508: Helen Schryver – How to book profitable holiday portrait photography sessions

508: Helen Schryver – How to book profitable holiday portrait photography sessions

 

Andrew Hellmich: Today's guest Helen Schryver was featured in Episode 466 of the podcast where she shared the fact that her average sales had more than trebled and business continued to grow. That plus the fact she's based in the UK, which we're constantly hearing is one of the toughest markets, led me to reaching out for that initial interview. Get back and have a listen to that one if you want to learn about Helen's incredible lead magnet, selling wall art and generally making terrific sales in the UK and anywhere in the world for that matter. So what prompted today's interview request? Well, I saw an email that Helen sent out to her email list advertising mini sessions in Paris, so I was instantly interested in that, and I followed up and asked how it was all going. And she replied, I did a lead ad for free mini sessions in Paris, and made just over 3000 pounds in sales from 21 mini shoots. They were 20 minutes each over three mornings in Paris in October, and I'll be doing that again in the spring, she said. She also booked a vacation shoot with a London family in Puglia, which I had to look up, is in Italy, down in the little boot area. It looks incredible. And she got that one after emailing her list. She didn't run any ads or posts on social media for that session, and they spent over 1700 pounds after their shoot, she had other families interested for other locations, but the dates didn't work out, and she says she'll definitely do that again next summer and organize it all a little bit better. Oh, and she says, while planning my trip to Puglia, I also booked a job photographing some behind the scenes and social media content for the Agriturismo I stayed at, which brought in an extra 1000 pounds, which was an unexpected bonus. So once again, that was enough for me, and I am rapt to say that Helen is back with us now. Helen, welcome back.

Helen Schryver: Thank you very much. Great to be back.

Andrew Hellmich: So when you hear all that, are you like, "Wow, is this really me?", or is this like, "Oh, this is just normal now .I just head overseas and photograph in Paris and Italy. "

Helen Schryver: Yeah, a little bit with that stuff. I'm like, "Wow, I'm pretty jammy." So yeah, it's good.

Andrew Hellmich: Tell me about the whole idea behind these mini sessions. Was it to, were they to fund holidays away, or was it to bring in extra income? Like, what was the idea based around?

Helen Schryver: So I actually went with a photographer friend of mine, so she does weddings and couples, so she kind of did a similar thing for mini couple shoots. So we love to travel together. We love Paris. We love a weekend wedding. So I think it was probably actually, it was probably the weekend away that came first. And then we said, "Oh, it'd be great to do a couple of shoots in Paris." And then it sort of came from that, really. So I was already doing lead ads on Facebook, and so I figured, why not just kind of run one for Paris and and see what I get? And I didn't want to spend a ton of time shooting. And so decided to try it with the mini shoots, as opposed to full family shoots.

Andrew Hellmich: Nice. So when you say model call ads or lead ads, are you saying they were wanted style ads in the style of a lead ad on Facebook?

Helen Schryver: Yes, exactly. Yeah. So I'm running those all the time for shoots in the UK, and I essentially just kind of created one for Paris instead, and said it was for mini shoots.

Andrew Hellmich: So are you looking to book British families in Paris, or are you looking to book Parisian families in Paris?

Helen Schryver: So I was expecting or looking to book British or, I guess, English speaking, so American or Aussie families living in Paris, living and working in Paris. But I actually ended up with a bit of a mix. I'd say it was half from England or the US or Australia, but living there and half French and living there, I didn't get anyone who was on holiday or anything like that. And because I think I had targeted the ad to people who were living there, rather than there at the time, and the ad was in English, though, so obviously, like everybody who responded spoke English, I don't speak French, so that was helpful.

Andrew Hellmich: Right. So even if they were living in France, if they were Parisian and that they spoke English, they could have seen the ad and responded to the ad.

Helen Schryver: Yeah, yeah. I didn't target it to people of a certain nationality. I'm not sure if you can do that anyway, can you? But no, it was just people living in Paris, and then I just put the ad in English.

Andrew Hellmich: Right. Okay, so you have the option to choose if someone is English speaking. But I mean, that sort of, it does it by itself if your ad is in English, isn't it?

Helen Schryver: Yeah, I might have done that, but certainly not specific, like as a first language or anything like that.

Andrew Hellmich: Right. So when you're, what's your girlfriend's name, who you went with?

Helen Schryver: Aisha

Andrew Hellmich: Aisha. So when you and Aisha are sitting down and, you know, planning your own sessions or what you're going to do there. So you plan the weekend away. Do you both sit down and say, "Listen, let's just have Monday, Tuesday, Wednesday for shooting, and the rest of the week, or the days are for us."

Helen Schryver: So she didn't want to book nearly as many shoots as me. So she just wanted to do a few kind of more for fun. So it mostly ended up me doing the shooting. She had lions back at the hotel, but I just dedicated, like the mornings, to shoots. So I think I arrived on Thursday night. I did just too many shoots on the Friday morning, and then I did, I think, nine or 10 on the Saturday and the Sunday, but just in the morning, starting at like 8am, yeah.

Andrew Hellmich: So nine or 10 each day, or nine or 10 between both days?

Helen Schryver: Yeah, nine or 10 each day. So they were just 20 minutes each, just one after the other. I didn't have any kind of buffer time between them or anything. I just hammered them out.

Andrew Hellmich: Okay, and so I'm guessing, but tell me if I'm wrong here, you did a location scouting exercise beforehand, you picked the spot. So was that all part of your ad? Or when did you work out where you're going to shoot? Because I imagine you didn't move, with that many back to back sessions.

Helen Schryver: So basically, the weather was horrendous, like, really bad. I've done quite a lot of research. I mean, I've been to Paris several times before, but never to, oh no, I had done one shoot in Paris actually in the summer, but not at the same location. I knew I wanted a kind of Eiffel Tower view, so I did a lot of research online. And there's a bridge where you're basically kind of undercover, and the Eiffel Tower is in the background. So I knew, like last minute, when we're looking at the weather and realizing it's just absolutely chucking it down, we decided that had to be the spot, really. And there were quite a lot of other photographers shooting there at the same time, which was fun, right? And it's also got like a bike lane going through it, and pedestrians, and then the two sides a kind of road, there's cars, but it was an amazing location to shoot at. It worked really well, even, even in the rain. So yeah, lucky to have found that place really.

Andrew Hellmich: Wow. And so did you find that on that particular trip. Or did you use Google? Or how did you find that location?

Helen Schryver: Literally, just used Google.

Andrew Hellmich: Right.

Helen Schryver: So I knew a few of the spots that are good for photos with the Eiffel Tower in the background, because I had done this one shoot in the summer, but we had perfect weather for that, so I couldn't actually use any of the spots that I'd used before, so I was specifically looking for somewhere with cover and this bridge was just absolutely ideal. So lucky that I'd found that online. Yeah.

Andrew Hellmich: That's so good. So when did you actually let the families know the location that you needed them to be at?

Helen Schryver: There was about two days before. So I'd said the Friday shoots were at the Louvre, you know, with, like, the big museum, and it's got, like, the pyramids and stuff outside. It's like a really cool spot. And that day was dry, so we stuck to there, and then I must have emailed everybody, I think, on the Wednesday or Thursday, so only a couple of days before to say, "Here's our location for the Eiffel Tower ones." But I'd already said it's for an Eiffel Tower shoot.

Andrew Hellmich: Right. I was going to ask that. So you actually advertised the fact it was an Eiffel Tower shoot. And so what about the ones at the Louvre? Did you say they were going to be at the Louvre?

Helen Schryver: I did. Yes.

Andrew Hellmich: Okay, right.

Helen Schryver: I was just lucky it didn't rain that day.

Andrew Hellmich: So I imagine, I mean, you're an experienced photographer, and, you know, you've been shooting for a long time. You've been counted lots of ups and downs in shooting. You know how to cope with, you know, issues with weather and gear and all that kind of thing. Did you ever feel like, "Oh, my God, I've got to reschedule. This isn't going to work. I'm not going to do any of this." Or do you just run with it now?

Helen Schryver: Just run with it. I mean, I think normally, in this country for a shoot outdoors, I'd obviously just reschedule. But with that, I just had, I had so many people booked in, I had no wiggle room for kind of, I mean, like there was no let-up in the weather. It's not like I could have just switched them all to the afternoon or anything. So just really had no choice. So they were, I suppose, yeah, out of these 20 minute shoots. So I did, like, 20 or 21 altogether. I think there were three shoots where I was, like, thinking, this is just an absolute nightmare, because the rain was coming in sideways, but they've not paid anything. It's a free shoot, like, everybody turned up. I didn't feel like kind of responsible for the weather or that, you know, I didn't feel bad for them having to do it like, so, yeah, it was fine. And actually, with the editing, the photos all turned out great.

Andrew Hellmich: That's so good.

Helen Schryver: No, no, it was fine. Yeah.

Andrew Hellmich: If you were back in your first or second year of shooting, you would have gone ahead. Or is this something that you know you can cope with now, with your experience?

Helen Schryver: I'm not sure. It was the first day that we'd done the shoots under the bridge the Eiffel Tower ones, it was that day that was really awful. And I think had I known it was going to be that bad, I probably would have rescheduled years ago with less experience. But I think the forecast was actually kind of "Oh, just showers on and off", and it was worse than that.

Andrew Hellmich: Wow.

Helen Schryver: So I don't know, kind of hard to say really. I mean, everybody basically stayed dry.

Andrew Hellmich: So you're shooting under a bridge. I imagine it's quite dark. The lighting must be quite low. Are you using off camera flash, or are you just exposing for the families and then bringing the Eiffel Tower back later in post?

Helen Schryver: Yes, I did. I suppose we were actually helped by the fact it was a gray and miserable day, because it wasn't that much darker under the bridge than it was outside, right? Okay, so, yeah, I think I brought highlights down for like I did, like the maybe the subject mask in editing, and just brought the like the families up a little bit. But I honestly just didn't really have to do too much. On the Sunday. I think we had beautiful light, actually, in the end, the sun came out towards the end. So I think my last three shoots are my absolute favorites. And the sun was just kind of peeking in below the bridge, like just coming through. So that was just ideal. Made up for the rain.

Andrew Hellmich: Amazing. And you say that this is, it sounds like a super popular spot. There's lots of photographers around. Do you get approached by the authorities at all to say, "Hey, you know, you've got to move on, or you're blocking the pathway", or, you know, anything like that?

Helen Schryver: No, no, we didn't. No. I mean when I say a lot of photographers, I suppose the rainy day was worse. There were maybe, like, 10 different shoots going on under that bridge.

Andrew Hellmich: Well, that's a lot.

Helen Schryver: I mean, it's pretty, it's pretty long, I sure, actually, and I hope she doesn't mind me saying this, and she actually ended up photographing the wrong couple.

Andrew Hellmich: What? Was it, 'a yeah'.

Helen Schryver: They just turned up, saw her with the camera, and assumed that she was the photographer they were meeting. And she just assumed they were her next, next couple.

Andrew Hellmich: Oh, my god.

Helen Schryver: Yeah.

Andrew Hellmich: Has she booked their wedding now?

Helen Schryver: But they had, they had the shot, and I think they, they bought stuff.

Andrew Hellmich: That's so good. The other thing that I'm a little bit surprised about, and you know, I've been to France quite a few times. I don't know a lot of French people, French locals, I'm surprised that they want to have the Eiffel Tower in the background of their photos too. So are they? Are they as enraptured with the Eiffel Tower as we are?

Helen Schryver: Yeah, it's a good question. I think I was a bit surprised at that too. I suppose, I suppose maybe, like, they're not necessarily from Paris, but have moved there, like, some are kind of young, like young families, so maybe aren't from Paris originally, so still think the Eiffel Tower is pretty cool. I don't know.

Andrew Hellmich: I like it. I like it.

Helen Schryver: Oh, maybe it was just the prospect of a free shoot.

Andrew Hellmich: Yeah, I'm trying to think, I mean, I would, I guess I would have a family photo session with the Harvard bridge or the Opera House in the background. So, yeah, I guess I can see, see that too. Tell me about the ad. So you send, you create the ad that the model call ad for mini sessions. You say it's a free session, and that's a lead ad that's going to people who live in or around Paris.

Helen Schryver: Yeah.

Andrew Hellmich: And did you get, I mean, obviously you got a big response, but did you book them most people that responded? Or did you get a thousand responses? And had to narrow it down to 20 or 30?

Helen Schryver: Um, so I got, I actually looked at this earlier. I got, so the leads were really cheap. I'm not sure why, and I hope I can replicate it again, but they were 61 cents each.

Andrew Hellmich: Wow.

Helen Schryver: And I got 288 leads. So I spent whatever that works out as 200 pounds, yeah, and so out of that so that 288 I think, I emailed maybe first 20 or so, asked them to book a call, and then everybody wanted to book a call. And I was like, actually, for mini shoots, I don't really want to have to speak.. And I could see that the leads were coming in pretty easy. See, I just wasn't up for like, calling them all individually to put this 20 minute shoot. So I sent out the same email to everybody, and in that email I gave them the pricing for extras. So the offer was the free 20 minute shoot with a free print, one free print. And then I gave them pricing for digital files in the email. And I said, "There's no obligation to buy anything, but you will want them all." And yeah, then I just got, like, a pretty good response. I suppose I had maybe 40 interested. But then with the way, I was kind of scheduling, Friday, Saturday and Sunday. The Saturday and Sunday just filled up first. I didn't want to do any more than 10 in a row. It was, I mean, it was exhausting as it was. It was less than three hours I was shooting for at a time. But it just, it's just a lot, isn't it? Like greeting that many different families and back to back. Like, that's the tiring bit. So yeah, and then there just wasn't as much interest for the Friday because people have work and kids are at school. Yeah.

Andrew Hellmich: I mean, that is a lot of shoots back to back. So had you had experience doing 20 minute sessions back to back? Or do you just thought "You know what? I'm just going to knock this over and enjoy the rest of my holiday."

Helen Schryver: So yeah, my usual mini sessions that I do in London and Kent, where I live, so I do those every kind of autumn, winter, sort of in the run up to Christmas, really. And those are usually 20 minutes, but I have a five minute gap between. So yeah, with these ones, I guess I thought, well, that five minute gap between is just a bit of a waste, because really, it's there for the client in case they're running a bit late or what have you, or if they have to wait a few minutes for me to finish up the one before then that's kind of okay, because it's free, so yeah, just wanted to cram as many as I could in the shortest time, really.

Andrew Hellmich: So did you have them book the session time themselves through Acuity or Calendly?

Helen Schryver: No, I just offered them a time. So I think I sent out the email with everybody got the same email with just all the times that were available initially, and as they were kind of snapped up, then people would come back and say, "Oh, we'll have the 8am" and I just went back and said, "That's gone. You can have this one.", and just try to keep a bit of an eye on not offering too many people the same thing. But in the end, it was just first come first serve.

Andrew Hellmich: Nice. And did you have to send up, you know, subsequent emails saying, you know, if you're late, you miss out, that kind of thing, like, were you quite strict with what had to happen?

Helen Schryver: I'm not sure if I did say that on these actually, I do for my other ones, for my paid ones in this country. I think I probably did, yeah, and I said I took a deposit from everybody. That was the other thing I did. So I took like a 25 pound just kind of a refundable booking fee. Yeah, no, I don't. I don't. I didn't make, like, stress, the kind of time pressure too much. One person was, I mean, literally, like, 15 minutes late. So she had five minutes. It was on the day, it was, like, really pouring down, and I think she'd had trouble getting a taxi, but we just shot for five minutes. And I can't remember off the top of my head if she bought anything or not. I'm gonna say probably not that one, but it was fine. She had a set of photos to choose from, so it's all good.

Andrew Hellmich: Yeah. Oh, that's good. That's good. The ads that go to Paris, to France, the client, they know they're doing business with someone in the UK, don't they? Because they can see, it's your website, it's Helen Schryver.

Helen Schryver: Yeah

Andrew Hellmich: Does anyone question you about that? Or is that just, that's just a normal thing in Europe?

Helen Schryver: I'm not sure. I think I expected more questioning about that, actually, because all my prices were just in pounds, in Sterling, and I had, I think, one person asked at the end when it came to purchasing, like, some other images, of what's that in euros? So I'd figured out the exchange rate for her, but, yeah, like, nobody kind of questioned that. And everybody paid their and there was one person who couldn't get the online payment to work for their deposit, but everybody else managed to pay the 25 quid deposit with their French credit card. So that all kind of worked fine, yeah.

Andrew Hellmich: Okay, so no one actually paid you in Euro. Everyone paid you in British pounds.

Helen Schryver: Yeah. So I just got the payment, yeah. I just got 25 pound payment. Like, nothing was taken, nothing additional, like, no additional fees were taken off for it being, like a European card or anything.

Andrew Hellmich: Great, great.

Helen Schryver: It's all good, yeah.

Andrew Hellmich: Fantastic. I mean, and so you drive to Paris, don't, you don't fly there, so you don't have to go through airports with, you know, with a whole lot of camera gear. Is that right?

Helen Schryver: I went on the Eurostar, so, on the train under the sea, so I go to London to get that, and then it's like two hours, and you're in Paris. So really easy.

Andrew Hellmich: Right. So do you have to go through a border control?

Helen Schryver: You do, yeah, and you go through like, security, but it's not as, like, strict as at the airport. There's not much, much searching and that kind of stuff. It's all like, pretty easy.

Andrew Hellmich: Is there any concern then that someone's going to question you about, "Hey, what are you doing here with all this camera gear?" Like, would you tell the truth?

Helen Schryver: Um, no, I wouldn't tell the truth.

Andrew Hellmich: Fair enough. I wouldn't expect you would have either.

Helen Schryver: And also, I think I don't know, they're free shoots, so I'm kind of not too worried about that stage. It's, it's free. I only take, like, two Sony bodies and like three lenses, so it's just, like, in a little rucksack. So it doesn't, you know, it's, there's not a lot of gear anyway. And I don't think, to be fair, like, if you look at most of the tourists in Paris, they've got bigger cameras than I do. Yeah, I wasn't, I wasn't worried about that, really.

Andrew Hellmich: Oh, good. So and then with the 25 pound holding fee, or booking fee, refundable booking fee, did you have to give any of those back? Or did everyone either show up or use that money towards extra digital files?

Helen Schryver: So yes, I had, hang on, let me find them. I had four no sales, so they got their 25 pound back, and I had to send them a print, which was annoying. Well, I did, what I did with the print thing. I didn't want them to have a digital file for free, so I made it a print. And then I think, out of those no sales, I offered them all that they could have a digital file instead of a print. But just like at the last minute, once I knew they weren't going to buy anything else, and at that stage, two of them said, "Oh yes, please, we'd love the digital file instead. So I just sent it on email to them", and the other two wanted to have the print, actually, no, do you know what it was only one, because the other prints I sent with people who had bought digital files, but they still got their free print as well. Yeah.

Andrew Hellmich: Got it. Got it.

Helen Schryver: So it's actually only one who where I sort of lost money on having to post them this print, and the other three took, did, took just a digital file of their favorite image.

Andrew Hellmich: Okay. And any feeling or tactical response to why that happened with the three or four? Like, was there anything you could have done? Did you think they were just hunting for the freebie? They weren't. They weren't happy with the weather. Like, what's your gut feel on those no sales?

Helen Schryver: My gut feel is just wanted the freebie. And as I say, I think one of them was the one where, literally, her shoot was like five minutes, so wasn't a great variety of shots there with that one. So, yeah, I don't know it's kind of, I think for me, that was like a good result. So obviously, going into it, I'm like, "Well, I've never done this in a different country before. How's it going to go?" Like, I could have done 21 shoots and sold nothing. So for me, for no sales, because it's quite a high kind of price for one or five or 15 images, which is how I kind of structure it. So having four that didn't buy anything was a good result for me.

Andrew Hellmich: Yeah, I love it. I think it's amazing. It's so cool. So you wouldn't really do anything different in that regard.

Helen Schryver: No, like, I kind of hope that it all goes in exactly the same way when I do it again. Yeah, no, I was really happy.

Andrew Hellmich: Except to get better weather.

Helen Schryver: Yeah, exactly, yeah.

Andrew Hellmich: So I sort of got a hint there, but it sounds like you price things. So, you know, one digital file was very expensive. It got better if you got five, and then even better if you got all 15, is that right?

Helen Schryver: Yeah, that's it. So what I did with these ones was I did one file at 125, 5 for 245, 15 for 295, and that's the only pricing I give them up front. And then when it comes to the viewing, photo viewing and ordering, then I basically say you've got, like, I mean, they all had a minimum of 15, some didn't have any more than that, like the lady who only came for five minutes. But any who did have more than that, I gave them kind of a special price to take them all. So most of them were between 20 and 30 images. And I was saying, your special price is between, for 20 images, I was saying 325, for them all. And for 30, it was like, 375, or something. So I varied it depending on how many they had, yeah, and the kind of point of that was like, "Look, just this little bit extra. You don't have to go through the pain of like, going through and choosing, you might as well just take them all, right?".

Andrew Hellmich: So good. Helen, this is amazing. I can't remember, are using Pic-Time or Pixieset?

Helen Schryver: So I use Pixieset, but for this, so with my mini shoots in the UK, I usually just upload them. I give them 48 hours, and probably half of people come back and say, "Oh, we haven't, we need more time." But I was just trying to get it down from like a week or so, right? But for these I did a bit different. So they booked a viewing appointment on my scheduler, which is on just through Dubsado. They booked a viewing appointment slot of 15 minutes, and then I sent them the gallery about three hours before their appointment, so they could jump on, have a look at their gallery, have a flick through, hopefully just decide, "Oh, we might as well have them all." And then on their actual appointment, which was on Zoom, it just basically gave me their order, or if they were unsure, or wanted to ask any questions, like, "How can we have this one but in black and white", or whatever, they could ask me there and then, and then, I was sending them a payment link via WhatsApp, like on the call. So it was a kind of mixed between online and in person or zoom.

Andrew Hellmich: Yeah, so I like this approach, but I'm curious as to, you know, why go to all the trouble of having that the scheduled zoom call when you could just say, "Hey, here's Pixieset. Here's your gallery. You've got 48 hours to order." Why not just automate it all?

Helen Schryver: Because I just wanted people to hurry up, I suppose, and I didn't want people to because there's like, AI software now that takes watermarks off, like, really well, it's all quite scary. I saw it advertising on Facebook the other day. Yeah, and some people, it's on a Facebook group. I think I saw it. And some people had tried it out, and it just like, removed the watermarks from their photos. It's crazy. I think now you like to get round it, you have to have, like, the grid watermark on it, which I don't have on Pixieset. So, yeah, it was kind of not wanting them to have them to look at for too long at all, but also not wanting to have to spend any more than 15 minutes on a call with them, like, kind of helping them decide and flicking through them for them.

Andrew Hellmich: And did that all work well? Like, would you do that again in the future?

Helen Schryver: Yeah. So no, there's one person who was ill and just didn't get back to me until two weeks later. But everybody else booked in their appointment and decided on the call what they were having. Nobody asked to have them online for any longer or any of that stuff, which I usually get. So yeah, it was, it was good. Yeah.

Andrew Hellmich: Wow. So what a successful promo. I love it. And then no one had any dramas like you said earlier in paying you in British pounds. You obviously pay tax on that money that comes in from those sessions. So there's nothing, no dramas there. I mean, everything's above board. I love it. I love it. So this is repeatable. You could do this anywhere you want to go to?

Helen Schryver: Yeah, I've got a bit of a list.

Andrew Hellmich: I had a sneaky look at your at your website. I think it was, or maybe it was Facebook. You were saying that you've got a, it looks like a list of different destinations you're planning to go to already.

Helen Schryver: Yeah, yeah. So planning Lisbon and Barcelona and Paris again, so we'd like to do all of those this year. Yeah.

Andrew Hellmich: I love it. And so you'll just do the same thing. You'll run an ad. So how long before you go do you want to run your ad to get things sorted out?

 
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Andrew Hellmich: Helen, amazing. So in 12 months’ time, if we were to chat again, what would you like to be telling me about your business? Like, where would you like, where do you see things in 12 months? Just more of the same. Or..

Helen Schryver: I think, in terms of the stuff abroad, I'd like to be telling you, yeah, all cool places I've been, and I'd love to do more of like, the kind of vacation shoot, like I did in Puglia, like a full family shoot. People are, like, really keen on the idea of doing that and paying for the entire thing and spending lots, and then I think, generally, probably more of the same. But I mean, as always, just some more organic bookings would be nice that are coming through the lead ads and the model calls and stuff that I'm doing, but that, I mean, they're all working great, so I can't really complain.

Andrew Hellmich: Helen, where is the best place for the listener to see more of you and your work.

Helen Schryver: So Instagram is probably the best place. I haven't updated my website in a while, which is terrible. It was one of my jobs for January, but that's gone now. It'll be a February job. Um, so Instagram, so it's a Schryver Photo on Instagram.

Andrew Hellmich: Oh, is it I've been saying 'Schryver'. Is it 'scriber'?, I'm so sorry.

Helen Schryver: Oh, it's fine. No, it's fine. Either is fine. Officially, it's Schryver. But everyone says 'Shriver', which is totally cool. It's all good.

Andrew Hellmich: Okay, all right, awesome. I'm going to link to those. I still think your website and your, in your blog, your blog looks up to date to me, you must be working on the blog.

Helen Schryver: No.

Andrew Hellmich: Is that all work? Wow.

Helen Schryver: Yeah, yeah, I don't think I've blogged in about six months, which is terrible, but I must.

Andrew Hellmich: Oh, okay, well, I'm looking at your Instagram feed. And so is it the dark skinned guy? Is that the Puglia family?

Helen Schryver: Yes, that's the Puglia villa. Yeah.

Andrew Hellmich: Right. Okay, beautiful. Wow. It looks amazing.

Helen Schryver: Yeah.

Andrew Hellmich: When do you want to go back?

Helen Schryver: Yeah

Andrew Hellmich: Helen, this is amazing. I'm going to add links to this in your earlier interview as well. Massive thanks for coming back on sharing everything you have. You're incredible. And I know there's going to be so many photographers out there thinking "I want your life." So thank you.

Helen Schryver: Oh, thank you. Thanks.