photo of the two of you and I was working with the light. I asked you to turn and face where the light was coming from and as I was dialing that in, Kevin came up behind me and he had a little LED panel light to shine on you. I thought, oh! That just changed everything.
Now I’m happy with the photo that I got. It’s different than what I was going for, but you’ve got that little mental click in your head and suddenly your light has changed.
Lee: Your brain has to change gears.
They both came out nicely. They were so very different, because you had one with and one without, didn’t you?
William: I did.
Lee: Yeah, they were both nice for different reasons.
William: I probably would have dialled in the one without his light for a couple more shots, just to get what I was going for. But what I was going for is that sometimes you want general lighting for the room and other times you want to have something stopped down so the light is a bit more, coming out of the darkness? I don’t know how to phrase this. I was looking for a bit more shadow and darkness in some of my photos.
Lee: A little bit of mystery.
William: I wanted a little bit of mystery in the photos. And Kevin commented on that. He said, “Oh, I didn’t get a shot like that.”
I thought, well, here is what I did. You can change the way the camera is interpreting the light to change the results of how it’s going to look. Of course he knows that. He is a professional photographer.
Lee: He’s very good, yeah!
William: It’s one of those things where you’ve got to be thinking of it at the time. Sometimes if you are in your own mode and you look at another photographer’s shot, you think, oh! That is a little reminder of what you can do.
Lee: Yes, because you sometimes get caught down your own little path and you almost forget that there are other avenues to explore, until somebody reminds you.
William: Part of the event photography was the light was challenging. It was changing; it was different from station to station. But the other part was interacting with people and what’s going on besides the food. So when you were out there shooting, what were you looking for? I mean, obviously the food is like the big key, but what else were you looking for?
Lee: Actually I was just taking everything in. I really just took things one segment at a time. The first thing I looked at was the food and then I looked to see who I could engage with over there. I just played it from there. So it was really a different experience at each station.
There were some where the people were just working hard and the things looked beautiful, but it was almost like they weren’t really interacting with people. They were just working. I don’t know if I just happened upon those places at a time when they were distracted or under a bit of pressure. I left that because I was there to get photos, but I was there to interact.
William: Well, this is exactly right. We needed to have that interaction. I took a different approach. I’m more of an introvert; far more than you are!
Lee: I know. I never shut up.
William: No, no. It’s not that. Trust me, I am quite happy with the way you are and how you interact with everybody. It helped me a little bit that when I put that camera up to my eye that people aren’t necessarily interacting with me because then I could concentrate on trying to tell the story. So everything from the lobby with the displays they had out there and some of the signs to the entrance and getting the initial shot with all the media folks together.
Lee: You need both and in a funny way, people always seem to think that someone with a big camera gets noticed more. I think at an event like that, people were noticing someone like me because I was right almost in the face of everything. I was getting into people’s personal space to get right up close to things. But if you go out in the daylight with your camera, people notice the big camera. At an event like that, it’s almost because you’re stepping back the only time they notice you is when they think, “Oh no, I’m in his shot!”
William: Well they saw that I had a large DSLR there, but I think what they are looking at is we had little lanyards around our necks that said Media. That got attention for us.
Lee: I didn’t even notice.
William: The other thing I was talking about is it’s trying to tell a story. I didn’t want to just take pictures of the food and the chefs. I also wanted to take pictures of the people who were at the party. Some of them were enjoying themselves and I asked, may I take your photo? And everyone that I spoke with said yes. They were very gracious.
But also, I wanted to take some shots of people who were working the event, with the guests that were there. So if someone was pouring a glass of wine I wanted to get shots of that. I saw a Chef who was preparing one of the little – they didn’t serve full plates; these were little tasting items – so one of the Chefs was working right up front and I got shots of his hands putting on garnish and dressing the appetizer plate. I just remember hands; hands that are working. That will always interest me. That is the kind of detail shot I was looking for as well as stepping back a little bit and then getting people who were pouring drinks.
One of the stations was from Benihana, so there’s a Chef there that is flipping things all over the place and I took a number of shots of him just as he’s going through his motions, because that is almost like shooting a drummer. You never know when the shot is going to come out.
Lee: Those are nice. Those came out really well.
William: Then of course I went over by the photo booth and got the shots over there. So I not only wanted the food; I wanted to tell the story of the people enjoying the event. Even some of the people who were working there – there was a nice lady working at the event with her Macbook and she was registering people.
I said, “Hi, do you mind if I take your photo?”
She said, “Sure. Do you want me to look like I’m working or do you want me to look at you?”
I said, “Hey, just look here and be happy!”
That’s really what I was looking for. Who were the people that were working the event? Both the Chefs and the staff and the hotel and the other folks. There was entertainment there and I took some photos of them. I wanted to see the guests that were having a good time, I wanted to see the food they were preparing and the signs….! Oh, my, take pictures of the signs if you ever go to a food event, because they will tell you what these little dishes are. When you go back to Lightroom later on and look at them, you have no idea.
Lee: You don’t know! I know, what was I asking you today? When you get the camera bag, please get all those papers out because otherwise I didn’t know what I’m editing.
William: That’s one of the things I thought was great. We were able to work as a team, even though we weren’t side by side for the whole thing.
We could split up and concentrate on the things that we needed. We needed things to help promote our own site. We needed to capture images for the charity that we were shooting for and also images that we would use for our site and we needed the engagement with these people. That worked out wonderfully well.
Lee: It really did, because we’ve got complementing strengths and weaknesses.
William: I guess the reason we’re bringing this up is just in case you are interested in doing events or if you are maybe already doing them and you want to think differently about how you are doing them, I just wanted to share what our experiences were.
Lee: You know what else is important to note? This was an event that was arranged and organized and put on to a very high standard. Absolutely everything was polished. I would probably go so far as to say it was flawless. I didn’t notice anything that could have changed. So the guests seemed to be happy, everyone was having a good time, the people serving and the people involved in the event were engaging and they were warm and welcoming.
The food and the displays just surpassed my expectations; it really did. I think that also makes for a very pleasant working experience. Not every event is going to be that way and I think you need to be aware of what you are going to photograph. I expected something nice, but this really…
William: Like you said, it was a high end event. The tickets were $150 each. Once you got inside there were other opportunities for people to raise money for the charity. There was a wishing tree where they could donate money in there. There was an auction of things. They had a ring toss, like if you toss rings around – they had a stack of wine bottles – you could win a bottle of wine if you could hook the thing properly.
They also had a lottery for a whole palette filled with wine.
Lee: Oh that was the one with the key.
William: Yeah. It was $25 a ticket and whoever wins takes all of it home.
Lee: I would have loved to take home, what was it? A hundred and fifty bottles of wine?
William: I don’t know how we would have fitted that all in the car.
Lee: I would have made a plan. Just sit there on the curb and drink some.
William: We’ll get you a little brown bag.
There were other things going on as well, but people were happy. They were not … I did not see any drama; I saw a bunch of happy people who were going through and having a wonderful time and the money that they spent on the tickets and were also spending on other things was going to a wonderful worthwhile charity to make sure that there are kids that have food.
Lee: If you want to donate to a charity, this is a very nice way to do it. I just felt that even with what they charge for the tickets, the whole experience – if you stayed for the duration of the event – that was a pretty good party.
William: Oh, yeah. They had live music. There was a little sax, flute and somebody else playing something that was out there.
One thing they did that I did not shoot was they had a flash mob. I thought flash mobs have kind of already gone on the way out, but they did have one.
When we first went in and we were shooting before the main people came in, they were doing their last rehearsal throughout there. They started doing it during the evening, probably about two and half hours or so into it.
Lee: I didn’t see them.
William: I did see that, but I didn’t photograph them because it doesn’t come out well the way I was looking at it. They were mixed in with other people who didn’t necessarily know what was going on.
Lee: That’s the whole idea, yes.
William: But it would have looked awkward to me when you freeze that in motion. I get it if you have video and you can see what’s going on and you can hear the music, but if you see someone in a pose like that at a party when they are in the middle of doing their dance, this is just going to make them look uncomfortable and awkward. I thought you don’t want to present anybody in anything less than a positive light.
Lee: That’s true.
William: It’s not that I didn’t shoot something. I shot a couple of things and looked at them and thought, no. It just doesn’t make anybody look good.
Lee: I never really thought about that, but that is true. It’s a video thing.
William: I think so. I mean, there are some wonderful photographs of dance. I am happy with some of the photographs I have taken of dancers and stage performances, but inside of a crowd I just didn’t think that it worked well and I decided I don’t want to go there.
I did go through and take shots of the presenters that were up on the stage. That was nice and easy to do because I had good lighting for them. But I was kind of curious as to what am I shooting and what am I specifically not shooting? I guess the things that I’m not shooting are anything that doesn’t flatter or look good to either the products or the people that are there.
Lee: That is something, now that you mention people, I am just thinking that is something in lower light that you just don’t do well. I didn’t attempt people with the phone. People in low light on an iPhone? They just don’t work.
William: I had my flash with me and honestly, I didn’t want to use it. There were other photographers in there who were using their flash. You lose all of the ambience when you put flash on that.
Lee: You do, yeah.
William: At least not without some decent diffusion.
I saw a couple of people in there with on camera flash with a little softbox taking pictures and granted, they got it; they documented somebody. But I just didn’t think it was a good photo.
I love taking photos with flash. Sometimes I think it was best just to work with the light that was there and trying to photograph someone who is doing dance that doesn’t have stage lighting on them, they are mixed in with an audience, they are going to be blurry; like I said, it just wouldn’t work.
Lee: It doesn’t work.
William: It doesn’t look good. And if I hit them with the flash I’m going to freeze them, but then they are going to have that light on them that is out of character with the rest of the room, particularly since they dim the lights around. It didn’t balance in. I thought this was not going to help anybody.
And that’s all we’ve got for today. I hope this has given you a little bit of something to think about and maybe next time you are at an event, it doesn’t necessarily have to be as media, but if you are walking around going to a party or you’re going to some kind of a street festival, any kind of event, just take in mind some of the things we were talking about.
You want to look and try and tell the story of what’s going on. You want people and the things there to show in their best light. And most of all, you want to have fun with the folks around you.
Lee: I’ve got something to add.
William: Oh, there’s more.
Lee: Just very quickly. I’m really sad that all these people come back and listen to us every week so faithfully and they are so wonderful and nobody is leaving us reviews on iTunes.
William: Oh, that would be nice.
Lee: If you want to make me happy, please leave us a nice review – an honest review – on iTunes. Hopefully it’s nice if you keep coming back! That would be wonderful and that will make me smile. And I’ll have a drink for you.
William: Very good. And to make it easy for you, we’ve got a shortcut link. Just go to williambeem.com/itunes. It will take you straight over to iTunes where you can leave your honest rating and review. And that will make both Lee and me really very happy.
Lee: I’ll be your friend forever.
William: Thank you.
Thanks very much for listening to episode forty of The Photo Flunky Show. As I mentioned, you can get a free transcript of this show by going to williambeem.com/episode40.
And if you’d like, follow us on Twitter @photoflunky
And you can go to photoflunky.com to find all our other episodes and kind of listen to them in a binge if you want. But mostly, we would be really happy if you would subscribe to the show. So as I mentioned you can go to williambeem.com/itunes. Or you can go to williambeem.com/googleplaymusic or Stitcher. Even Blubrry. We’ve got a lot of links and you’ll find them at williambeem.com/episode40.
Thank you so much. We really appreciate you. We’ll see you here again next week.