Inside a Founding Member Launch

Inside a Founding Member Launch

We discuss our Founding Member Launch for Suburbia Labs – the new portrait photography membership I'm starting on August 3rd, 2020.

Last week, I had a Lifetime Founding Member launch for Suburbia Labs, but that was never intended to be the only way for people to join. It offered the best opportunity for the long run, but it also had a higher cost of initial entry to join. Some folks took that offer, but I suspected most would rather not take quite a big plunge at once.

That's why I'm introducing two options for other Founding Members:

$19.97/month or $197/year.

Both come with a 30 day, no B.S., refund policy.

What is a Founding Member Launch?

This of it as a beta test. I'm starting something new and founding members will get the best price and offer that I'll ever make. That's because I expect things to be a bit rough around the edges to get started.

As time goes on and we add more to the membership, the price will go up to reflect added value.

However, Founding Members also get to help define the shape and offerings that go into the membership. Their price will never go up as we add more to the membership, as long as they stay enrolled.

It's Almost Time to Join

Suburbia Labs isn't something that's always open to new members. I definitely want to start with a group of people to help them make progress with their portrait photography, and then add more people at a later time.

If you want to be a Founding Member and get the best deal I'll ever offer, the cart opens on Thursday, July 23rd at https://suburbialabs.com/enroll and closes at 9:00 PM EDT on Sunday, July 26, 2020.

I truly hope you'll join as a Founding Member. I'll be involved directly to provide information, community and live sessions. However, it's not designed to overwhelm you with time commitments. About an hour a week is all it takes to make progress with your portrait photography.

If you have questions, leave a comment here or you can use the Contact Page on this site that goes right to my email.

This is something I'm really excited to share with you, and I hope you'll join me in Suburbia Labs!

Time Stamps

 

Hey, if you paid attention to the bonus that I sent out last week, you may be aware that I'm starting up a new portrait photographer membership, and I offered a lifetime founding member bonus. So a couple of people responded to that and jumped in and we're going to be doing another launch for annual monthly memberships. We had a survey after the first one for the lifetime members.

And I think some people didn't quite understand, or maybe truly weren't interested because they're not portrait photographers, but I wanted to give it a little bit more insight as to what's going on with the membership and see if we can answer some questions, because it's going to start up tomorrow, Thursday, July 23rd. I'm William Beem, welcome to I Like Your Picture.

The show that helps you improve your photography with visual storytelling. What is visual storytelling is a method of approaching your photography with a knowledge of who you're trying to serve with your photos and what emotion you want to make them feel. We encourage you to concentrate on your subject, light and background to create a photo. Your audience loves I'm glad you found us.

Hi, I'm William Beem. Hello. My name is Lee Beem and believe it or not, we're actually pretty comfortable today. For the first time. Usually when we're doing these podcasts, we're kind of leaning forward into the microphones and we finally realized, you know what? These microphones can come to us. We're kind of leaning back in the chairs and that's nice.

Mine didn't come to me. No, she has to hold hers, but that was her choice. Hey, today, we want to talk to you about my new portrait membership site. It's called Suburbia Labs. So what's the point of Suburbia Labs. We're hoping that you'll understand how much time does it take if you were to join, to become a member.

Also, I want to answer the question, what is the founding member? Usually I throw things over to Lee, but she told me not to do that this time, because this is kind of my project that I've been working on. She's watched me go through all of this stuff. As I've been getting ready, I've been taking a course and I swear it,

this is an expensive course, but it was well worth it, I think. It was on learning how to successfully operate a membership, how to serve your community. And also it dispelled a lot of myths that I had and the first one is kind of like the second point we talked about is like, how much time does it take? And they said,

you do not want to give your members too much stuff. He said, the number one reason. And when I say he, uh, this is Stu McLaren, he's got a course and a membership called TRIBE. And basically he's been doing this for a couple of decades now, he's, he's very successful. And that's why I went to him to learn how to do this.

He said, the number one reason why people don't stay in a membership is because they're overwhelmed. And a lot of the feedback I got from folks, you know, I asked why didn't you buy? And they said, I don't have time right now. That wasn't every one. I mean, some people came back and said that they're not portrait photographers where it's, it's,

it's not their main thing. And that's something I knew when I started this off. Not everybody that we have that listens to the podcast or subscribes to email are portrait photographers, but the majority of them are. So that's kind of why I went in this direction with doing a membership for portrait photographers. With all that coming back around to how much time does it take.

It's really not that much. It's probably about an hour a week. And the idea is we give you some training on something specific. We do a Q and A session, and we might have a challenge in there as well. But the, and of course for the founding members, I'm also putting a course in there. So, you know how courses are. People collect courses and then never watch them.

But the idea of this one, I think is actually going to be very helpful. It's to walk you through the course. It's to walk you through the whole process of coming up with a portrait concept, planning it out, executing it, doing your post-processing and delivering it. This isn't replacing a lot of the technical stuff that you may find on other courses or on YouTube.

It's about how do you put the whole thing together with a creative vision of what your portrait is going to be. It's about assembling all that information? Well, it's the stuff I don't see or hear anybody else talking about. And quite honestly, I had to go through a lot of crap and a lot of years to figure this out. And I thought, you know what?

Someone could lay this out. And I thought, well, no one else has. So I will. And that was the idea behind the course and the membership to kind of support that idea is if you don't know what you're going to shoot, I think a lot of portrait photographers go out there. They find someone who's willing to pose for them and they just wing it.

Or maybe they invite someone over and they say, okay, what do you want to do? I don't know. I brought these clothes. If the idea is that you're not prepared to take the portraits that you really want to get the quality that you really want. I think that was, yeah. And that's one of the things I talk about is,

you know, capture or create. And what I've found when I go to events, for example, that's something where you're going to be doing capturing because you can't control what's happening at the event. If you're doing concert photography, if you're doing a stage show or any sporting events, something like that, your just basically a witness to everything that unfolds. And you're taking a lot of photos,

hoping that something comes out of it. Yeah. And whereas you create, you're thinking ahead of time, you're planning, what's in my head. How do I get this vision into my head? How do I share this with other people I'm going to collaborate with? Because portrait photography really is a collaboration. I mean, it's going to be you and a subject then even if you're doing selfies,

you know, you're the subject. So in other words, you've got to think about all the different elements that go into portrait photography from the different aspects. You as the photographer, the subject, the wardrobe, the styling, the location, the set, and these things may be very, very simple or very complex, but the same ideas go through every portrait session.

And you think about that and think, Oh my God, that takes so much time. And I'm thinking, no, it really doesn't. If you're prepared and you know what to think about, and that's the process. And that's really what I'm providing here is, is a process. And then the support to help you figure those things out because you take a course,

is that that's great. You ought to try to execute. And I said, Oh, I didn't think of this. You need a community to come back to and talk and work these things out and it helps, if that community is on the same page. Yeah. And you've actually broken down, the how and what and why behind the process,

because nothing ever works completely to a script, that's life. So I think when you understand something, because you understand the concept behind it, or what's required, it enables you to make informed decisions when you are forced to, I don't want to say to wing it, but when you're forced to like switch things up on the fly, Well, I don't want anyone to think that portrait photography has to be scheduled and planned and right down to the last tee.

And there's no room for spontaneity and that's not the case. I think you go into something. If you want to have good results, come out, you go in with a plan to get the result that you want. But while you're there, let your spontaneity work. When you capture you basically selecting the best of what you can get from what's offered to you. When you're creating, you own it.

Like you're in control. I mean, you're, you're, you kind of own anything that goes bad as well, but you own the final outcome in its entirety. Okay. And the thing about portrait photography is that you are collaborating in the more people you've got involved with it. The more ideas you have coming in, other people are gonna think of something that you probably didn't think about yourself.

And they may be good ideas. They may be bad ideas or mediocre, but even hearing other people's ideas, if you don't like them may trigger your thought as to what you want to go do and, and put something else into the mix. See, when I was going through like, cause I've been reading through and you know, talking over William's training.

Cause I have questions cause I'm not a portrait photographer because I find it overwhelming and intimidating. And I actually said to him the other night, he said, it actually doesn't feel so overwhelming and intimidating once you kind of go through it. And here's the thing when you're, you know, we've spoken about collaborating with, when you go a lot of people on a set,

you don't start like that. No. I mean, some people are just brazen and throw themselves, right. And that's, I guess that's kind of someone like me, but you don't, most people don't start like that. So that overwhelming thing is on the far end of the extreme, do you know, likely to start out where you're trying to collaborate with 20 different people and a stylist and how many models and a makeup artist,

then you know, your assistants and things. But that's just, that's kind of a big crew to run on your own, but you build confidence. And you know, usually when you started, you start off on a more simple basis so that you can master the basics, the basics. Well, one of the things is I bring up these different roles as far as the role of a wardrobe stylist,

a hair and makeup artist, the photographer, the subject, maybe a photo assistant, but you may not necessarily have all those people involved. A lot of the local models that I deal with, know how to do their own makeup and do their own hair. Some of them are learning as they go. The idea is that, you know, all the different and you may have people fulfilling more than one role.

So that way you're not missing out on something. You know what to look for as a result of going through this process. It teaches you all the different things that you've got to keep in mind. And really rather than being just the photographer, you're the producer. You're the one who is coordinating and organizing all this stuff. I mean, you're coming up with a concept and it's your vision and you want to put it together.

And then these other people come in. That's not to say, you may not collaborate with someone else who has a vision and they need a photographer. It can work in a number of ways. And the results that you come out with, you may have different portraits, different shots that you're going to want to serve different people who are involved. You know,

maybe the model is looking for this. Maybe you're looking for that. The wardrobe stylist wants something to flatter the wardrobe that's provided, the hair and makeup artists wants something, to flatter, what they're doing. So then you start thinking about this portrait session in multiple ways as to what you're going to deliver. And that gives you opportunities to see things differently while you're on location.

But the whole idea of the membership and the portrait process, which for the lack of a better name for having a course right now, is really to help you that when you get to the time that you want to shoot, you've already answered a lot of these questions. You know what you're going to do. You can go execute it. And then you say,

all right, as long as we're here, what else can we do? You know what opportunities, what spontaneous opportunities are available for us? Maybe somebody else wants to jump in. Maybe you've got a different wardrobe style that you want to try out. Any number of things can happen, but you know that you've got the shot because while you're there,

you're looking at it. And if you have other people around who are a team or even just your subject, you can kind of take a look and say, did we get what we came for? And if yes, that's great. Do something else. If no, what do we need to tweak? Yeah. And maybe it's just you and your model that is very simple.

Then you discuss it between yourself. But the whole idea is preparing and everybody being on the same page, when you get there. Some of these spontaneous shoots that I've been to, there were like different meetup groups and events. And you just go out and say, Hey, let's meet someplace and see what pictures we can get. You don't know what you're after.

You don't know what the model's going to show up wearing or how they're going to be made up. If the scene and the model don't match, it may not make for a good session. If the time is wrong and the lighting is wrong, it may not make for a good session. You may take a lot of photos and then get to the end of and saying,

you know, I don't really want any of these. I think that's just something that happens anyways, when you're doing anything. There are always times where things just don't work out. I wouldn't really worry so much about that, but the reality is some people, that's their opportunity to get portraits. You've had that as well. That's at the time, you know,

on that weekend or whenever it was that may have been your opportunity to get portraits, which is why you went out to these shoots. But once you go through the course material, I think it gives you a level of confidence and it teaches you how to, I don't like cliche. So I'm not going to say think outside the box, but it teaches you to find your creative solutions.

And I use creative kind of literally and figuratively here, to things that get thrown your way. Instead of seeing the obstacles as an obstacle, you kind of start to embrace them as an opportunity. What can I do with this? It's like a challenge. And I think once you change the way you think you just unleashed a whole new realm of possibilities. And that's really what I,

one of the things that I took out of this, when I was going through your material, You know, I throw some things in there that you really don't hear from other photographers, even just in the concept stage. I talk about evoking emotion, using curiosity and familiarity. And I've written about these things before. But even within curiosity, I talk about the difference between perceptual curiosity and epistemic curiosity.

Perceptual curiosity happens when we're surprised. In other words, you know, was there a bump in the dark? Is there something that just doesn't look right? Things that not anticipating, this is not a place kind of like if you hear something in the woods, is that something that I can eat? Or is that something that's going to eat me? Quite an important question?

That's perceptual curiosity, epistemic, curiosity is all about learning something new. What we've learned is, as you're younger, you're kind of more into the perceptual curiosity. As you're older, you have more interest in learning something new. So for example, on Instagram, you may see people like hanging off the side of a cliff. That's the perceptual curiosity. It's like,

wow, how do they get out there? And did he live? As you get older... You're not wasting the rest of my life on taking a chance of doing a portrait like that. But here's why this stuff is important. It really depends on your audience. You need to know what your audience wants from you. If you have a younger audience, you may want more action-based stuff.

You may want to answer some of these surprising kind of questions and put that in your photographs. If you have an older audience, they may be relating to something completely different. And so that kind of information that's in the course really tells you. It's like how to think about how you're going to serve your audience. I'm not seeing that being presented by anybody else.

I mean, maybe there is someone out there, but that's only as kind of like scratching the surface of some of the things that we talk about. We go into how to look at the characteristics of your concept. You know, it's like is the person is like, how old are they, male or female? What kind of attitude do they have?

What kind of style do they have? Do they need a prop? And we kind of go into those things. And we also go into the emotions that you want to get out of your photograph. And we look at them at a range. And the truth is you don't want all of your photographs to be at the same range. Let's say, take something simple,

like, you know, happy or sad. As everything ultra happy? Is everything ultra sad. No, there's kind of like a sliding scale. You can move things in between that and any other emotions that you want to work with. It's like, you look at the opposites and the contrast, but then you kind of dial it back or in one direction or another,

if you have a portfolio, your photographs, you don't want them all to be exactly the same people like having their emotions go up and down or back and forth. And that's part of what we teach as well. One of the things that we're talking about is this is a founding member launch. In other words, it's essentially for people who are taking a chance,

they're getting earlier access than everybody else because they're providing feedback. You don't have everybody, everything perfect. Also it gives you a chance to kind of inform what's going on inside the membership. And so, for example, I've got a little service in there where I have knowledge based information, you know what the best way for me to figure out what information to put in the knowledge base is to talk to my audience and say,

what do you need me to put here? Yeah, it's the same thing with some of the courses or also the groups we've got a forum built into the site and that's great, but okay, what, how do we want to structure it? I could talk about lighting or I could talk about portrait concepts or I can talk about software. So it's going to be Lightroom Luminar,

Photoshop? How we structure that stuff really depends upon the audience that decides to say, you know what? This is what works for me. Yep. And then there may be that unique check more than one box in certain areas because you've got people on different, you know, using different services or with different needs, but that's all part of it. That's the idea of the founding member launch is you get a lower price than everyone else is going to get because not everything is perfectly in place.

I've got a list of training topics that I'm in. In addition to the course, I've got a list of training topics that we'll talk about every month. And so I'll present, there'll be question and answer sessions on that. There'll be overall question and answer sessions. And I think that we should probably do a bit of a challenge every month. I just want to go back a little bit because you get that lower price because not everything is kind of set as final yet when you said not everything's in place,

but you keep that lower price, even when everything is in place. Well, that's true. If you sign up at a rate and let's say that I'm looking, I think at $19.97, a month, as a monthly membership price. It's going to go up from there as more things are entered in because there's more value to the service as it goes along.

But as long as you're registered, you keep that price. And this happens on other memberships as well, too. I've got in on some memberships that I started at $9.99 that they're now charging $40 a month for if you get in early and it's valuable to you and you stick around, you keep the lower price while people who came in later are paying a higher price.

So that's one of the values of being a founding member is you're getting into the beta test, but you're also helping to inform what goes in there and shape it, so it provides what you need. And I am completely open to feedback. One of the things that I learned from the membership course is you can start off with all the ideas that you want,

but your members will help you decide what the direction is really going to be, because it's really all about, it's all about serving your members and Lee you work for a membership site for a while for a few years. Yeah. Yeah. And that was more, it was on a completely different topic. But do you remember having seen some of the stuff with the membership site changed during your time there?

Yeah. I mean, I was kind of in the hub of it all because I was the point of contact for the members in that site. And then, you know, spoke directly with the founders. There were things that changed because what people wanted and needed at the outset of it, wasn't exclusively, what they wanted and needed because more people come in,

people come in with different needs to what the original members have slows things get added in. And that's the thing about a membership site. It's constantly growing. So you keep adding to it. Right at the beginning of our podcast today, you mentioned, you know, you were talking about time and that's one thing that I really understand about membership. Cause I have a membership that I'm in.

There was a very expensive certification. I did it kind of functions like a membership site. Once you're certified. My concern was how much time do I need to commit? In this case where you're saying what, like an hour, a week probably? And that's really, that's, that's the plan for you, but there's, there's enough in there that you can delve in and spend more than an hour a week.

And this is continually growing. And I think that's the thing about a membership site. Things are constantly being added in. You don't get charged more for them, but they constantly being added in. So there's never really a shortage of things. So you don't have to put in 20 hours a week, but let's say you find yourself alone with nothing to do,

who does that anyways for a week and you decide I'm going to spend like 40 hours this week learning. That's the kind of thing that you ultimately can do in a membership site if that's what you want to do. And one of the things I wanted to mention if I haven't brought this up before, is the idea is that you have access to me.

I will be in there in the community, in the forum. I will be, have live Q and A sessions and training sessions. The concept is to provide some mentorship. In other words, you don't have to go it alone anymore. You don't have to try and curate things from YouTube and other sources. There's a lot of great training out there,

but they're specific to topics. They don't necessarily relate to the bigger picture of how all this stuff works together. So you can find courses on how to work with flash. You can find courses on how to do portrait retouching, but it doesn't tell you the process to put all that together on a portrait session. Yeah. That's kind of what this does is that it fills in those blanks.

It puts them all in their place. And it doesn't mean that we can't talk about how to work with flash or light modifiers. It doesn't mean that we can't talk about organizing your photos or doing post-processing because that is part of the overall journey. As we grow, as we put more information in the library, you have a resource that grows in value.

Yep. But I mean, you were very, very specific. Like you did not want to duplicate what people can find somewhere else. No, I don't think there's any point in that. I am a member of KelbyOne, for example, I've been a member for years. I really like KelbyOne. I'm also a member of Creative Live.

There are some really good lessons out there, but not all of them are valid for me because they're covering a lot of genres and niches that have no bearing to me. And I don't get the same value from them that I think I would get from something that's a bit more specific. Like this is where you're doing something on a continuing basis and also providing a community where you can get together and talk with other people who are going through the same thing,

maybe at different levels. Some maybe ahead of you and some maybe behind you. One of the gentlemen who wrote back to me said, you know, I'm not that level yet. And I thought that's a shame because you can get to that level much faster going through this process and with the community that I hope that we build here and with hopefully with my help as well,

you know, to kind of scale up. I don't think that this is something that people ought to be afraid of. If they have to be at a certain level with our portrait photography in order to get value out of it. So that's the big value in having a community. And I mean, I operate in several communities, very, very specific as well.

The reason I got in is because what the hosts have to offer is very valuable and worthwhile to me, there are things that are worth parting with some time and money for. But where one of the really big bonus values and probably one of the things that is the big swaying factor in keeping me in these places is speaking to people who are going through things like I am,

or maybe who have been through things that I've been going through. I have a question and others are able to weigh in. And I think when you have one person, you ask a question, one person answers you, you get one perspective, 10 people answer you, you get 10 perspectives and some of them may be the same, but it's actually interesting to see,

especially once you start getting conflicting advice, if I can call it that or suggestions, I love conflicting anything because it lets me weigh two things up. And I just always feel like it broadens my options. Sometimes that just serves to confirm that, Hey, I was right in the first place. I'm not going there and that's fine, but there's nothing wrong with kind of reemphasizing that you're going in the right direction.

Other times I look at something, I go, I would never have thought of that. It's like it opens up discussion. It also means there's something in it about realizing that you're not the only one who's struggling with something. And I think there are portrait photographers out there, or people who don't necessarily want to do this for a living. I mean,

obviously there are some who do, but they enjoy it. It gives them a sense of fulfillment. They want to improve what they're doing. And all they need is just a little bit more information that helps them pull more out of themselves. If you know, to put it that way, it's kind of like coaching. You have gone through a lot of coaching training and know how to do this.

But what you've explained to me is kind of what we're doing here is you don't tell people what to do. You ask them the questions that they can answer and then make them, or help them realize what the right answer is for them. Find out what they need. They've got the answer. Yeah. Coaching is about helping people find the answer. And that's what I am trying to do here.

I'm not trying to tell you, this is the photograph you should go take. I'm trying to help you find the answer to the photograph and the style of what's right for you. And that could be, you know, within a portrait photography, you know, it could be lifestyle, it could be fashion. It could be glamour. If you're into boudoir,

that could be a genre too. I don't do all of these different styles, but the concepts apply kind of across the board. Yes. The idea is to help you find what's right for you, what kind of stuff that you want to do, know how to go about the process to get there. And even though you don't specifically like personally do all the different styles,

that's the beauty of being in a community. There are other people who have been through those different styles. There are also other people who are learning and there is nothing that kind of sharpens your awareness of what you do and don't know, like having to explain something to somebody, who's asked you a question, you're able to answer it. But once you start to explain it,

and I know this because I am not a natural born teacher, it's probably one of my weakest links because I really struggled to break things down. But that is the ultimate test. You really understand what you believe when somebody asks you the question, can you explain to them how to do it or how not to do it? And I think that you don't,

these are kind of the hidden values. These are sort of the hidden gems that you gleaned along the way. It's part of growth. That's the little things that you don't see. You don't need to see them, but without them, the growth isn't as great. You know what I've been doing this for years and I've made probably every mistake that you can make.

I'll tell you about all of my mistakes with the hope that you don't have to make the same ones. Again. Sometimes it's very simple to get what you want done. I mean, you don't have to go spend a lot of money to take really lovely portraits. I've spent way too much money. Lee knows that I trip over my stuff and I can't find the one thing that I want because it's hidden amongst all the other crap that I've bought.

And I use one hand to pick up my stuff when I'm doing a photo shoot now. But I had a question that came to me, was like about doing product photos on the white background. The answer to that could really very, very simple. Get some white paper or foam core to put down on the ground, open the door, let some sunlight come in and then get some bounce cards that are white to put around it.

You could use your iPhone and the available light. Exactly what I did with my white backgrounds. Yeah. Yeah. The difference is I said inside the door Lee did hers outside the door. So the wind and leaves blow it all over the place. That idea came from Jasmine Starr, too. I mean, she is a Nikon ambassador. She's got this big public persona.

And here she is telling people, Oh, just open the door, put down some white paper and some bounce cards. No one will ever know that you didn't take this in a studio. Well, you would because I just, I just, I just told you, but the idea is you can start that simple or I can also explain to you,

here's how you get a roll of white, seamless paper. Don't get one of those little cubes. I've got one in the garage collecting dust. You know that you're supposed to put lamps. They did. You throw it out. I have gasoline grease on it. Okay, Good. It's horrible. Don't waste your money on that thing. There are a lot of gimmicks out there for taking product photography.

You don't need gimmicks. You need a roll of seamless white paper, maybe a flash with the nice diffusion on it. And you can do some wonderful work with that. You can do some very simple stuff to make professional product photos. But that was just like one of the questions I actually came back from the feedback that I got about portrait photography. So I digress.

I wanted them to let everybody know a bit more detail of what the plan is with Suburbia Babs and how much time it takes. You don't have to go do an elaborate photo session to be part of the membership. You could do selfies. I mean, you could sit at a table on the opposite side of your camera and just take portraits of yourself to understand the concepts. You could twist your family's arm into helping yours or your friend's.

It doesn't mean that you have to go off and take this beautiful model from someplace with a big flowing dress out on the beach, looking to the sea. It doesn't have to be that complicated to understand the concepts. The idea of not taking too much time with the membership is to give you the ideas, the knowledge and the confidence so that when you do want to take those outings,

you know, for something that's a bit more dramatic, you know what to do. But as far as the membership, you don't have to go that far. You don't have to spend that much time either learning what's in the membership or executing. You gotta take some pictures, but you don't have to throw out all the stops to take everything in and spend a whole day,

in a studio or a location. So what do you do if you have questions after this podcast, is there an expiration time or date send questions or could you just and, how do you do it? How do you ask things? Like maybe we didn't cover something You can write to me. It is William@williambeem.com. Same as on my website. That's my real address.

william@williambeem.com. You have questions, write to me. I'm going to open the cart on Thursday. That's tomorrow. Well that's tomorrow from the time that this podcast comes out. So Thursday, the 23rd of July, Thursday, the 23rd of July. Thank you. Because this podcast is going to be around long after that, go to suburbialabs.com/enroll. And the cart is going to open up on Thursday.

If you are listening to this later on, don't worry, go to the same place. There'll be a wait list that you can sign up for, for the next time that we launch all that really does is adds you to the email list and says, I'm interested. You're not committing to anything. You know, after, after the cart closes on Sunday at 9:00 PM Eastern time.

And if you're on the wait list and you think of things that you don't have the answer to yet at that time, then send a question. Yeah. While you're waiting, you can send questions. You can ask questions. You can tell me your deepest, darkest secrets of fears of portrait photography. Oh, you've got all mine. Nothing can scare him.

He's heard mine. Yes, but seriously, I'm going to open this up on Thursday. There's going to be a monthly option. There's going to be an annual option, which is going to be, have a little bit of a discount rather than the monthly option. I think it's a $19.97 for the monthly option and $197 for the founding members this time around.

I think that price is comparable to what I've seen with other portrait photographers doing who are not going into this much specific detail. Well, not, not, not going into this much of a process. The idea is this is a community. It's an engagement. It's a learning environment specifically for portrait photographers. If you are into shooting architecture and landscapes, this is not the right thing for you.

I may have other things later on, but right now this is for portrait photographers. Go to suburbialabs.com/enroll. You'll have the option there until from Thursday, the 23rd until Sunday, following that Thursday at 9:00 PM Eastern that's when the cart closes and when it closes it, doesn't open up again until it opens up again. If you're not sure that you want to join this time around,

but you might want to get on the waiting list, go to Williambeem.com/portrait. That'll put you on the list. You don't have to pay anything. You'll be able to ask me questions and I'll be able to give you updates. As far as when the next time around is that we're going to open up what the cost will be. I expect this is going to change.

Like I said, the benefit for the founding members is you get the lowest price I'm ever going to offer. There's no commitments, or you're not tied into anything by being on a wait list. That just means you're getting updated and getting the information so that you'll get like an alert when, when it's almost time. Well, for this time, suburbialabs.com/enroll.

That's the cart you go there. That's not a wait list. That is where you put in your payment and you get in. When I open up on August 3rd, you'll actually get your login sent to you. The email coming right after when you sign up. So you can log in there's there's stuff, still under construction right now. But August 3rd is my date for launching this membership.

If you go to that address, suburbialabs.com/enroll, then that's the payment place. And it closes, like I said, a 9:00 PM Eastern time on Sunday. If you go to Williambeem.com/portrait, that is an interest list for a later time. When I open up the cart again, and that's going to be probably a higher price than what the founding members are because the founding members,

you know, they're getting a bit of a beta and a discount for the beta because they're, they're giving me something as I'm building this up for them. So if you get on the wait list, it's going to be a higher price. And if you still have some questions, go to suburbialabs.com/faq. We're going to put a bit of question and answer out there,

trying to give you some more information. If you want to email me, william@williambeem.com. This is the point of Suburbia Labs. It's a portrait membership. It doesn't take that much time. We're talking about maybe an hour a week, as far as going through the content that we have. And that's including a bit of a week for an execution. Like for example,

if we give you a challenge, you know, we give you time to go ahead and take that portrait so that you can do something. You don't have to go big scale. You don't have to bring in a lot of people. You don't have to go find a great location. The idea of the challenges really is to understand a concept. Of course,

there's a place there to share your photos and portraits. So that way you can show what you're capable of doing to the other folks. You can ask for critiques or feedback, as they mentioned, founding members, this is kind of like a beta launch. Your input is valuable to me. I will be providing you whatever I can to provide value to you.

And this is the lowest price we're ever going to have. Hope that makes sense. And if you have any questions, just let me know. Thank you so much for joining us on. I Like Your Picture. This is episode 226. So show notes is going to be available at williambeem.com/episode226. As I said, if you've got some questions,

you can leave comments on the show notes page. You can email me at william@williambeem.com and I will do my best to answer anything you've got. We're opening the cart up on Thursday, July 23rd. I really hope to see you there. I'm excited about this and I hope you are, too.

 

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