Mica: [00:00:00] Welcome to the 61st episode of the Savory Shot. A podcast about the art and soul of working in food photography. Y'all know who I be, I'm your host with the most, Mica McCook. I'm a food and beverage photographer based out of Austin, Texas. First and always, I'd like to start this show off by thanking y'all, the listeners, for continuing to show up and show out for the Savory Shot.
I've said this once, I've said it twice, and I'll say it every single time. This show wouldn't exist without y'all, the guests, the listeners. Y'all keep me going. So thank you for being here again and again. And if this is your first time joining us on The Savory Shot, welcome to the Hot Mess Express. I hope you like it here, but let's talk about today's episode.
Today's [00:01:00] guest is someone I'm excited to introduce to y'all. We made an instant connection and I'm thrilled that we crossed paths. So without further ado, further delay, further roadblock, I'd like to introduce y'all to Kris Connor. Kris is an award winning New York based celebrity chef and restaurant photographer.
Who has been behind the camera for over 30 years, y'all. He seamlessly merges artistry and culinary storytelling in collaborations with chefs like Carla Hall, Wolfgang Puck, and Bobby Flay. You've seen his work on brands like Food Network and Casamigos Tequila. Born with achondroplasia, he underwent multiple limb lengthening operations that gave him a unique outlook on life. This distinct viewpoint is evident in his [00:02:00] photography as he seeks to highlight the beauty and craftsmanship and both food and those who prepare it. Whether it's for a campaign, editorial or a special project, he is excited to collaborate with y'all and showcase the art of food and the chefs behind it.
Y'all, I hope you enjoy this episode as much as I did. I love meeting and talking with photographers who have been in the industry for as long as Kris has. He's truly seen the photography industry grow and change and evolve over the years. I feel like his insights and perspective are one that every growing photographer should take heed to.
I'm not going to get into a rant about that. So grab your coffee, kick back, and let's start the [00:03:00] show.
Mica: Kris, I just want to say thank you so much for being on the Savory Shot. I'm excited for this conversation. I want to start by asking you about the beard because I need to know the story behind it.
It's part of your branding and your logo. When did this luscious, gorgeous beard of yours begin?
Kris: The beard start actually winter of 2011. I always kind of have [00:04:00] had facial hair for most of my adult life. I used to have like little chin patch in my 20s and then for a long time I did a scruffy face. And winter in Thailand didn't shave for a while, but it was like hot. So I'm like, all right, I'll shave and then when I got back to US, it was winter time with DC. So i'm like, all right perfect time to grow it. It used to be clean and then over time it got longer it's been about the length it's been now, but yeah, it's been really funny.
I noticed definitely in the DC dating area. I was single. And just started online dating Like Hinge, I felt like it helped me stand out. It definitely helped me set apart. DC is a very clean shaven, I would say Vineyard Vines ad, Abcrombie Fish ad type of town And so it helped me step apart from my competition and then it just grew. I started Twitter for it that a lot of my clients like, and I've done some social media with it.
In 2022, I went through a rebrand and had this designer Kirby Rouse, he created one with a [00:05:00] beard. The joking thing I say is I can't cut the man bun or the beard or have to go through another logo. Uh, but I mean i've had it for 13 years.
I don't think it's going anywhere.
Mica: No, and nor should it. What kind of maintenance goes into maintaining it and keeping it looking like it's gorgeous.
Kris: I know I need to create a little fan club for it. The daily maintenance is not too bad. I wash it two or three times a week. Brush it. Put some beard balm or beard oil in it. About once a month , I'll go with a barber.
When I'm in D. C. visiting, I go Help on barber. And when I'm back in New York, I go Kramp's Barber in Bronxville and have a barber do, because it's too long for me to do it, trying to look in the mirror. I have even a beard straightener. So it's definitely, I have my own little bag of beard products, brushes, combs and, a straightener.
So it does have its own thing. Because it'll get, like honey gets stuck in there. It's definitely its own living element in a sense.
Mica: You were talking earlier about how you went through the rebrand. The [00:06:00] challenge as a commercial photographer is how do you present yourself professionally, but still keep that personal touch? They have all these different tips and advice about what your website should look like.
How do you put out your personal story in a photo or in a logo? I feel like your logo with your beard like that just says, Okay, this is something that really stands out. Was that intentional when he presented that logo?
Kris: As we went through, we tried different logos and went through different rounds. We started to see that kind of morphed into its own thing. He even sent me mock ups of what it would look like in a backpack or a hoodie or a beanie. My brother, his girlfriend works in the coffee industry and I'm like maybe do small batch coffee with it.
It's kind of morphed into a thing that can run off if I want to create other avenues. I see so many photographers use the aperture ring. Then you're stuck only using that for photography where I want a [00:07:00] logo that more about my personality and who I am also could transcribe across other genres of business that it wasn't just stuck in this.
Cause, they say once you build a brand versus commodity. Then, it's endless. I've thought about getting a stamp.
I said, badges is on my email headers. On my signature is my Instagram profile. We also worked with a color palette as well. We have a teal and then a plum color and then the gold color. The font I use is called Corn Dog.
Mica: Oh, I love that. font.
Kris: Yeah, so there's like a bubble, like, he's an amazing designer. Unfortunately he's gone staffed somewhere, so he's left the freelance world. Everything from the envelope, to email signature, letterhead I can put on packages, I can put on a t shirt.
So it just really has become its own thing. I've, I've seen very positive. Um, there's, I mean, there are also some other consultants that I've come across that are like, Oh, maybe you change it, you know? So [00:08:00] you're always going to get different opinions. It matches well in the restaurant chef world. The last couple of years narrowed down into that genre, I definitely see it fits better. And now I'm starting to color grade my images to see about matching it. I noticed like my food portfolio, had a lot of warm images.
I'm not like, when I was like food photographers, I see like a lot of bright color, like mine more like homey, warm so it kind of just really fits in well and shapes the way I shoot and tone my photos playing with the presets and stuff and kind of create around it.
So it was a really coherent body all around.
Mica: I like that you said the logo and branding you've created, can go across multiple industries. That's super important. I actually just went through my own rebrand, my website debuted, and it was probably, one of the most difficult experiences. The first time I did a brand, it was under the name Austin Food Guide, I started Austin Food [00:09:00] Guide to practice my food photography.
I mostly worked with restaurants. Most of these restaurants that would reach out to me, hadn't realized they were already following me on Instagram.
When I finished school, it felt natural to continue under Austin Food Guide and make it more of official. But then, pandemic hit, all my restaurant shoots just meh. And then I got into commercial studio and there was that disconnect. Which is why I decided to rebrand under my name. And it was difficult because Austin Food Guide felt so personal to me. But I'm not hiding behind Austin Food Guide anymore. It took a lot of being brave enough to embrace that and being okay with that. And then trusting the process.
And trusting that the people that I'm paying to do this for me know what they're doing. You have a really interesting background on [00:10:00] how you made your way towards food photography, you started in photojournalism, you covered politics got into portraits.
So I'm curious to hear about what inspired your move from photojournalism, portraiture to eventually food photography.
Kris: I've had a very long history with it. Actually the other day on my Facebook memories was me holding the last physical copy of the Washington Post Express, which is a newspaper that the Washington Post produced that they gave out at Metro Stops in DC. I got my start about early 09, shooting their weekend edition, doing restaurant reviews and food reviews for them. DC food scene wasn't close to what it was a day. And then fell out for a while.
It was more shooting the entertainment world. I work in the spectrum where celebrity and entertainment meet food. Started doing a lot of branding shoots for like Pepsi and Bud Light. [00:11:00] 2016, I became one of the house photographers for New York Wine and Food Festival.
Shooting dinners where they bring in celebrity chefs like Michael Ortega and John George. People pay tickets to eat dinners are cooked by these people. Also cooking workshops from 2017 to 2022. I did a column with Judy Ju in OK Magazine where she interviewed her celebrity chef friends.
Over the last couple of years, I've been doing my rebrand. We narrowed it down to celebrity portraiture, corporate portraiture, food. I took 2023 off for some physical reasons and to have some surgery. As I come out, I'm like, all right, I want to narrow it down even more.
So I'm like, you have this big body of work with celebrity chefs, which, I shot for Food Network to Beat Bobby Flay and Unwrapped. So narrowed down to, celebrity chef, hospitality, restaurant section. That's really my thing.
I'm either comfortable on a TV set, or in a busy [00:12:00] Michelin star restaurant. Which incorporates a lot of the photojournalism that we're doing when I was shooting for New York Wine and Food Festival. I was shooting a lot behind the scenes while they're in a kitchen, preparing and making. I actually just did a photo therapy session. This consultant named Stacy.
Mica: Think it's Dipper, Switt, Switter, Switterski. Swiderski, Stacey, I'm gonna, I'm gonna invite you to the show so you can tell us and the world how to properly pronounce your last name.
Kris: It made me look back she's like, what do you want to do though? I'm like, I really want to go food. I've been doing some headshot work, but the avenue I'm not really interested in.
It made me take a step back. Now kind of doing an audit of my body of work. For example, in 2012, I did a job, a chef actions network. Some of the top chef judges were on Capitol Hill lobbying for programs. Now I'm trying to see this political connection. I'm like, all right, what other times? [00:13:00] Like I've done work with Save the Children. I'm trying to see more of the lobbying and political side connection to food, because that's a big topic right now in this election. Food cause, childcare and all these things.
And it's really connection with humanity. So it's now taking all this and seeing how going back to branding. How's my body work different?
I think in this day and age, you gotta know what you want to do. And we try to overthink things. In the food and restaurant genre has really helped me a lot to deal with people and get a chef in front of me who doesn't want to be photographed, but be able to break down that barrier.
Mica: Oh man you hit something on the nail about chefs and there not being enough portraitures of them.
What's been your experience with that, though, with reaching out and connecting with chefs and building relationships with them?
Kris: It's a slow process. They work a lot. Five, six days a week, seven hours. So you gotta be flexible. You hear our parents stories where our [00:14:00] dads ask our moms out 10 times and they finally said, yes. I think it's really letting these relationships marinate, going by where they work, and just have a beer or have a meal.
I met Chester that way. There's a little restaurant in city Island, I met the chef on a Saturday afternoon in between their busy times. I found out he worked for John George. We've been in communication. There's a photographer, Jimmy Sullivan, he came from the chef's side and he talks about it. Just really letting these relationships marinate and realize this is a marathon and not a sprint, right?
I think so many people are like, all right, you need to build, definitely with social media.
With social media is the part that turns that we feel like we got always be producing content we always got to be showing something so it's like you're not willing to let things like projects marinate and take their time.
Mica: Oh, the word you're saying, marinate, like that. Not to be corny about it, but chef's kiss. The pressure to constantly [00:15:00] post, here's something new, here's something new. When I was feeling pressured to post on Instagram three times a week, it killed my creativity.
Kris: National food days. Like you're like strapped and you're you're like, oh my god, like and you're like.
Mica: Gotta find a burger.
Kris: I like what burger and you're like, and, you know, there was a time where I'm like, all right, even though it's not the greatest picture. Now I'm like, is this really going to bring new business?
Mica: That brings me to a question. It's hard for some photographers to be objective about their work. Do you have like a checklist or checkpoints of what you determine to be share worthy?
And if so, what are some of those things? Is it intuition? How do you know when you have something really worthy of sharing and how do you accept when you don't?
Kris: Gotten a lot better at accepting that I don't. I've never gotten older, just comes with being in the business for a long time. There's been many times I've done projects that I thought were amazing. This happens a lot in the [00:16:00] entertainment television world where you'll work on a project, definitely in a commercial advertising world.
And it just gets scrapped. Those pictures will never see the light of day. And I've done products that were months long and it just done. Deciding what to post, I think the number one question I said, ask myself is, does this fit my brand? Does this fit the work I want to go for? I shoot a lot with my X100 but a lot of my client work is I use our, strobes and stuff and I'm trying to find, how do I find this balance that looks like a coherent body of work?
Today actually came up on Facebook memories where I did a premiere with Brad Pitt and Tommy Lee Jones for Ad Artar, maybe in about like space in 2019. I'm like, Oh, this is really cool. But does this fit who I want to get hired by and for, and does this fit my buyer work?
And I'm finding that, I was actually just thinking that this morning, I feel like about 90 percent of what I've [00:17:00] shot, if I took it, would not see the light of day today. Just cause that's not where my work is. It might mean a lot to me, but, will that translate to the audience? When I used to do portfolio reviews for a couple of colleges, you get these young kids, and they're like, I spent eight hours on this photo, I love this photo. I'm like, okay, if you want to keep it, great, but keep it in your print portfolio.
There's work in my print portfolio, and there's work on my website. Social media. You have to think when you post that photo to Instagram, how would the audience see it? Do they see as important? Do they see as a good image? Do they see it as, this is a Kris Conner image. I strive to get the point that if somebody looks at one of my photos, they go, all right, that's Kris Conner.
I saw a local magazine and I know some photographers, I couldn't already say who that photographer was.
Mica: Just based on the photo?
Kris: On the photo, the lighting, I'm like, that's Scott. We meet for coffee and talk about that.
Don't be afraid because you did this really great job for Nike or [00:18:00] Applebee's. There's a way to let people know that you have the client, but if it doesn't fit your body of work, then maybe doing the tear sheets.
That's what tear sheet sections are great for. I look at some photographers you go to their tear sheet. section and it looks totally different than their portraits. I think the third one, is how often am I posting? Have I posted something similar recently? So it doesn't become repetitive.
Mica: Those are good questions to ask yourself.
You mentioned earlier that you did portfolio reviews, that you gave portfolio reviews to other photographers, and you're part of different Facebook groups and forums. I love that you are giving back to the photography community. Why is this important to you to do these portfolio views and to be part of these groups and to share the knowledge that you've gained over the years?
Kris: One reason is learn from my mistakes. Learn from what I made wrong. What I've noticed is photographers are coming in because it's so easy. They're not going the [00:19:00] traditional route like school or through organizations. I've had, when I was part of ASMP, it was American Society of Media Photographers, and they do magazine editorial. We're part of that, and then we did APA, Advertising Photographers of America, and now they're American Photographic Association.
But the point I was getting to is, I see so many photographers in these groups that don't even know they own the copyright.
I remember years ago, I was in nightclubs, and a club owner. We got an argument. I said, I pay you, I own the club, I own the rights.
I'm like, all right, go talk to a lawyer. It's just that knowledge of how they'll handle things. The clients like they haven't paid me yet. All right, send me a cease and desist letter.
I'm big on a deposit retainer. Now, we both have skin in the game it doesn't happen often, but I did have a sushi delivery company, they had their creative director on site, and she verifies things, the owner, in the end, not being happy. I'm like, Hey, we can do a reshoot for this.
And he just cut communication. My production fee was covered. He didn't get any of the images. So it's that knowledge. And it's also [00:20:00] just, sharing. I've learned a lot. I got my start on Capitol Hill in 04. I was next to guys who were Pulitzer the prize winning photojournalist for Time Magazine, Newsweek, New York Times. And some of them literally grabbed me by the shirts a few times, say, Hey, go here and help me along. But they didn't have to, they're like, Oh, here's this young 22 year old guy up here. And it's going back to branding. Can they take my clients? Maybe they could, but I'm not really caring. Help the next generation, that's going to keep this business going because unfortunately, we got AI now, everybody's a photographer.
It's not dead and it's not dying, but it is changing.
Mica: I saw a LinkedIn post yesterday about how photography programs are taught by professors who have never actually been in the field. So they can't really tell you what's what.
And I mentioned that this goes around to most arts based programs. How do we get active [00:21:00] working photographers to teach in a collegiate setting? Because you're right, to get into photography, you don't need to go to college. But for those who feel like they do, they're setting themselves up for disappointment because they're being taught by professors who went straight into teaching right outside of school, so they have no actual experience. I would like to know from you, what incentive would you need to teach in a collegiate setting, if offered?
Would you need any convincing?
Kris: I'll be honest. I wouldn't need it much. I would love to do it, I'm getting older, so it's like going out in the field.
I would love to teach the next generation. My biggest complaint about a lot of art schools in New York, I was on that crusade for a while, anti art college kid. They had a panel and I'm like, what is, and I asked is like, what is the R O I?
On your guys at school, cause you got a 30, 40 grand a [00:22:00] year. What is it? And nobody really wanted to answer that because they didn't have that. But I'm like, you're feeling these kids up that they get out, they spend four years, they can't even do a simple contract, they can't do no market. And some schools do a little better, but, licensing, all this stuff, great.
The teaching is the art of it, but you got to learn the business. The old route was you go assist. I was mentoring a buddy earlier, he said his master's was assisting in New York and he assists a lot of working photographers.
So you have people that also like, I'm going to be a professional photographer, I made a, you know, a studio in my kitchen. And now I'm going to be a food photographer, which is great. But they're not knowing, all right, how do I license this image? How do I, like I said, write a contract, just write in the proposal.
A lot of those photographers are undervaluing themselves.
Mica: What I loved about my program is that they at least tried to teach us the business side, but there just was too much [00:23:00] information to cram into one class. A lot of lessons I've learned from other photographers from workshops that I've taken outside of school.
I've had to really go out of my way to learn on my own. Those who can't do teach, it can't apply to an arts based program because we need the ones who can do to teach.
Yeah. So how do we get the ones who can do to teach, what incentives do they need? What requirements do colleges need to make exceptions because they can't treat art space programs the same way that you would a business or a computer science major.
Maybe someone doesn't have a Master's or a PhD in photography, but they've been working for 30 years. They are way more qualified to teach than, Kevin, who got his PhD, but never actually worked as a freelancing photographer.
Kris: You're saying you came from theater. Look at acting, how [00:24:00] many actors actually went to acting school and have a degree in acting, but you're like, Oh, they can't teach, because they didn't go that. But it's like, Hey, if you have two Oscars, that's a PhD.
Or like sometimes you get honorary doctorates, but, if you sit there and say, all right, you got to have a master's, you got to have this, you got to have that. Photographers are going to do that, and what about people who later in life the other route is you teach workshops, but we're all doing workshops, it's not as much money as you'd think.
University came to me and said, teach two or three classes a week. This is what will give you, health plan and stuff. I would do it. They need to be like, this is art program.
We should not have the same requirements as a computer science program or a biology program. We should say, all right, career adds up and this guy's career, is amazing or this girl and say, all right, this is equivalent is those students will learn a lot, from their students and be much more prepared.
Mica: I want to close out today's [00:25:00] interview by asking you about achondroplasia. I feel like that's such an interesting thing to know about you. I've heard of the limb lengthening surgeries.
I watched a documentary about it and I was just like, Oh my gosh, that sounds like a really tough thing to go through. What's something people don't know about that time in your life?
Kris: I went through limb lengthening starting at the age of 10. I had three operations on my legs and one operation on my arms. The last one being when I was around 15. I predict the height was four, three. My now high is five two. So it's definitely made it much easier to operate in the photography world.
I hid it the first half of my career. Now, one thing too, I think was really great, going back to branding it's about showing what makes you more unique.
The industry's changed a lot more. It's not all white dudes. It's still a lot but using what makes it unique. And I've found like sharing my story. I've done some projects. I have a current project I'm working on. It really helps that part. I've even applied for some [00:26:00] grants, like Getty has this disability.
I've seen grants for people of color. I've seen grants for women of color. So it's shifted from where I felt like I had to hide who I was and now showing it. I have a regular height son. It was a one in two chance that he would be born achondroplasia.
His mother is average height. But it's definitely, create some great situations where I get in spots other photographers couldn't. My joke is when I was in D. C., you see all the ABC, NBC cameras up high, and all the tall photographers kneeling. I would stand in between the cameras.
I didn't, I didn't have my knee, killing my knees on cement in front of the Supreme Court on a hundred degrees summer day, with the ground being about 200 degrees. It's definitely been tough too. Carrying around heavy gear and everything else, but it's definitely has helped me do this career.
Mica: What you said before about feeling like you needed to hide that part of yourself, but now putting that out there saying, this is who I am. This is me. I [00:27:00] had a really tough childhood and I was in foster care when I was a kid.
I kept a lot of that kind of behind closed doors. Cause I'm like, I don't want, people feeling sorry for me. I don't want their pity or anything like that. But now I feel like it's really important for me to talk about these things because maybe there's a teen or a youth who is also going through a really tough childhood and they see someone of a similar background doing something they could envision themselves doing. And they're like if they can do it, I can do it. Sometimes you have to be the first person to put the flag up there and say, Hey, community come join me. Let's show that we are here.
I feel like the tide is turning as far as what kind of photographers companies are wanting to hire. More and more people of color, more people with disabilities are getting hired for jobs. It feels good to know that you are hiring outside of the box, why hide that, show that, be proud of that. [00:28:00] You don't know who's going to see this and be inspired by it maybe that'll prompt them to go after their dreams and maybe someone else might be talking about you.
I learned through a family friend. They have a cousin that says they wanted to be a photographer, but they don't want to be a wedding photographer. They're like, I hate weddings and would never want to be one, but I feel like that's the only way I can be one.
And my friend told her cousins like you should go look at my friend Mica's page. She's a food photographer. She doesn't shoot weddings. She's like, Oh, I didn't know I could do that. That's the thing. If you are the person representing your community, there's someone out there who didn't know it was possible to do what you're doing.
Maybe they feel like something is holding them back from being that photographer. You're showing that this is not stopping me. I'm still doing this.
Kris: Look at Simone Biles she came from foster care and got adopted by her grandparents. Photographers not going through the educational routes and the old routes that [00:29:00] we used to have has limit to what those new photographers are thinking they can make money at. I hate to use term, I say as a surburban housewife, you go, Oh, I can make money at families.
Cause that's what's around me. Or I can make money at headshots. or But going back to your point. There's so many other organizations, like the Luupe, which I know as a lot of a women's focus. I think Collective. There's also Brent Lewis runs diversity,
Women's Soldiers in Washington.
I also took a long step away, just the LPA, which is Little People of America, I just recently joined, but wasn't part of that community for a long time. I've reentered and I'm exploring that, seeing I'll keep my own horn like a trailblazer.
I found one other little person in photography and they did weddings. But I found nobody in the commercial editorial, restaurant industries. Not everybody has had limb lengthening, but I'm like, all right, like, even if we didn't, but it's kind of saying, you know what, guys, we can do this.
Like Peter Dinklage, broke a lot of barriers because he did roles that weren't just a little sidekick or the plain funny roles. He actually broke [00:30:00] into where he's a main actor and a serious actor. He was a groundbreaker. Like you said your family member. I didn't know I could go shoot restaurants and food or there's the commercial world or journalism.
There's some kid, who lives in my school town, Frostburg, Maryland. 40 years ago, you didn't know anybody existed like you, unless you moved to New York or a big city. Now you can go online and find there's another kid like you just down the street and you can become friends.
The internet has allowed some of the organization portals and you can search, Hey, what food photographers are in this region, let me hit them up or like groups and stuff. So I wish the organizations keep growing, cause I think that's a big, important thing.
So people realize there's more avenues just within this business for who they are and they can take who they are and help make their brand, to help drive their business and drive their passion.
Mica: My final question for you you talked a little bit about Stacey Swiderski. Stacey, we're having you on the show. I've never heard of [00:31:00] phototherapy and I'm very curious to hear about that and what prompted you to contact Stacey and what did you learn about yourself after your session with her?
Kris: So phone therapy is a consulting session, I went in and she's like, where do you want to go with your career? What do you want to do? What are you shooting now?
One question, she asked me, it's like, if you could have your dream shoot today, what would it be? It has helped open my eyes to what I have done that I might have not thought were within the food and restaurant genres. I mentioned stuff on capitol hill and lobbying. It gave me a new perspective at old work. As I get older in this business, I'm a big believer in consultants.
I go to therapy, and it gives me a different perspective, meeting with other photographers and talking about giving back. I highly recommend her. Spending money sucks, but.
Mica: You're investing. It's an investment. Yeah.
Kris: You know, it's and I think you know, going back to marketing, I would pay any amount of money for this if I could sit there say this [00:32:00] person sees my post this person sees my post this person see my post.
I would love that. And that's the thing too, like I'm a big believer in money buys time. So one of the other reasons too is, having consultant is instead of me, going back to my logo, spending time to design it myself, which I took graphic design.
I have a minor and I haven't touched in 20 years. All right, Kobe, you go do with a portfolio or this and while I'm working and that's the one thing too, I'm trying to work on in my business is, bring on a bookkeeper, bring on a retailer, bring on a virtual assistant.
A great thing to watch is Abstract on Netflix for a book time and they show his studio and there is about four or five people working in their apartments, two years at a time. And they had to retouch. He had an assistant, he has, the office manager.
What's he doing? He's shooting, he shot Colin Powell one day. But he's focusing on that, or he's going out speaking by all these other things, happening. I think, you got to spend money to make [00:33:00] money.
Mica: Oh man, Kris, I could talk to you. All day,
Kris: We had you like part three.
Mica: I'm so open to a part three and part four and five and six and seven eight, because I really enjoy talking to you. I just love your perspective on everything. Where can the listeners find you and follow you and support you?
Kris: My website is Krisconnor. com, K R I S C O N N O R. Facebook is Krisconnorphotography. Social media on Instagram is ConnorKris, so my name flipped. And I'm on Twitter, not as active, and that's ConnorKris as well. LinkedIn is just Connor. So really, you Google my name that's the one great thing about my spelling. I'm the first thing that pops up. So just Google Kris Conner and then go to where you want to go from there.
Mica: Thank you so much for being on the show.
I enjoy everything about this and I know you got things to do, but I really will keep you all day here if you let me, so [00:34:00] thank you so much for being on the show.