The photography journey with Jacob Gomez

Uncover the fascinating journey of a visionary who transitioned from the precision of mechanical engineering to the artistic allure of full-time photography. 
This episode is a goldmine of insights. Jacob Gomez generously imparts tips and tricks, offering a compass for beginners navigating the intricate landscape of photography. From mastering the basics to finding your unique creative voice, this conversation is a valuable resource for anyone looking to embark on their photographic journey.

Transcript

Hey, what's up, guys? I've got Jacob Gomez here. I'm just going to let him introduce himself from here on and kind of give us his breakdown or however he wants to share how he got into photography. My name is Jacob Gomez.

I am a photographer videographer. I also deal with marketing. I kind of do it all.

I've been doing this for a couple years now, and, yeah, it's been a ton of fun. I've really enjoyed it. Nice.

So what did you do before photography, if you don't mind? I went to school for about four years for mechanical engineering. Okay, cool. Yeah.

And then didn't like that? No, I kind of went into it at the beginning. I think this false sense of what it was going to be. I'd see all these guys on YouTube doing all these crazy projects and stuff like that.

Super cool. And I was like, man, I want to do that. So I went to school for it.

And, yeah, four years in, I found out. I was like, this is not anywhere near what I thought it was going to be. Basically chucked four years in the trash and started over.

Nice. That's cool. So what is it that drew you into picking up a camera? What got you to that? So, back in 2019, 2020, somewhere around there, I met my now girlfriend, who was big into photography at the time.

She had a Canon Rebel T Six. She was traveling all around, taking all these cool pictures, and I wasn't really into it at that Point, but when I kind of Realized that this Whole mechanical engineering Thing Wasn't Working for me, I wanted to try SomeThing else I could be CreatiVe with. And she was doing that a lot at the time.

And I said, you know what? Screw it. I kind of want to try it out and just see it. So I bought A camera on KSL, and I kind of went to town on it, fell in love with it.

Nice. Very cool. What about photography? Do you enjoy the Most, I would say the creative side of it more than anything.

I feel like throughout Everything that I'Ve Tried in My life, It's Always been like Chasing that Creative Side of Things and just finding an outlet for it. Photography gives me that in a huge way. I really enjoy that more than anything else.

Very nice. Yeah. So I take it the way you made this sound, you're doing this as a full time gig now? Yeah, it's full time.

It takes up my Whole week. I mean, that's not a Bad thing. No, I love it.

It's Definitely not a bad way to be. I really enjoy it. It's time consuming at TiMes, and it takes a lot of work, But I love it.

What are some of the projects or Work that you've been doing or Something that you'd like to really share about? Yeah, so A lot of the professional Side Of Things, I've been doing A lot Of Work With A company called Plan B Trucks. They're building custom Humvees and Hummers, and I've been working with them really closely for coming up on about two and a half years now. And I've Really EnjOYEd that, Working With Their marketing team and Shooting A bunch of content for them.

And we've got some pretty cool stuff coming down the pipeline for anyone who's interested in Hummers. That's cool. Yeah, it's been fun.

But on the non paid side, I've been doing a lot of street photography lately and really hitting that hard. It's an awesome Outlet. So just building a nice portfolio of street photography, really just for fun more than anything else.

But I've really EnjoyEd Digging into that as just a full Fledged Kind of side project. Very nice. That's cool.

How did they find you with doing the plan B truck stuff? So it's actually kind of funny. They found me when I was just getting into this. So when I first got introduced to them, in no way, shape or form was I a talented photographer or videographer.

But as I worked with them with other things is when my skill set kind of started to grow in that area. And once it got to a point, it kind of made the most sense for me and to step in with them and help them with their marketing efforts and with all the content that they needed, and it kind of grew from there. So that's how we formed that relationship over the years.

No, that's cool. And then with the street photography, how do you go about doing that? Because we're going to probably have someone that's listening, that's like, oh, I want to do that. But just the idea of taking just random photos on the street sometimes might feel weird to somebody.

No, it's the weirdest thing, 100%, but you kind of get over it pretty quick. It's just the worry of somebody catching you while you're taking a picture, especially if you're taking a picture of people, gets a little creepy the first time. You kind of feel like a dude in the bushes taking pictures of people.

It just feels weird. But when you get to actually get those good photos and you capture people living their lives, it's an amazing experience, but you just got to go out and do it. You won't get over that fear unless you actually go out and do the thing.

Yeah, no, I like that answer. That's cool. I can relate to that a little bit.

I haven't done it in quite some time, but I did a little bit of traveling in Germany and was up in Amsterdam and was full into the street photography. I mean, I've got pictures of mean, I felt a little bit more at ease maybe doing it over there just because the culture of Germans and some of those European countries, they will stare and they don't care. It's not polite to stare.

Am I saying that right? Yeah. They don't look at it as it being impolite to stare. It's just kind of something that they'll do without really even knowing whether they're doing it.

And so having my camera out, I'd be messing around. And I think being able to use the back of your screen and stuff kind of makes it a little bit more fun now because you know what you're getting. I was drawn to it at that time, and I got some really cool photos over there.

Well, and I'll tell you, and for anyone that's listening and wanting to get into it, also, just remember a lot of it has to do with where you're know, I live here in Utah, and things are super calm here. The people, for the most part, are relatively nice. And so when I'm in, I shoot a lot of street photography in Salt Lake City.

And for the most, like, everyone down there is really cool about, you know, if they catch you taking a picture of them, they'll usually smile and wave, and you guys both go about your. Sometimes they might think you're a little weird, but it is what it is. But I was down in San Francisco a couple months ago, and totally different vibe was I put my camera away pretty quick after shooting for a little bit down there.

And I definitely wasn't putting cameras in people's faces just because it's a whole different vibe there. Maybe that was just the time that I went, but I realized that I'm pretty lucky to have a cool culture of people here that are more kind, I guess I'm not saying that people in San Francisco are mean, but it's just a different culture there, and maybe they're not too keen to having cameras put in their face. Yeah, no, I think that's pretty.

I. While I was also. And this is just kind of my own take on it a little bit, but I had someone that was from Germany, and I told him, hey, what if I wanted to take some kind of picturesque kind of image of this person that's sitting on a bench, but I want to actually frame it right, or do some cool things with composition.

And they're going to know at this point that I am taking a photo of them. And I asked them, I said, how do I say that? And I'm going to slaughter the phrase at this point, but it was like, ish Lizumachande buildEr, which is basically German for I like to take pictures. And then I think it was darkish.

Anyway, it means may I? So you would tell them you like to take pictures and then you said, may I? And kind of breaking that barrier of like, there you are. Now you've asked, and the worst that they can say is, no. But, I don't know.

It worked a few times, and then other people are like, no, I'm okay. I'm like, all right. But I don't know.

I just think street photography is so cool, and I think it's cool that you're really into it. And I think there's a lot of fun things that can be captured just by pulling your camera out and capturing people doing what seems like mundane tasks. So I think it's really cool that you are drawn to that.

Yeah, no, I love it. There's just kind of beauty in capturing everyday life, and it's not scripted, it's not anything like that. It's just capturing stuff as it happens, and there's beauty in that, and I really enjoy it.

And sometimes you'll go out for 5 hours and you'll get nothing, but sometimes it'll be a crazy Day and you'll get a bunch of really nice shots. But it's just kind of cool because you don't know anything past, you don't know anything about the person that you just shot a photo of, but you can see them existing in that moment, and you get to capture that in whatever they're doing, and you guys will probably never see each other again, but for that little second, like your paths crossed. I think that's kind of cool.

Yeah, no, it is really cool. There's a book called Finding Charles. I read it back in, I think it's called Finding Charles.

I read it back in like 2008 or 2007. So it's been a while, but it shares this experience of this photographer that goes down to New Orleans during like a hurricane or something, and he takes several series of photos. One of was like a funeral, but he goes down there to find and just help out and stuff.

And I'm not going to share too much more on it, but the story, in a roundabout way circles back to one of the photos that he took in the beginning of the book. And it's super cool how that photo helps bring closure to him and some of his search. So I guess moving on from that.

So I feel like three years is a pretty good amount of time to have a bit of a taste for the photography industry or the creative industry, I guess, as a whole. If you could change anything, what would it be? Well, when I first got into it, there was kind of a gatekeeping culture when it came to a lot of things, information wise, at least what I noticed when I was looking for stuff. And luckily that's been kind of solved in the last little bit.

Really, anything that you want to learn, I can find. And I've really gone into video editing and high level stuff, and there's really nothing I can't find anymore. I would say the community aspect of it is the biggest thing.

Just connecting people, connecting photographers, and to stop comparing your work to somebody else, that's the biggest thing. And that was the biggest. And I don't think that'll ever go away as much as I would love to change it.

But everybody's. You're always going to compare your work to somebody else, and it's when, especially when you're first getting into it and your photos don't look exactly like Peter McKinnon's or Chris Howes or whatever photographer you're really pushing yourself up against and using as an inspiration. But just, if I could just flip a switch and make everybody just appreciate their work for what it is and their own process, I would say that would be game changing in everybody's mind.

But I think we've all done it and that kind of sucks. But it is what it is. It's just part of the process, part of the game.

Yeah, I agree. I've kind of had this conversation a little bit with other people, and I feel like you mentioned gatekeeping. I think hopefully it's changing and I still need to, and I've mentioned this before, but within the rodeo photography realm, it's really big.

And I think there's a lot surrounding that because they don't want people in there that are going to photograph all what they deem as inhumane acts to animals and stuff. Right. But they don't want a photographer in there that doesn't understand cowboy culture and stuff like that.

And I totally understand that. But there's also, like a lot of. They think the photographers are older, and they've kind of been like, oh, no, this person might take my job or whatever.

I don't know what it is, but I feel like it's still kind of strong there. On the same note of that, though, I think that's partly why I've kind of created this podcast, is I want it to feel inclusive. I want people to understand and answer any questions that they have, I guess.

And I think sometimes, as I've learned a little bit, some of the business aspects, and I don't have all of the answers, but the business questions surrounding photography have always kind of been the ones that I don't feel like I get a direct answer to if I ask somebody, and I don't know if it's that, they also don't know the answer to that question. Like, how much should I charge? Yeah. So if anyone feels like the how much should I charge question is being gatekeeped, I kind of almost want to say even myself, at the 16 years of experience that I've gained, it's still like a developing and learning process because different clients, different kind of work, whether you're doing commercial work or you're doing like, a wedding, that price will change, it'll change on your experience.

There's a ton of variables to that, and it just kind of really comes down to being confident and knowing how much value you bring to that client. Exactly. Yeah.

Well, and that's the big thing, too. When it comes to gatekeeping, I think a lot of it. You're talking about the business aspect of things.

A big issue is, yeah, you're right. They're worried that, hey, this person is going to gun for my job. Right.

But if you're an experienced photographer, videographer, content creator, whatever, you want to label yourself. Right. We all have 100 different words that we use to describe what we do.

Yeah. Taking people who maybe are just getting into it and just teaching them is huge. And that helped me out a lot when it comes to learning clients and learning what a photographer client relationship looks like, rather than just kind of figuring it out for myself.

And also, let's face it, you can't do everything right. And so what I've learned in corporate photography, at least, is if you have a key that somebody else can fill for you, right? Like, if you're like, hey, I've got this going on, but I can't do, like, knowing people that you can pass that off to is huge. When I first started, my big first experience in corporate photography and videography was with a company called Kengarf Scholarship Club down here in Utah.

And that was introduced to me. They were a client of a friend of mine. His name's Austin Miller.

And he reached out to me. We actually found each other through Instagram, of all places. He just found me, and he was like, hey, I'm in Utah, too.

And we started chatting from there, but he had already developed a relationship with them, and he was like, hey, do you want to come check this out? Do you want to see what this kind of side of it looks like? I was like, yeah, of course I do. I want to learn this kind of stuff. And he was kind enough to introduce me to the heads up there, and we talked from there and formed a relationship.

But I was able to see kind of what that looked like from somebody who had already had experience in it. And he wasn't just like, this is my client. Don't you touch it.

I swear, if you even talk to them or look in their direction, he was more than willing to show me the ropes of what that looks like, and that has helped me countless times since that experience and seeing what a good client relationship can look like has been huge. So if you're at that point where you have a bunch of people and you know somebody who's trying to get into it, let them in, show them around a little bit. It's a weird, convoluted world, especially when you're starting up your own business, when you're trying to make this work, make it financially viable.

We're all in here doing the same thing, right? And I don't think there's anything that's wrong with giving somebody else the best shot possible that they can to do the things they enjoy. Yeah. And in fact, I think to take a little bit further from what you were saying, if you can mentor someone to fill a position that you've been doing, oh, yeah, you then make yourself that much more credible to that client, even though you might not be continuing to do work for them.

They'll be like, hey, this is a great, if they're not able to do this job for you, they'll find someone that can. Right? And that can be huge. Oh, yeah.

And mentorship is big. I wouldn't consider myself in the point of my career where I can be a qualified mentor because I think we're all, to a degree, still figuring it out as we go. We're never going to have it entirely, entirely figured out, but I've been lucky enough to have some incredible mentors in my time doing this not only on the photography side, but on the business side as well.

Some fantastic people that I've had the pleasure to meet and work with that have really brought me to where I am today and given me tools to propel myself forward in the future. Nice. Yeah, that's cool.

That's awesome. I like hearing that. I guess bringing that into perspective, I guess.

Is there anything that someone's taught you that was super valuable that you would like to maybe share or pass on to anyone in the audience? Let's see as far as just like, from a photography standpoint, take open criticism and work with it. So when I started working as a photographer for plan B trucks, I was obsessed with shooting like 85 millimeter all the time. I really liked those super tied up shots.

They really show off the details. That was like my thing when I started with them. And the guy, his name is Mike, who runs their marketing side, he's also a photographer.

I work with him a lot. Great guy. I absolutely love working with him.

He would consistently tell me, he'd be like, dude, back up, back up, like 30 steps. I need space to put text on the website and I can't do that. If you're shooting just a photo of a headlight, that photo looks awesome, but I can't do anything with it.

And I basically had a choice there, which was a, I could take it personally and be butthurt about it, or I could b figure out that he knows way more than I do and what he's saying has validity and take that. Learn from it. So you're not going to have it all figured out when you start and different industries require different things, and there's going to be somebody who knows more than you.

Don't take what they have to say as an attack, but as something you can learn from. I see that happen a lot where people will get criticism, constructive criticism. I think there's a difference between aggressive and constructive.

They definitely tore my work apart. Yeah, but somebody's going to tell you, hey, this is wrong. Fix it right.

And you can either a take it personally and walk away and kick rocks and be like, this sucks, and everybody hates me. Or you can be like, okay, they know something that I don't. Let's learn from it and see what happens.

And that's helped me a lot. And ever since then, I've been able to adapt my artistic style to things that help them the most. And that's how you become valuable, I think, as a photographer, is adapting to the different things that you're doing.

Yeah, no, I completely agree with that as well. So you kind of named this off. I have a question here that says, favorite thing to photograph.

You mentioned street photography. Is that what your answer would be, or would it be something completely different? Funny enough, something completely different. It's cars.

Cars. 100% it's cars. The thing is, for me, is working with plan B trucks and working with the people that I've met around there.

I get to shoot automotive photography pretty much all week. That's what I do. And it's a lot of fun, and I wouldn't trade it.

And a lot of that comes off my experience. And when I started shooting portraits and stuff and trying to wrangle people and being like, okay, I need you to do this. I need you to do this.

Like cars, you don't have to do that. You put them in one place and you do whatever, and they don't sit there and you don't have to coax them to do anything. It's nice.

It's so much fun, and I just love it. Not street automotive photography and videography is what brings me the most joy out of this art. Street photography is my reset, though I might really love to eat peanut butter and jelly sandwiches.

That might be my favorite food in the world. But every now and then I got to take a break to reset from it. And that's street photography for me.

I have to reset every now and then or else automotive photography gets dull. Right? No. Very cool.

I like that because you need to reset, take a break from the ordinary and break up it, or otherwise it just becomes a mundane job. Right. And that's the thing more than anything else, is I love this because it doesn't feel like a job.

And so everything that I can do to keep it from feeling that way, that's what I'm going to do. I'm excited that I like what I do because I understand that that's kind of a privileged thing to really enjoy going into work and liking what you do and leaving feeling like, man, that was awesome. Not everybody has that.

So while I have it, I'm going to do everything I can to keep it there. So that's what street photography is for me. It's a break from the ordinary.

Like you said, automotive is all I do all week. Street photography is how I reset and come back to it with a fresh set for the next week and how I keep it nice and fresh. Nice.

I like that. What goals for photography or life do you have? Well, for photography and life, I really want to scale up my business. I started that up last year, and right now I basically had a choice.

I was like, okay, I can jump into this headfirst and go after it, or I can take a little bit more time and understand what this is and go from there. But I'd really like to scale up my company. It's 24 millimeter media, but right now I'm just kind of developing skills and gaining a little bit of traction there before I just take off with it and drop everything and gamble on that.

For everything else, I would say just, I would like to keep on progressing in my field and keep on getting better at it. I'd love to meet new people. That's my favorite part about this, is meeting new people, meeting you other photographers around the area.

I've had the pleasure since I started this to be introduced to so many great people, and I'd like to keep that going. That's a big thing as far as just life in general. Getting married is up there and it's in the talks, fun stuff, but that's a little bit ways down the line, just kind of getting the whole life thing figured out.

I don't know that ever ends. Yeah, no, 100%. It's always a developing.

Yeah, 100%. And that's the great part, is that there's always something that you can be doing. So I don't think there's ever a reason for life to be boring.

Might not always be great, but it sure can't be boring. Exactly. That's true.

Yeah. What tips for people starting out or wanting to get into photography do you have? Buy a nifty 50 just right off the gate. Whatever camera you have, whether it's a canon, an icon, or a Sony, buy a nifty 50 and just go from there.

Because the biggest thing that killed me when I started was I had bought a Canon 80 D, and it had the kit lens, the 18 to 55 and a lot of. I know, right? But that's the thing is when you're starting off, you don't know that this is a camera and it has a lens. And I'm going to go take pictures.

I'm going to go take pictures like Aaron Brimhall. I'm going to go take some crazy shots and then they don't ever turn out that way. And you don't know why.

And it's because that lens is garbage. It is. And all kit lenses are garbage.

I shouldn't say that, but they take, like now in my point, in my skill set that I have acquired, I can take that lens and I can take a good photo with it because I understand how it works. It's a lot harder to take a bad picture, though, with a nifty 50. And I feel like that keeps the excitement alive because once you get that first photo that has the nice Boca in it and the background separation, you're like, I'm a photographer, I'm going to do this.

Yeah, I completely agree. The 50, I won't go into it too much, but it forces a person, that's the only lens that you've got. It forces you to take and frame pictures to get the composition right.

And you don't have any other choice. No, you don't. And also, it helps you learn a lot of the different ways about how your camera works.

Because I use the Canon 18 to 55 because it's the only one I have experience with, but it's a variable aperture. It's like F 3.5 to 56.

And if you're starting out and you have no idea what variable aperture means and the effects that it has on your photos, you're going to be super confused and you're going to be like, why are my photos getting darker, brighter and what's happening? If you can just eliminate that completely and you can just have f 1.8 or whatever, it helps you learn the building blocks, I think, faster and have better results that come out of it and more results that keep you excited, because that's the thing. If you pick it up for any new photographers out there, you're going to pick up a camera and you're going to shoot a bunch of pictures and you're going to be like, why isn't this working? It happens.

All of us do it right even now. And I've been doing this for a while. I feel like my skill set is higher than, I would say, the status quo.

The average, I guess, is a good way of putting it. But even then, I still go at it. And I'm sure you do it too, where you'll take 100 pictures and you'll be like, none of these turned out.

And I don't know, like, none of these are. Well, I know why after the fact, I'm looking at them going, dang it, Adam. Because I know enough that I'm like, but at the same time it's like, oh, I was just kind of running a gun and then I was like, wow, I needed to slow down a second.

And where I was at, exactly. Yeah, it happens to all of us. So if you're new and you're getting into this, don't get frustrated about it.

It happens and it's part of the learning curve, it's part of the process. But I just feel like having a prime lens really forces you to get into the creative side of it rather than just the, ooh, pretty thing. I'm going to take a picture and I think that has very huge long term effects to you as a photographer.

And also a nifty 50 is dirt cheap in the grand scheme of things. It's like, what is the canon one going for now? Like $150? The super cheap one was 150. Then they have a medium grade one that's like 350.

And then you can take it to the professional one, but then you're over 1000. But even if you're like, well, I don't want to be super cheap, even the medium one is fairly reasonable. Yeah.

Also learn how to buy used gear. Yes. That's huge.

There's a bunch of videos out on YouTube about buying used gear and things to look out for. If you can learn how to buy used gear, you will save yourself thousands and thousands of dollars in the long run. It makes a big difference, but you really have to be smart about it and know what you need to look for.

So research how to buy used gear. Go on Craigslist. Facebook Marketplace.

Probably not Craigslist, but yeah, Facebook Marketplace. If you live in Utah, KSL is awesome for. Yeah, that's a huge thing for me.

Starting out, I was able to save a lot of money doing that. Yeah. And then I want to say Adorama does a lot of used gear, too.

They'll sell used gear and it has a rating on it even. Yeah, Adorama. Keh.

I've bought a lens off of Gearfocus.com. I feel like we shouldn't be name dropping these without them paying us first. Well, I mean, I'm saying they can buy used gear, not which is.

I don't know. I don't know if they're making a profit off that. Maybe they are.

Yeah. Who knows? I'm trying to help people out, right? Yeah. So I've bought lenses off Gearfocus.com

before, and I've had good experiences there. You be smart about know. Know what you're buying, know what you're looking for.

YouTube is your friend. Just absorb as much information as you can. The second that you're approaching a situation like, I know everything, that's when something has gone.

So I would say that's the biggest tip to somebody who's starting out. Yeah. You've never learned everything.

Trust me. I just shot a wedding this last weekend. I saw that.

Yeah. I was messing around with the new RS three, the Ronin RS three. I was doing video, but I was ready to chuck it across the room.

And even then, there was a portion of that that I was like, no, not even messing with the gimbal right now, because I cannot figure out why it doesn't want to work for me. And it was like real simple. But anyway, it was like a wrong wire that was plugged into a different spot.

But don't be afraid to go back, I guess, I don't know, giving a little advice here, but don't be afraid to stick with what you know. Especially when you have a client that is paying you. Stick with stuff you know.

Don't be trying to figure out something right then. And that moment, and I did, I was like, I'll come back to this, but let's go back and just use the monopod for stable shots. Right.

And that's the thing is, I never recommend guinea pigging on your clients unless they are aware that you're guinea pigging on them. However, if you're going to do it, have a backup plan. Like you said, you had a monopod.

You knew. If this doesn't work, I know what I'm going to do to get these stable shots. Right? Yeah.

Never, ever put all your eggs in one basket and not know what basket that is. I've seen it happen. It can be bad if you're experienced and you know what you're doing and you have a backup plan.

Yeah, a little bit of guinea pigging here and there is never bad. But when you're just starting out, make sure you know what you're doing before you, for lack of a better term, before you make a fool of yourself. Yes, I've done it.

And that's not saying, yeah, I've had it happen when I started out, you walk in all confident being like, I'm just going to make it look like I know what I'm doing and it'll work out. It's not. Take time, hone your craft and then present it.

Like you said, don't use the work that you're doing for your client to figure things, new things out. You need to do that on your own time. That comes into the learning and stuff that we've kind of talked about.

Oh, yeah, I'll share a story real quick. When I first started doing this, I was learning about white balance and the different things that white balance does and didn't really understand it. And I was dinking around with it.

But anyways, I'd gone into this smoothie shop here that's local, and I was like, hey, I want to shoot some free stuff for you. I think I saw somebody on Instagram do that, and I was like, cool, I'm going to try this. So I went in, I was like, I want to shoot some free stuff for you.

So I did ate up like 2 hours of their time, right? And gave them the pictures. And I went back and looked at them and I was like, these are horrendous. Like two years later, I'm like, these are terrible because I shot them all in cloudy white balance.

So all the photos were super yellow. Everything was wrong. Like the skin tones, everything.

They looked atrocious. And so that was like two years ago. It was probably three years ago now.

At this point, I just went in there a couple weeks ago, and I was like, hey, you remember me? And they're like, yeah, we remember you. And I was like, I owe you a do over. I'm sorry.

And they were cool about it, but I didn't know what I was doing. And I went in there and I did it. I wasted their time totally.

And the results were bad. So if I would have taken a little more time to understand white balance and what that did then it would have made my life way easier. And also in my editor.

If I would have known I could have fixed it in my editor, then that would have helped. But I just didn't. I wasn't there yet.

Yeah, I guess we'll probably try and wrap this up. But where can those that are listening find your work? Most of my work, probably not great. It's all on Instagram.

It's the Jacob Gomez. That's where a big chunk of my stuff is. Got a website.

It's a portfolio website, but nothing that you're going to see on there. Is not on my Instagram page for the most part. I do have a cooler website coming, but you guys will just have to follow me and watch out for that because that's going to be fun.

Yeah, all my work's up on there. I use TikTok sparingly for short form content, but not nearly as much anymore. All my video and photo stuff is mostly social driven, so it's all on Instagram.

Nice. No, I appreciate it. Thanks for being on here.

Yeah, man, thanks for having me. I really appreciated it. And yeah, if anyone's listening and they have any questions for me after this, shoot me a DM and be more than happy to chat with you.

I like to consider myself a very community oriented person. So if you're a new photographer and you're looking for some pointers or something like that from somebody who has also, I would say, fairly recently gotten into know three years is three years. But it's not that, you know, I'm more than happy to help and point you in the right direction.

That's what I enjoy doing. Nice. Thanks, Jacob.

This is awesome. Appreciate it. Thanks for being on here.

Yeah, of course, man. Thank you for having me. Big thank you to everyone that's made it this far into the episode.

Thank you for being here. Thank you for listening and being a listener. If you have not yet rated us on Apple Podcasts, that helps us out.

A megaton. It's the big thing that helps make our channel, this podcast rank and grow. Basically.

It helps me to be able to do more of these. Again, thank you guys so much for being here. If you haven't yet subscribed so you get notified with every weekly episode, every Wednesday, every morning.

We would love it if you would subscribe again, thank you guys for being here. Thanks for listening thing, and we'll catch you on the next one. Thanks.