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- [00:00]
Sarah Alba
Foreign.
- [00:13]
Jess
Welcome to Dear Alice. A lifestyle approach to interior design.
- [00:25]
Alice
Hi everyone. Welcome to Dear Alice. Today is a fun episode. I'm super excited to be sharing one of our most valuable resources with you today. We are having our publishing agent come on to help school us all and just to share how to get published, what the right photographer is to use, why you need to use a stylist, just kind of the timing of some of this stuff, how long it takes and just I think one of the important things is, is really the photography piece and not all photographers are created equal.
- [00:58]
Jess
New.
- [00:58]
Alice
Yeah, yeah. So it's really, it's an important thing because as you guys all know, it's such a huge investment to be able to shoot a home investment for your clients, time for your time and definitely drain on your pocketbook to to shoot a project, to upload it to your portfolio. But more than anything, we really want to see our projects in print or, or in the magazines and we want to just show you guys or, or more than anything have Sarah teach you this, the tips and tricks to getting.
- [01:28]
Jess
Published today how to play the game.
- [01:30]
Alice
Yes.
- [01:31]
Jess
This is going to be called and we're again, we're so excited to have Sarah on and I want to tell you a little bit about Sarah just so you guys can prep yourself for the powerhouse that she is. Sarah Alba is the powerhouse behind Alba Works pr. Sarah began her career as a stylist for home magazines where she honed her eye for interiors and storytelling. So much about storytelling, I love that she's an expert. She then moved into art direction, collaborating with the top designers, photographers and editors to to shape the visual narrative of some of the industry's most celebrated projects. Seeing a gap in the market for PR that truly understands the editorial world, she launched Alba Works, a boutique PR firm that breaks the mold in traditional pr. Known for her straightforward approach and transparency, Sarah takes a fresh approach. She doesn't require a retainer bonus, works on single projects bonus and only charges once a project lands in print or digital feature. She works closely with designers, architects and photographers to secure meaningful press in a way that's both strategic and authentic. You can find her on Instagram @AlbaWorks PR or visit her website at www.AlbaWorks.com. we are so excited to have Sarah today.
- [02:40]
Alice
So please enjoy Sarah Alba, welcome to Dear Alice. We're so excited to get to be able to share the beautiful, valuable resource that is Alba Works with our dear listeners. So welcome.
- [02:55]
Sarah Alba
Thank you. Thank you for having me.
- [02:57]
Alice
Of course we were trying to remember we were like, how long? How. Wait, how did we ever meet Sarah? We were trying to remember that she's.
- [03:06]
Jess
The evergreen, that she's always been there, always been there for us.
- [03:10]
Alice
I think so, too. And I don't even remember what year we started working together. Do you remember Sarah?
- [03:15]
Sarah Alba
I. I mean, I was. I was looking back at notes and I. I think it's almost been six years or so, which is crazy.
- [03:23]
Jess
That is so crazy.
- [03:25]
Alice
Yeah. And how long is Apple Works been in? Around.
- [03:29]
Sarah Alba
Well, I really formally began my PR firm probably eight years ago.
- [03:36]
Alice
Okay.
- [03:36]
Sarah Alba
So, yeah, you guys have been with me since almost the beginning.
- [03:40]
Jess
That's so amazing.
- [03:42]
Alice
That is amazing. Well, we're so grateful for all your knowledge and knowing how to play the game. And I know that the designers out there listening and I think even just design enthusiasts are going to love knowing. How do people get published? How do magazines do their thing? And so that's kind of our first question for you is how. How can the designers tune in? How. How do they get published? How do they get seen and known?
- [04:05]
Sarah Alba
Yeah, I mean, it's the million dollar question. But I think getting published isn't just about having beautiful projects. There's so many incredible projects out there, but there's a lot of components that go into making a project right for editorial. And I feel like more than anything, editors are looking for projects that feel fresh and a unique point of view and bring something new to the conversation. We see a lot of the same design over and over, but really thereafter, finding something that they can introduce to their readers, that's. That's a fresh take on what we're seeing out there. Other key components, I would say sending a project out to a magazine is. Is making sure you're the right fit. And if you're sending something that isn't following their esthetic or their trends, then it really can damage your reputation because they want to know that you know their audience and you know their magazine as much as they do. So. So you've done your research. So I always encourage people, the easiest way to kind of see what magazines are doing and follow them is on Instagram, because you're going to see more relevant new work and be able to determine, okay, yeah, this project feels aligned with what they're doing right now, and editors appreciate that as well.
- [05:34]
Jess
How does a designer find the right stylist as far as, like, in your opinion, you come from that world. That's like, you were doing that before pr, like, in tandem with. Right.
- [05:44]
Sarah Alba
I mean, finding the right stylist is really about finding someone in your area, first of all, which can be a little bit challenging. But I always look to the editorial photographers to ask them who are you working with? Who are you, who do you like to work with? Which is also important. Depending on where you live, there's either a ton or there's a. A little. But it's definitely worthwhile scouting them out. And sometimes I recommend having a stylist come in once every so often just so that you can get a feel for what they're doing. And styling can be very trend driven as well. So to get a feel for what they're doing and then being able to mimic that on your own, if you don't want to commit to having a stylist for every shoot.
- [06:35]
Alice
Can we talk about choosing the right photographer? I feel like, well, yeah, well, it's a lot like so many folks can be a designer today, right? Everybody can kind of become a designer. And I feel that way about photography too. So how do you choose this editorial photographer? How do you know, you know it's not just enough that they do photography and that, that you see their name popping up, but how, how do you really, really hone in on who's going to be the right photographer for your project? If the goal is getting published, it's.
- [07:09]
Sarah Alba
Important to check out a photographer's website. Word of mouth is always great, but you're looking for someone who understands composition. For editorial, you're looking for someone who understands the right lighting that is needed. For editorial. We do see these trends of moodiness versus light and bright. You want someone who's going to be very consistent. It's nice to know that they are able to do that if, if need be. But a lot of magazines really don't venture towards the moody dark. They're more consistent in their lighting, which is something a photographer should be able to do. Photographers that understand what is needed. For editorial, you want someone who can knows to shoot overalls and then come in for vignette and details. And you want someone who knows that understands the concept of layout so that you can work from one image to the next and create a nice feature. So 90% of all magazines right now are, are using professional photography versus what they did say five years ago, which was they'd reshoot a lot. So I would look at their website, I would look through magazines and see whose names you're seeing pop up and they go hand in hand with a stylist. So if you have a great stylist, you know, ask them who they're Working with. There's keys in. In how they shoot that you'll be able to determine on their website and, and those types of, you know, the lighting concerns and the composition and. And making sure that they're providing the right vertical and horizontal shots.
- [09:06]
Jess
Such a science, too, the vertical to the horizontal. I know just like from, you know, for publishing versus, like, for social media, for like all the things. If you want to obviously use these images across the board, they have to know how to get every single shot at every angle. And again, composition. No, I think that's so fascinating.
- [09:25]
Alice
I think playing the game of getting published is a great exercise in patience because we all have these cell phones today, right? And you go to a project, you're so excited to see the project completed and of course you want to shoot it, but then there's parts of it that you're waiting for. Maybe items are claimed, maybe something should have broken. So you've got to get it fixed and repaired and the family starts living in the home and. And then you're waiting on a drapery or there's just like lots of little things. And finally, finally there comes this day where you can shoot this project, but then you've got to hold the project until somebody wants to pick it up and not. Not expose it on your Instagram. Right. Because I think isn't that still kind of the game that you need to play is you need to allow the magazine to be able to share first and then you share along with the magazine.
- [10:12]
Sarah Alba
Precisely. Magazines want to be the first to showcase your project, so they want first dibs. I always recommend that people keep projects off of social media. It's that one image that someone could get a hold of that could go viral and ruin it. You know, for the rest of the project, no editor is going to pick up something that they've already seen out there. I do tell my clients it's okay to put projects on your website. Reason being there are fewer people coming directly to your website versus coming directly to your Instagram. There are right now two or three magazine titles that will say, oh, could they please take it off of their website? So I rather them if they're going to pick up a project, I rather this magazine say, hey, do you mind taking off, then not having it on that whole time? Because I do think it's important for your own marketing purposes and gaining new clients to have relevant projects on your website.
- [11:19]
Corey
Jess, we've been getting a ton of questions on who makes your glasses.
- [11:24]
Alice
Oh, really?
- [11:25]
Corey
Yeah.
- [11:25]
Alice
Oh, my gosh.
- [11:26]
Corey
Everyone wants to Know you guys, I.
- [11:28]
Alice
So I'm at this age now where my near vision is leaving me. You're not quite as old as I am yet, but sue, you're experiencing this.
- [11:36]
Jess
40 hit and like, yeah, I needed my glasses before, but I really, really need them now.
- [11:41]
Alice
Yeah, between 40 and 45, that cell phone type gets really tiny. So I was in search for the perfect pair of readers and I tried Look Optic. And I have to say I've loved them so much that I've actually began working with them a little bit as an advisor. And my dad's an eye doctor, my brother in law is. I really, really love eyewear and it's been really fun to be back in the game. And I love the readers. I love the fashion frames. It's not a pair of frames that looks like I'm wearing something made for men. You know those readers when you go to Walgreens or, or when you go to the grocery store or somewhere and they're just like a three pack and they all look like they were made for men. Look Optic actually has really cute frames that are made for women, especially for.
- [12:24]
Jess
Again, those ones that look like men's. They look like a giant man on my little head.
- [12:28]
Alice
Yes. Suzanne small. Suzanne has a child sized head and they actually have minis. At Look Optic. They. The Diane Keaton collection. I gave you all my Diane Keaton.
- [12:38]
Jess
I love the Diane Keaton collection. They fit my like, head great. They're comfortable. They have the cutest colors. Like some of them are matte. They have the bone ones. I love them so much.
- [12:46]
Alice
Yeah, they're cute. And one of, one of my little, like fast passes, I want to tell everybody is that if you do the progressive lens, it's clear up top, you just get magnification in the bottom where you need it. Because that's how you're looking in a cell phone or you're reading paper down here or on your laptop. You don't need magnification out the top because that's going to make your eyeballs look huge. Yeah. And then you really look like you're wearing a reader. So we're trying to like keep this low profile. And so I always go with the progressive. My favorite styles, I really love the Laurel. And they have this cool one that's like the Muse. It kind of looks like a 70s update. It's cool. They have one with the pink lens too. In fact, my daughter stole that one from me. It's great. Anyway, there's something they, they have one called Evita that's kind of a cat eye. Anyway, you guys can discover your own styles. But I will say look Optic has been such a gateway for me as I've needed to jump into that reader.
- [13:39]
Corey
Category and they Look Optic is going to give away 50 pairs of readers to the first 50 of our listeners. Yes, that text Alice to 21252. So text Alice A L I C E to the number 21252. And then for if you're an existing customer or you want to purchase classes after that go to lookoptic.com and use the code ALICE15 and you'll get 15% off.
- [14:11]
Jess
That's amazing.
- [14:12]
Alice
Yeah, go make that happen. Can you share with the designers kind of a timing so that they, they can kind of have it set in their mind? I feel like knowing what to expect allows us to be more patient with the process. How, how far out are magazines working? So if they do, let's say you do give your client the good news that a project's been picked up and let's just, let's say it's digital or let's say it's print. Kind of give us an example of how long will you wait from the good news until it finally happens.
- [14:44]
Sarah Alba
So digital and print have different time frames. Print really depends on the magazine. Regional publications tend to publish sooner. National publications can take longer. So if your project was picked up in January and it was picked up for a national title, that could be anywhere from about six to eight months to a year and a half depending on the title. El Decor, you know, sometimes some of the bigger titles will hold on to something. Meal you is will hold something for almost up to two years. But I say that and you have to take it with a grain of salt because sometimes you can get a project published and they're filling a slot that they needed and who knows, that could get published six months down the road or, or even sooner if that was a fill in. So digital is a little bit different. I'd say digital is anywhere from about one month to three or four months from the time they pick it up.
- [15:53]
Jess
I'd love to hear your opinion. I feel like it's worth it to wait for the print or if like digital you get it out. Like what are your, what, what's your opinion?
- [16:03]
Sarah Alba
I think it depends on a couple things. If you have a great project, I typically aim for print. I think it's more, a little more prestigious. I think it, it builds your credibility. If you have an incredible project, there's nothing better than seeing something in Print and I'm still a sucker for print magazines, a dying breed, but there's something about them that I really enjoy. So yeah, print would be to me a little bit more prestigious. But I have a lot of clients that prefer digital. A because of the time frame, we're not waiting forever and then they're able to promote it on their social media. But also because digital is so fast moving in the sense that when you have a placement in digital you can cross promote over platforms and it's so easy with a PDF or a direct link to that article. So it's a really easy way to market yourself and get your name out there and build followers pretty quickly.
- [17:13]
Alice
Staying relevant. Y let's talk for a minute about shot lists. So when you hire a photographer and you're trying to consider obviously which rooms to shoot, how much you can get shot in that day. If it's a one day shoot, maybe you have a two day shoot. Depending on the size of the home. How important is it for the interior designer to to be able to know which angles they want to capture their favorites or how much of that falls on the photographer to know what is that best editorial shot?
- [17:46]
Sarah Alba
Yeah, I think an editorial photographer will know these shots and that's another bonus of hiring someone who is more editorially focused. Yeah.
- [17:57]
Alice
Like if it's best as the designer for you to just kind of with your cell phone like sort of snap this room from a couple different angles, start to consider what you think the best shot is to try and cut down on some of that during the photo shoot day so you can just get to work. That you know kind of those shot lists going into it and that you think I think this is the preferred angle. What do you think that you as the designer that you've done your legwork ahead of time so that you can make sure and style it for the right shots, that sort of thing you think some of that falls on. It really depends on the photographer. Right. But I think it does depend on the photographer. Right.
- [18:35]
Sarah Alba
Certainly doesn't help. It doesn't hurt for a designer to know exactly what they need because the better the shot list, the quicker the photo shoot is going to go. And everyone wants to just have in their mind what they're doing the layout of. Here's what we're doing today. Instead of getting so distracted and shooting something that you know is going to not make make it into the final feature anyway. So yeah, knowing these shots is, is a big component to getting through a shot list efficiently. What I always recommend and if you flip through magazines, you'll see there's a very consistent pattern to what they're doing. It's, it's almost always a, an overall shot of a main space. So that kitchen, the living, the dining room, and really we want to get an overall shot. It's always nice to get a slightly angled shot of that. So pull back. Sometimes when I would scout in person, I'd have a four corners rule, which is shoot it from the corner of each space so that you're seeing what, what frames up the best. But if you keep in mind just a straight on shot and maybe one angled shot, you want these overalls because those are the hero images in any article. And then I always tell a photographer, okay, well let's come in for a vignette and capture this little moment right here. Fewer magazines are using detail shots, but I do recommend that if that's not on your shot list or you're running out of time, allot that time to your photographer. Tell them, hey, let's spend 30 extra minutes on this photo shoot. Take your handheld and let's get some snapshots of details and maybe other vignettes. And that's a really nice way for you to use, utilize the images for Instagram or your social media. That's not necessarily anything I would pitch to an editor. So we keep that separate. And then you keep these vignettes and details and you can use them as teasers leading up to publication of that feature. So that's definitely something I would recommend having your photographer do if you can.
- [21:10]
Alice
Quick message from our partner, Cozy Earth. Sue, how do you unwind at home?
- [21:16]
Jess
The second I get home, I light a candle and I change into my like buttery, soft loungewear from Cozy Earth. I love it so much. It is changing from. So from the time I get home, circa like 5, 36 o'clock, I get that stuff on and I have it on till the next morning. And it just changed my whole routine. It's amazing. I love that it like never peels. I've had some of these sets for, I have multiple sets, but I've had them for, you know, a year plus and they still don't peel. Their color fast is amazing. And they really have made me so much more relaxed, you know, especially with the stresses of home. I have three little boys. There's a lot going on.
- [21:51]
Alice
I also have to say, like, you look incredibly chic in them because they drape. It's true, right?
- [21:57]
Jess
I kind of frumpy.
- [21:58]
Alice
It feels like a dressy Sweat, the way it sort of drapes off your body, it looks more expensive than just like the average sweats.
- [22:05]
Jess
No, I feel so much cuter in that than just like a normal cotton sweat set.
- [22:08]
Alice
Like as far as, let's just call it luxury loungewear. Luxury loungewear, right.
- [22:12]
Jess
Luxury lounge wear made from viscose from bamboo.
- [22:15]
Alice
Yeah, yeah. The drape, the hand, it's so, so soft. Yeah, I'm a huge fan too. Also love that luxury sweatsuit. And I feel cuter in that than anything else. Luxury shouldn't be out of Reach. Visit cozy earth.com and use my exclusive code Dear Alice for up to 40% off Cozy Earth's best selling sheets, towels, pajamas, that great lounge set we've been talking about. Trust me, you won't regret it. That's cozyearth.com code Dear Alice. And if you get a post purchase survey, tell them you heard about Cozy Earth from Dear Alice. Sanctuary awaits at Cozy Earth. I think another side note too, if you are working with a real editorial photographer, you're not going to get a ton of shots. Shots. I know that was, yes, that was a disappointing thing for me to, to realize because you're doing so much work to get it done. And so the framing up of these shots, the adjusting of the lighting, it's just, it feels like the whole day is just going in a snail space because you're like, I have so much house to shoot. Right. But I think realistically, we talked with Sarah before this, before we jumped on here and she was teaching us that you can probably count on a great photographer to get maybe between eight and ten shots a day. These are, this is also why you want a great shot list, so that you can really have studied the house, figure out which shots you think are going to be best, share those with them before the shoot. Would you say Sarah?
- [23:48]
Sarah Alba
Yeah. And it also depends on your photographer. And this is a question that you can ask when you're interviewing your photographers. But knowing how much time they spend in post production is a big clue into how quickly they'll move during a photo shoot. Because if they're not worried about the precise lighting during the photo shoot, that means they're going to be able to adjust that lighting in post production. And for those people that, that aren't capturing, you know, the exact image you want at the time, they're able to move a lot faster. So they're getting in, you know, up to 15 or so shots a day.
- [24:33]
Alice
Yeah, I like that. I think that's really practical advice as you Consider your shot list and how many shots you'll get and really considering which shots you really, really want. Because too often I would be naive going into a shoot thinking we were going to get more than we were. And you really want somebody to kind of be keeping time and be keeping watch on that shot list so you can keep things moving forward. Because it is easy to sort of sit in futs and futs and change and tweak and, you know, for them just to kind of keep shooting while they're on that tripod and you're at the right angle and then you're kind of trying to adjust for what looks best in frame. And you can really stay at that for longer than you should sometimes if you want to keep pace and be able to get through that house. So I just wanted to pay forward any, any failures, as some of you are looking forward to getting your, your workshop and trying to learn from each shoot too. I just, I think that was really valuable advice that we learned from Sarah is just really getting that shot list dialed in and you as the designer, taking a lot of ownership in what you think is going to be best. Because sometimes a photographer shows up and they think you're going to sort of take the lead on what is those best angles. And other times you might have a real, real seasoned pro that's, that's gonna be better at that than you are. But at least you're, at least you're aware and you're not just thinking. The photographer's job is to find those optimal angles and to do it for every room and get through the entire, the entire home.
- [26:04]
Sarah Alba
And it's probably important to tell your photographer what your goals are. So some of them may think, oh, we're just shooting this for their website, in which case they're going to be a little more creative with their images and their shots. But if you say, you know, my goal is to get this published, I think that that's a key into how they should be shooting it. And, and any good photographer would know, you know, what necessary shots you need. Another little tidbit is a lot of people shoot a lot of kids rooms, and if you flip through a magazine, you'll notice that that's rarely. Kids rooms are rarely shared. So if you have a great home and you've got a guest bedroom, a master bedroom, three kids rooms, you know, really narrow that down. You want the master, if the guest is an incredible space, maybe, but only one kid's room, you know, so don't choose the best line. Basically, but don't feel like you have to shoot them all.
- [27:12]
Alice
That's such good advice.
- [27:15]
Jess
And again, I liked what you said about especially, like, with the right photographer, the right stylist, because I think the designer. We're sometimes too close to it. We're too close to, like, what the client has told us that they want to then realize, what does the publisher want for this instant while we're styling? That is why, like, we need to kind of back up, remove ourselves, because we're just too. We. We've sat in it too long. Exact. We don't. We don't know how to re. See it a different way.
- [27:42]
Sarah Alba
Yeah. It's so important to get someone else's perspective on something. When you've been fully inundated for a year or several months in the same project, it's so nice to have someone come in with a fresh perspective.
- [27:58]
Alice
Since you were a former stylist, Sarah, can you tell them kind of a process of using a stylist? Would you say you're going to style for one day before the shoot, or is it more days? What's the right. What's the right timing on having the stylist enter the project for the shoot?
- [28:16]
Sarah Alba
I think it really depends on the stylist schedule. But most stylists are coming in the day before and really setting up, which makes a huge difference. And that's a question you should ask your stylist if they have time to do that. But, you know, typically, if they can't, they'll come in the morning of. They'll come in early to set up, and they're pretty quick. You know, as. As they're shooting, as the photographer is shooting one space, they're already working on the next space. So that it can't. They're one step ahead, typically. And.
- [28:54]
Jess
Okay.
- [28:55]
Alice
Yeah.
- [28:55]
Jess
What not to do.
- [28:57]
Alice
Yes. What not to do in a photo shoot. No faux fur, no real fur, no animal heads. Is there anything when they're getting ready to shoot that house that they should consider removing from the scene so that they can.
- [29:11]
Jess
It's not savory for editorial.
- [29:13]
Sarah Alba
Yeah, yeah. I mean, definitely what you mentioned. No fur. No faux fur. That can become an uproar. See, if you're. If you're shooting something in the winter, a lot of people will turn a fireplace on, but I always recommend shooting with that fireplace off as well if they want that shot seasonal. You want your projects to feel seasonless, essentially, because that broadens the range of. Of time of year that you can actually get a project place. If you're shooting just in the winter and you have a fireplace on and we see snow outside. You're really only going to be able to fit that into a winter issue. So you're really limiting. What else are. No nos. When you're trying to photograph, let's say a living room and the dining. The dining table is kind of in that straight on shot. I always recommend moving the dining table. You don't want any furnishings in the foreground. That really takes away from the overall shot. So make sure that you have a clean shot, overall shot of each space and move furniture. You can do it. It's not. There's no rule against moving furniture. So cleaner shots, no furnishings in the foreground. No. No props that look like advertising. So you don't want big brand names kind of sticking out in front there.
- [30:53]
Jess
You, Hermes blanket. Get it out.
- [30:56]
Sarah Alba
Yeah, yeah. You know, if you can avoid, you know, making it blatant, I would. What else? Lights, you know, lights off. You want consistency throughout.
- [31:12]
Alice
And what about like stems or branches? Because we all know certain, certain types of flowers could be really seasonal cues that, you know, it's tulips. So this is spring versus, you know, does that matter? I think you'd want fresh stems, wouldn't you? In.
- [31:28]
Sarah Alba
In most rooms, definitely. It's funny because I know that most people think of tulips as seasonal, like springtime, but really most people that are flipping through a magazine just see flower florals. So I wouldn't worry about super seasonal florals, but I would worry about if we see this giant branch that's with fall maple leaves, you know, then we're really kind of targeting what season we're in. But as long as you have, it's really about color and, and movement and adding structure to each image and doing it in a way that, that reads cohesively with the space. You're going to be fine.
- [32:20]
Alice
That's great. Okay, I know. One question listeners are going to want to know because we wanted to know this. How do you get on the design list, like 8100 El Decor A list. How do people do that?
- [32:31]
Sarah Alba
It definitely helps to have been published with them before. That's your easiest route. But if you've been published in top tier magazines consistently, that'll definitely give you a leg up. Of course, if there's a celebrity drive, you're gonna have a leg up. But really it's about remaining relevant in the press. Having consistent assistant press, having a brand identity, having a presence. All of these things are what editors are looking for. They're going to look at your name, they're going to go straight to your website, they're going to go straight to your Instagram, they're going to look at how many followers you have, how many people are talking about you. All of these things help. There's no direct path to getting on one of those lists. I think it's really. You've got to have a few consistent projects that are top tier, that have created a buzz, that people have learned your name and are talking about you. And that's what editors want. They want their readers to. To. To have the best of the best. And they want these people to be on their A lists and they want to be the ones announcing them.
- [34:03]
Alice
Yeah, that's great. Well, thank you so much for your time. Last question for you. Well, two things. How do people reach you? Sarah?
- [34:13]
Sarah Alba
Yes.
- [34:13]
Alice
If they want to work with Alba Works.
- [34:16]
Sarah Alba
Yeah. I have a website which is just Alba Works, and I have an Instagram handle which I think is Alba Works. I'm not sure Alba Works or Alba Works pr, But I love hearing from people. I get a lot of emails, which is easiest, and that way I'm able to kind of look up who they are. And I'm always happy to have a conversation and look at projects and give people some direct feedback.
- [34:49]
Alice
That's great. And what's your email address, Sarah?
- [34:52]
Sarah Alba
Albaworkspr.com and it's s, A R, A.
- [34:55]
Alice
H. Yes, with the H. Yeah. Okay, that's great. Okay, last question for you. We have to ask this to every guest that comes on and we want to know, how do you define luxury?
- [35:05]
Sarah Alba
Luxury to me is a feeling. It's what you get when you walk in this space and it's relaxation.
- [35:16]
Alice
Yeah, that is a good answer. So good. Well, Sarah, thank you so much for coming on Dear Alice today and just sharing all your insights. I know this is a game that every designer out there is trying to figure out how to play, and they don't necessarily have a coach and they may not be going about it the right way. I know we've spent years and probably decades not going about it the right way. So it's really nice and clarifying to be able to have your insights on how to do it right. Because it is expensive to shoot your work. It takes a lot of time. And so going about it the right way and then just waiting for that opportunity to get published is all really, really worth it. So thank you so much, Sarah, for coming on today. We've loved having you.
- [35:59]
Sarah Alba
Thank you for having me. My Pleasure.
- [36:02]
Alice
Awesome. Okay, well, we'll catch you next time.
- [36:05]
Sarah Alba
Sounds good. Thank you.
- [36:07]
Jess
Bye.
- [36:08]
Alice
I hope this has been helpful for you trying to figure out how to navigate getting published. It has been so helpful for us to be able to work with Sarah as we're trying to figure out how to play the game too. It's much more involved, I think, and more. Yeah. Than we ever imagined. You think it's enough to just build a beautiful home and have a photographer shoot it and submit it, but there is an art form to every little last thing, including the photography itself, and it's really worth getting. Right. And one thing we didn't get to talk about is it once you find your photographer, if you can stay with that photographer. Because if you do, let's just say, want to publish a book one day, if that's on your list of things you've always wanted to do as an interior designer, you need to use the same photographer throughout the book. So if you're kind of jumping around and using different photographers, you're going to have to go back and reshoot those homes all through the same lens so that they have the same point of view. Is one of the painful things we've learned as we've used lots of different photographers, that anything we've done in the past would have to be reshot by one photographer. So choose your favorite and then go the distance with them.
- [37:20]
Jess
I know. Yeah, yeah. And then I think just the whole styling thing, like, that's my biggest takeaway is just like, we, you know, you think you're good, but you were too close to it often and you just need an editor's eye to help, like, do that final layer before, like, the perfect photographer comes in captures it. And honestly, this is the reason why the investment is worth at all, is because, like, from the time you start your business to, like, the long, painful process of building homes with X amount of clients, you want to get it published. Like, that's our end goal at the end of everything. We love what we do and we want to see it glossy. Sure. So knowing how to play the game, hopefully you're early on in your career so you can take this information and run with it. And, but. And then if you are really well into your career, hopefully this helps you as you kind of shift things so that you can have the opportunities that you've always dreamed of. So that's what having the right team behind you does for you. And that's what Sarah's taught us.
- [38:15]
Alice
Yes, definitely. Well, I hope this has been helpful. If you guys have any episode ideas you would like us to consider record? Just send those over to dear alice@alicelanehome.com and we would love it if you would leave us a five star review. Corey how do we do that?
- [38:32]
Corey
Usually you're going to go to the our Apple podcast page and then scroll down to where the review start. Just above that there'll be a link that says write a review. Click on that. Go from there.
- [38:44]
Jess
You guys even Provo Grandma did it. Yes, you can do it too.
- [38:49]
Alice
We would love to hear from you. It's fun to hear what you guys have to say out there. So thank you so much for your time. Thanks for tuning in and we'll catch you guys next week. Hey, thanks for listening. If you like our show, please leave a five star rating.