If a picture says 1,000 words, what are yours saying about your martial arts school? Martial Arts photographer, Francine Schaepper, shares 3 pitfalls to avoid that could tarnish your brand and reputation.
IN THIS EPISODE:
- The costly mistake that school owners make with random photos
- Why use a vision board to strategize your martial arts photos
- How to create attention grabbing martial arts photos for Facebook ads
- Forget ‘message to market match’ – think ‘photo to market match’
- The Power of Pictures: How to use them to communicate your message
- And more
*Need help growing your martial arts school? Learn More Here.
There's a lot of mistakes you can make, and we're not talking about technical mistakes here. You know, the how to, that's a whole different story. But the main mistake that I see is that a lot of martial arts schools who are owners don't have a plan when it comes to photography, they have no plan. There's very little purpose behind when they take photos or how to take photos. And then also because of the first two, then there's no message, or there's a wrong message which can really greatly damage your school and your image really.
GEORGE: Hey, it's George here from martialartsmedia.com and welcome to the Martial Arts Media™ business podcast. So, I got a repeat guest with me today. Good day Francine.
GEORGE: Hello Francine. Francine Schaepper from Martial Arts Photography International. We've got a great episode lined up for you today, and we're going to talk about the three martial arts photo mistakes that's hurting your brand. So photos that you might take in the school, training, photos that you're using for ads and promotions and three mistakes that you should avoid and how it could be tarnishing your reputation and your brand.
We've also got a great download with this episode with a short little instructional video. So I'll give you all the details on how you can get that. But first up, if you haven't listened to podcast one or two, you can go listen to that and get the full story about Francine. I think we spoke a lot about that and a bunch of other things, but for now, Francine, if you could give us just a two minute background, who you are and we'll go from there.
FRANCINE: Okay. I'm Francine. I am a martial artist of 20 years myself. So I've been training in different styles, it's kind of my passion. Well, it's not kind of my passion, it is my passion and I am a professional photographer as well. So at some point it merged. I created my niche and I've been taking photos for martial arts schools for, I don't know, maybe six, seven years. Yeah. I've got thousands and thousands of photos of martial arts and martial artists in my database. Yeah, I love doing it. So it's an awesome industry to be working in.
GEORGE: Okay. So let's talk about photos. Now, depending on the state of the union, the state of your country within martial arts where you're at, what I'm referring to is whether you've got restrictions or lockdown or so forth, chances are you might not have a professional photographer on hand that could take photos and a lot of people are just doing it themselves. I mean, smartphones are so good. Actually Francine and I created a course, the Smartphone Photography Masterclass, which is all about taking photos with a phone.
So phones are really … it's kind of all you need, but it's not just about point and click, right? There's a lot of things that … it's the little things that can make the difference. And I think what we want to really talk about today is those things that you've got to look out for and avoid. So three mistakes, what are the three top mistakes that you see martial arts school owners make when taking photos that's tarnishing the brand and reputation?
FRANCINE: There's a lot of mistakes you can make, and we're not talking about technical mistakes here. You know, the how to, that's a whole different story. But the main mistake that I see is that a lot of martial arts schools who are owners don't have a plan when it comes to photography, they have no plan. There's very little purpose behind when they take photos or how to take photos. And then also because of the first two, then there's no message, or there's a wrong message, which can really greatly damage your school and your image really.
GEORGE: All right. Okay. So big picture overview. Now let's … if we can get a bit more into the details, like a plan, what type of plan are we talking about? A written plan or a big mind map, or what am I doing? What's wrong with me just looking at the class and getting happy snappy and just taking random photos?
FRANCINE: Well, you can always … It's better to get happy and snappy than not taking photos at all, which I see too. So that's probably the main mistake, don't take any photos. So that's the fourth one. Look, the plan is chances are when you started your school, and I'm going back a bit because that's really, that's the work I do with every single client I work with.
And you can do it for yourself, it is just stepping back and going, okay, when you started your school, when you were really excited about it all, at some point you decided about a brand. You decided, okay, my color is red or green or blue, or that's the name. And then that comes with all the emotional things, which is good. Like the passion, the emotion, you might be in a very traditional school, like a Shaolin school, where it's all about … You've got your little alter there and things like that. Or you might be super clean cut and modern.
And I bet with all of you that at some point when you started, or I hope so at least, that you had that thought that you had this big vision of your school. And there might be chances that you have a business plan as well. The problem is when it comes to photography, often that gets forgotten because, “Oh yeah, I'll just take my phone and take some happy snaps.” Like you said. The problem is that often, and that's something I might talk about a bit later, that you forget what the original vision was. So let's say that your vision was, you have this really traditional school and it's all about the details and you've got really cool uniforms and the weapons are carved. I mean it's a stereotype, right? But let's say this is your school.
And then all your photos are really just quick snaps of, I don't know, just really wide shots. You're not really showing those details and you lose that passion and that love for details that is a part of your brand, if it is. On the other hand, if you have a very, very modern brand, you're nice and clean cut. Everything's really nice and neat. I don't know, and then you take photos where there's a yellow bin in it in every shot, or you don't look at the details you have … I'm going into probably too much detail, but it's just that you lose … If you don't have a plan, then you don't have a direction and it's just very random. All your photos are random, and chances are that they just look like any other school, even though when you set out to create your brand, you had these points of difference that were very you.
And it's almost like when you do your planning or your vision boarding, that's what I will get you to do, is like, okay, sit back, remove yourself from everything that you have now, even if you've had this school for 20 years, sit back. I use Pinterest, which is a free app with most of my clients. And it's not about finding martial arts shots. It's about finding shots that convey that feeling or the energy and everything that makes your school so unique because your school is unique. Every school is different. And sit back and really have fun putting photos in that you'd find online. And that could be a photo of a dragon. It could be a photo of a cat. I don't care what it is.
But once you've got that vision board and that collage, it will tell you all, this is what I should look like. And you might have a lot of detailed shots in there, or you might have a lot of very specific colors in there. And then if I came in, I would look at that and go like, “Okay, well, that's your visual … that's your vision for what you want your brand to look like.” And then when you take photos, the best thing is you print it out, you put it on the wall, then it reminds you, “Oh yes, I do want to record all those really intricate details because that's part of my brand.” Or, “No, I want it clean cut. It's about lines and being very clean and that's how I'm going to shoot.” So it's just about having a plan in the background that you can get back to.
GEORGE: So on that plan, right? And you were mentioning all these different elements, the cat and everything else, how do you get to the point where … I mean, because you've got this clear vision of what you want your school to look like. What are you trying to draw inspiration from so that you can make your vision the reality?
And I think a lot of us might have … We're not experienced photographers. Our vision gets blurred and we think that it's kind of looking like that, but it's not really. So how do we cross that bridge? And what are we looking for if we had a cat and we've got a boat? We've got things that look good, but what are the intricate little inspiration elements that we try to draw from that, that we could take on to taking photos of students on the mats?
FRANCINE: Well, I guess it's more about … It's not, okay, if you've got a picture of a cat or a dragon or whatever it is, it's not about the cat or the dragon. It's more about the energy, right? So, okay, well that's going down the creative rabbit hole. But if you got a cat, like let's say cat style, old Kung fu or Karate, whatever, I don't know which style has cats or tigers. Well if you think about it, it's a whole different energy of stalking and moving that if let's say you have a horse, which might be galloping. I mean, that's really weird, but I do go down these rabbit holes. And in the end, even if you're not creative, if you have that in the back of your mind that, okay, this is the spirit of the movement or whatever you're trying to show, then you'll start to take different photos.
And that's something that we spend a lot of time on, where I spend a lot of time talking about in our course is that's the how, but that comes later. First you just have to put that vision up and just go like, okay, well just leave it there and just kind of marinate with it a bit. And it will, if you work with it, it will start infiltrating how you take your photos later on. It's not clean cut. You probably need a little bit of direction, which someone like I can give. Or maybe you have a very creative person in your team.
So I always tell school owners who feel like, “Oh my God, that's just doing my head in just thinking about that.” Well, I'm sure you've got one of your especially junior instructors, right? They're on their phones all the time. They're on Instagram. They look at photos all the time. So find your most creative person, show them that vision board and say, “Does that … Can you do something with this? Does that inspire you to take photos?”
If you get a person that is visual and that has that naturally, they'll probably … Because it's something that you do intuitively, it's not a technical thing, not so much. It's more of an idea, which I know, if you're technical, I've lost you now, but that's why I say, just find someone in your family or in your team that can do that. And then they can do it for you as well. You can delegate these kinds of things. Does that make sense? Because the first step is very much just about, don't think about how am I ever possibly going to translate that into a photograph? That happens later. First, you just need to have that vision and just put it somewhere, and then how comes later.
GEORGE: Okay, cool. And I think what would add to that would be this creative talk or things that cause some tension in your gut and you're like, “Ah.” Then find what you don't like. Sometimes it's easier to eliminate stuff than to pick the thing that you want. But you know, if you know what you don't like, then have that on your un-vision board and eliminate doing those things that will pull you towards what you need.
FRANCINE: An un-vision board. I like that. I'll use that.
GEORGE: That's … I just, yeah.
FRANCINE: Yeah, that works.
GEORGE: It's a number two, no purpose. So there's a bit of an overlap here. So tell us about that.
FRANCINE: Yeah. I mean, it is totally an overlap and I see that throughout. It's not just a martial arts business. It's with any business I work with. It's this thing of, “Oh, I need photos.” And we all do, especially now, we're a lot more online. We have Zoom classes. We just need content. We need to stand out. And as I often say, yoga, Pilates, and all of these industries are much better than mine. They look better than martial arts. Let's be honest. They just look better. They're on it. So that's why our industry needs to catch up a little bit. But the thing is not having a purpose is more, “Oh, I need photos, take the phone, take a snapshot, walk off the mats.” And then later you look at it, you're like, “Oh, I don't even know what that was supposed to be.”
And we're all guilty of that because you do it under pressure. You don't think about why you're doing it. And it's like going into battle without a plan. I mean, you have some plan and your plan is that vision board or that un-vision board, I do not want … And that's a good point actually. If you go, “I don't want dark photos. I don't want blurry photos. I don't want people looking like they're in pain in my photos.” Which is probably three things you should avoid anyway, so there's some extra for you.
Even if you set out with that in mind, “All my photos will have really nice, bright exposure because I like bright pictures because that's on my vision board.” If that's the only thing you take out, you take your camera and that's something I can teach you, but you can YouTube it. I mean, we've got a whole course and you go out and you learn how to make sure that your photos are well exposed. That's the one thing you do.
You have a purpose because your purpose is, “I'm going to create photos that look nice because the lighting is great.” Take, done, that's the purpose. Or if you go out and you say, “Okay, today my intention is, because I like close-ups.” Right? So on your vision board you might have lots of photos of close-ups and details. Now translating that will be like, “Okay, I want to focus on somebody doing a punch. I want to focus on the head or I want to focus on the face or an expression.” So what you're going to do, your intention is going to be, “I'm going to go close in. I'm not going to stand outside of the mats and just take photos of whatever.” Potentially little Johnny crying in the background and then you don't see it. You post it. There you go.
You're going to go on the mats. You're going to go nice and close. You're going to interact with your students and go like, “Hey, give me a smile.” Click, and then that's tick, that's another purpose. So even if it feels like a lot in the beginning, if you have that plan, just take one thing at a time, especially if you're new or if like you say, you have an anxiety attack even thinking about it.
Pick one thing, bright photos, close-ups or colors. Can I capture colors? Belts or whatever it is. And you can make it a little challenge. I mean, we all like a little challenge. So just having a very simple purpose when you go out there to take a photo, that'll expedite, not expedite. That'll increase your … I just lost my word. That'll improve your photos a lot just by doing that. And I'm not even telling you how to do it, it's just the approach.
GEORGE: So we're getting a bit clearer on a plan. I guess what I'd like to know, where does emotion overlap in all this? Is there like a certain emotion that will be more leaning to the message in point three? But where does emotion fall in play? The emotion that we're trying to extract out of the photo or the emotion that we're trying to perceive from the person seeing the photo.
FRANCINE: The message one, that's the next one. I think when you're just … you have your vision, you have your purpose. It's about your emotion, what you bring in. Because the photo is never … not never, but it's not about the tool. It's not about your camera. It's about how you … I always say it's about how you see the world, how you perceive the world or how you perceive what's happening.
At some point, if you take enough photos, that's what is going to make your photos unique because nobody looks at things the way you do. I mean I'm someone, I like to be flat on my stomach on the floor taking shots. That's just where I like to be. I'm never just standing straight, but that adds that angle that people go, “Oh yeah, that's a Francine shot, obviously.” And that's emotion in itself. And also because you're interacting with the students because they know you, the emotion comes through the shot and that's not something that you need to think about.
I don't think about it when I take shots. It's just something that happens naturally because you are out there doing something with an intention. You're going to get some sort of emotion in there and probably take photos on a day that you feel happy and that you're good and not when you're grumpy. Because it always comes through, like it's with any creative process, it's a process that happens in the background. You often don't even know that it's happening.
So you don't have to be artistic to do that. Everybody is creative in their own way. I mean, creativity is problem solving and your problem solving with martial arts. So you're stepping out there and you're just taking a shot, chances are that the emotion will come through and don't question it too much. Just do it and just be yourself doing it. It sounds really simple, but it really is. It's not rocket science. It's just something that … And the more you enjoy it, the better it's going to get. And if you really hate it, then yeah, just delegate it to someone who loves doing it. And then you get that emotion through too.
GEORGE: Yeah, totally. And so what I do want to do based on that is just take a bit of sidestep, right? Because like in our Partners group and Academy group, a lot of school owners want to run ads on Facebook. And so there's a message that they want to deliver. And so, I mean, the first thing we always say is test, but then some photos are just not good and they should not even make it to any form of a test. Everyone's always asking for feedback on photos before they go live. And there's certain elements that we do obviously too, and a few rules that we always stick by just a couple of people and so forth.
But the question I have for you is, let's say we are running an ad and there's a certain emotion or message. Maybe I'm leaning again to the message, right? But we're trying to communicate, like we want to display confidence for example. It's a big one with kid’s karate or it's a self-defense situation. So maybe it's a lady's workshop, or it’s jiu jitsu and it's pretty brutal, but we're doing a display that someone's getting choked out and they've still got a smile on their face. It's a sort of fun environment.
So what are those elements? And I know I've given you probably too much to work with, but how do you go about that? Let's just take the first one and say, all right, well, I'm running an ad that promotes confidence with kids and so now I want to create a photo that's going to resemble confident kids. Where would I start with that?
FRANCINE: Well, it has all three in it. So first of all, you would have to go … I would send you to go find photos of kids that you like that convey confidence and happiness. Just find random photos. They don't have to be martial arts because it's hard. On Pinterest there's very, very little content for martial artists. I mean, one of my suggestions is I'm working on it, but go on my website, see how I do it and then try to copy that because yeah, there's not a lot out there.
But so the plan would be to find photos first that you like, that you go, yeah, that conveys confidence. Print them. Then you would go on the mats and go like, okay, well then your intention is, I need happy kids. Right? Happy, confident kids. You kind of want both. How do you do that? How do you see that?
So your intention is to show their face, right? So your purpose or the intention for you, the second one will be, okay, if I want to get that expression. I need to capture the face or most likely an interaction maybe in a self-defense kind of environment. Right? So there's two kids. They're doing their self-defense, they're looking or even with an adult, they're looking confident, but they look capable and happy doing it.
So then that's your intention. Then the third one will be, okay, the message it's already in there. So you want them to be doing … You want them to look a certain way. And that's also when you start communicating, so you set the scene. So if it's kids, photos, you go like, okay, well, if you shoot that at night, when it's really dark, it's underexposed, you can't really see the face. That's already a no-no.So your message would be wrong. Even if you have your plan, you've got your purpose, but you chose the wrong time to do it, let's say, right? So you got to go, “Okay, well, that's what I want because I want my viewer on the message to be, it's a bright, I don't know, it's a bright, sunny day that's happy.” Right? So it's bright and sunny.
It's a Saturday morning. That's happy, and the kid's having fun doing self-defense and then there's your message. I don't know if that makes sense because it's very complex. And for me it's easy because I do it automatically. But the more you do it, just think logically, like if you want a confident, happy kid, that's why you go back to the plan. You would never choose a dark alleyway self-defense layout or image. That would be maybe for women. Because you go like, “Okay, I need to walk …” A kid shouldn't be there.
So think logically, okay, well for a kid what's a happy environment? It's a sunny day playing with their mates, but they're still looking confident. And then from the plan, you've got your intention and then you translate it to your shot. Does that make sense? Because it's a lot of logic. Like if you want women, show photos of women.
GEORGE: I'll make it easy. As we're talking, just thinking, we're including a download, which we'll talk about in a minute because when we talk about having no message and how to go about that. In the course that we created, the Smartphone Photography Masterclass. We had two sessions, Shooting With Purpose and People and Portraits. And I know people and portraits, we did a few comparisons with a few kids and photos and different styles, jiu jitsu and so forth and examples of great photos. I'm putting you on the spot, but would it be okay to include that as a download? So if people go to the episode and download the transcript that we can include those with the episode?
FRANCINE: Yeah. I think it was a case study we did. Yeah. Yeah, absolutely. Yeah. Because sometimes you just need to have sample photos that you go like, “Oh, okay. I know what she's talking about.” Yeah.
GEORGE: So especially just being a podcast and it's auditory and you might be … maybe you're watching the video on martialartsmedia.com or you're watching it on social or you're listening on iTunes or Spotify or somewhere. It would be good to put the visual element in perspective. So if you go to martialartsmedia.com/120, one, two, zero, there will be a link where you can download the transcript.
And in the transcript, we'll have the transcript of this episode. And we'll also include portions to the worksheet that come from the Smartphone Photography Masterclass with a few case studies and something that we're going to talk about next. So Francine, let's talk about the message and also the worksheet that's included.
FRANCINE: Yeah. So the message, I mean, like it's apparent, those three things are intertwined a little bit. If you work backwards, if you say you want to have the message, you cannot have a message without having a plan and having a purpose. It's just not going to work because then it's random. It's like you're happy snaps, like you said.
GEORGE: So before we get into the details, let's define the message. What are we actually trying to say when we want a message delivered through our photos?
FRANCINE: We call it the photo to message match. I mean, there's this saying, I think in every language that a photo speaks a thousand words. No, a photo says more than a thousand words. And one of the things that I will ask is, well, if one word has so much … If one photo has so much power, then if you look at the photos on your page or your socials, does it actually tell the right story?
And often I get this kind of like … And you know it doesn't because you know exactly like, “Yeah, no, that's not the story I wanted to tell.” Or it's just mismatched. So visual, and with visuals, it's even harder because there's a lot of space for interpretation, but that's at the pro level. But even when you do your day to day photos, just keep it super simple. Like what's the message? And then what is logically, how can you visually convey that message?
Like I said before, if it's for kids, like confident, happy kids training, using a dark alleyway for self-defense in a self-defense like a hooded guy, you know? It's probably not the right message because that's not … Mothers would think, “Oh my god, what's my kid going to do?” Like, that's too scary. Even though your idea might be right. It's not. Just think like your prospect would think and with kids it's the mums usually, right?
So if you put anything out for kid’s classes, you got to think … And I'm not telling you anything new. I mean, I hope that all of you have done a business plan. You've got your guide, you've got stuff in there. You've got your demographics, you've defined your demographics. What do they think, where do they go? Where do they get their coffee? All of that.
Now just use that. You already have it. So go back to basics, find your demographics, and look at this. You should have it. If you don't, it's the time to do it. And then just try to think in their terms. So don't think like a martial artist, don't think like a fighter, think like someone who has no idea. And think what would they … It's very elaborate. I mean you can keep it quite simple. If you have a boxing class and you've got that, I don't know what the title is on the sheet that we're giving you, which we had. I think I broke it down into four very…
GEORGE: The Photo to Message Matchmaker.
FRANCINE: Yeah, duh, I'm talking about that. And we've got four very … I think I came up with four total stereotypes. Right? So I'm going to take a step back. Usually you have your macro brand, which is your school, and then you might have a fitness class, a kid’s class, self-defense class and a traditional class. Now, if you download that and it's not, you just read it because it's going to click, you're going to go like, “Oh, okay.” And you just change it with whatever you were doing. If it's for example, BJJ, you would go competitive sports BJJ, more self-defense class, maybe for women, then you've got kids and you might have something else.
So just translate it to your own. And I've got a lot in there. And then just go back to your plan. Literally, you go to Pinterest and go, women's fitness classes, and then you see photos coming up and you go like, “Okay, well how can I use that?” But instead of a woman doing yoga, it's a woman doing a kick, smiling. If that makes sense? So that's where the plan comes back into play with your message, if you're not sure what it is that you were trying to do visually.
GEORGE: Actually Francine, I've got it open here on the screen. So just to add to that, four broad categories of different styles. If your style doesn't fit there you can pick one that's closest to it. But we talk about a breakdown of the audience, the motivated desired result, role models, aspirations, existing issues, environmental, fear barrier, internal, and then photo suggestions of how you can actually go about the photos. So there's page two, there's three suggestions on each for photos. Then there's lighting tips, movement, tips, composition tips, and a few bonuses as well.
FRANCINE: There you go, if you print that out and put it up in your academy, that'll solve a lot of question marks already. Because it is quite a … I mean, I could talk about this all day, but in the end, it's a very logical process. You think about who you are trying to sell it to? What do they like? And you have to work with stereotypes. I mean, you do. Women probably prefer bright, colorful kinds of photos.
If it's for a fight club or for a sparring class for guys. Well then obviously you're not going to use pink tops. You've got to obviously make it a little bit more masculine. You can turn it black and white. There's a lot of tricks. I mean, there's so much that we have in the course, which yeah, I could talk all day, but it's just trying to think logically.
And if you don't have that logic, I mean, it's a bit of a creative mutual logic. If you don't have that, ask your target audience, ask your mums at the school. Like, oh look … Even maybe print a few photos, like find a few photos online of kids' classes, no matter what sport, print them out. And then you can show it to the mums while they're waiting and go like, “Oh, okay, can you please cross which three do you prefer?”
And you go cross, cross, cross and then the one that has the most likes if you want, or you could even do it on Facebook, because there's not a lot of material out there for martial arts. It is sometimes difficult. But if you think in movement it's really doable. And ask for feedback, ask for feedback from people that you want to sell it to. Ask them, what do you want? What would you respond to? A, B or a C?
And they will tell you, and you will see that there's usually … because psychology works kind of very similarly. I mean, you've got to ask, don't just ask three people, and maybe ask 30 or 40. Ask your friends, ask your family, put it on your private Facebook and then see what … And don't talk to other business owners or other martial arts school owners because often you'll have the wrong mindset. You'll think as the instructor, but you want to have the feedback from those who you want to yeah … You want them to come to you. If that makes sense?
GEORGE: Yeah. So a couple of things that I got from that, I think most martial arts school owners need to tone it down rather than to ramp it up. You know, the angry, focused, violent type look, it's probably more toned down for your target audience.
One that really hit home and I think it really stings if you are really objective about it, is if a picture tells a thousand words, then what is mine doing? And just having an honest look and removing your emotion out of it I think is also key, because it might have been the best technique that you ever pulled off, but if you removed your emotional attachment away from it, how is this perceived for someone that just wants to give a class a try, type of thing?
FRANCINE: Exactly. Yeah, and I see that a lot. Like when I go and take photos, it's often … And I get it as a martial artist. I get it. It's always like, “Oh, what do you want the class to do? Let's spin whatever sidekicks.” And I'm, “Na, na, na, just keep it simple.” Because first of all, the more complex the technique, the more you can screw it up, and not everybody's very good at spinning sidekicks or whatever it is.
And it's a very nicely executed, straight punch with a smiling kid will beat a kid looking … I mean, it depends what it is. If it's a competition, then yes. Get a kid that does a perfect sidekick looking really stern. Just know what story you're trying to tell. Like it's really about what's … and show people, take a shot and put it somewhere and ask people, maybe don't put it on your socials, but ask people. “So what do you think when you look at this?”
Ask different people, ask some kids, ask some moms, ask some teenagers and they will all give you a different reply because I've got amazing shots. You know, my warrior shots that I think are amazing, but for somebody who starts martial arts, they're not the right shots because they're going to say, “I can't do that.”
And everybody's always comparing themselves, so it's also important to really know your target audience and present. And if it's middle-aged women or mums classes after drop-off, don't … And I see that all the time, you've got these 20 year old, super skinny girls that obviously don't know what they're doing because it's stock photography. Don't do it. Get those, get someone in, ask a mum. “Oh, do you mind? Look, you can do a free boxing class. I just want to take a few photos of you punching the bag.”
And then use that because it's authentic and it speaks to that audience. They go like, “Oh, if she can do it I can do it.” And that's how you need to think. Like you say, you've got to step back and not be the instructor or the martial artist in that you need to really try to understand what they would want to see and what motivates them. And it's nothing easier than involving your students, your parents and family, they all like to help.
GEORGE: Okay. Thanks so much. So for all our listeners to get a head start, go to martialartsmedia.com/120, that's the numbers one, two, zero and download the transcript with it. We've included the photo to message matchmaker, which would be a great guideline for you to work with on how to approach different situations, different styles, et cetera. And we'll also include a couple of case studies to give you a good visual representation of good photos, how to take good photos.
If you need to take better photos and you realize how important this is and it's something that you do yourself. And you're doing it or your students are doing it. And I get it, obviously you're busy with classes and so you just kind of make do with what you get in the moment and you post it up. Francine put together a great course, Martial Arts Photography Smartphone Masterclass. I've mixed it up. Ah, that's the worst promo ever.
FRANCINE: The Smartphone Photography … No, I don't know now.
GEORGE: Smartphone Photography Masterclass. So yeah, if you go to martialartsmedia.com/courses, just look for any combination of those words, the Smartphone Photography Masterclass.
FRANCINE: And me.
GEORGE: With Francine, there's probably a picture of her in pink.
GEORGE: Good little brand education on that. Check out the course, it will be super helpful. Will save you a lot of time, a lot of money. What I got from the course, and you know I was just a facilitator, all Francine's knowledge. And I was fortunate enough to learn side by side. The good thing that I got from it is it's all the little things, that it's not rocket science.
It's just things I didn't know. And now I know it and every time I'm taking photos, I have these new trigger points in my mind for things that I have to look out for. And that's what makes a big difference and adds to your value. So Francine, thank you so much. And we'll probably get together soon for round three, who knows?
GEORGE: All right, awesome. Thanks so much. Speak to you soon.
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