Interview with Andy Scaysbrook: Lessons From A 40-Year Photography Career
This is the first of a brand new photographer interview series. I hope you enjoy it!
Below you can watch the video, or read the full transcript, of a recent chat I had with Andy Scaysbrook, a highly successful and award-winning photographer who has had an impressive 40-year career so far.
Throughout this article, you can also see examples of his work. Visit his website for more.
Zoe Hiljemark in conversation with Andy Scaysbrook
Insights from a true photography industry veteran
During the interview, Andy shared with me how he got started in photography, and how he has gone onto work for prestigious clients, photograph celebrities and attract critical acclaim for his images.
Whether you’re a budding photographer or a seasoned pro, I hope Andy’s stories and advice inspire you.
In our chat, Andy shared with me what he considers to be the keys to a long-lasting and impactful career in photography.
He’s candid in his discussion of the importance of persistence, adaptation, and storytelling, and emphasises the value of staying proactive – a lesson for us all!
A new location, and the start of an illustrious photography career
Sharing how his relocation to Bournemouth in 1997 marked a new chapter, Andy told me that he faced the challenge of breaking into a more closed market. Yet despite this, Andy managed to build connections and benefited from word-of-mouth referrals early in his career.
He recounts how he marketed himself as a photographer in the early days. Sending pictures to newspapers on spec eventually led to him getting regular assignments.
In the interview, you’ll also hear how a phone call from a client he worked with 17 years ago reignited a professional relationship. If that doesn’t demonstrate the lasting impact of positive professional relationships, I don’t know what does!
Create oppportunities…don’t wait for the phone to ring!
Above all, in this interview, Andy emphasises the importance of creating opportunities, not sitting back!
He advises photographers and business owners to be proactive and resilient, revealing that approaching potential clients with tailored solutions, and maintaining a strong presence in the industry, has been key to his success.
The enduring appeal of visual stories
It was interesting to hear that, like many photographers, Andy isn’t a fan of the typical self-promotional content on social media. Instead, he prefers creating amd sharing genuine visual narratives, with less emphasis on himself.
His photography has been widely featured in the press and, during the interview, Andy generously shares how these features came about. He also mentions why he has recently expanded into video work.
Listen to the interview and subscribe for more
Listen in to the interview on my YouTube channel to learn more about Andy’s unique approach to photography, his thoughts on the evolving photography industry, and his strategies for a successful and fulfilling career.
If you enjoy this, please like, comment and share on the video, and subscribe to my channel as there will be more photographer interviews coming soon!
Huge thanks again to Andy for being so open and for sharing so much value!
Andy Scaysbrook’s Facebook page
Andy Scaysbrook’s LinkedIn page
Andy Scaysbrooks’ short film, ‘The Shore’
Andy Scaysbrook’s ‘Holding On To Hope’ exhibition (to raise awareness of ovarian cancer)
Andy Scaysbrook’s ‘Unmasked’ exhibition
Video Transcript
Zoe: Today I have the pleasure of speaking with Andy Scaysbrook, who has been shooting professionally for four decades. He has worked on international advertising campaigns for organisations such as BMI, Boots, and Weller, and shot PR campaigns for brands such as the BBC, John Lewis, and Sony. His work has also been featured in publications, including National Geographic, The Times, The Observer, The Guardian, and many more.
Zoe: So let’s jump in. Andy, welcome, and thank you for being here today.
Andy Scaysbrook: And it’s a pleasure. Thank you very much.
Zoe: So Andy, it would be amazing to hear how you first got into photography. How was it that four decades ago you decided on photography as a career?
Andy Scaysbrook: My photography was run in our family, to be honest. My father, who was a merchant seaman, bought a camera and recorded his journeys around when he was young. My uncle as well, and his twin brother, was also a keen photographer.
And the very first photograph that I ever took was of the back of the Mexico 1970 World Cup annual, back in the day, which had a glorious picture of the World Cup, the Jules Rimet trophy on the back and set against this beautiful red velvet. And I thought I wanted that picture so badly that Dad said, Well, take a picture of it with your own camera. So we got out the traditional box brownie and I did exactly that.
And the picture was truly dreadful. There was a photo I had set against my dad’s rockery in his garden and I was stood about 10 feet back. So it was also my first lesson in composition as well.
So photographers have always been around really within the family. My brother’s also a keen photographer, not professional, but he’s a good amateur photographer. So yeah, and then really it was something that I really wanted to pursue, but opportunities weren’t as they are now. It’s probably a little bit easier to be honest now. There are more opportunities for photographers but then it was very much a closed shop as I was growing up told by my then career teacher.
Zoe: Yes. You shared a fascinating post on LinkedIn, which triggered me to contact you and ask you to be interviewed today. And you were saying about your journey and how at school you were very much told, Oh, don’t bother with photography. Tell us about that.
Andy Scaysbrook: Yeah, my careers teacher at the time was asking around the class saying what did we want to do when we left school? And a couple of days beforehand, I’d seen a photographer working at the side of the road and this big tripod and this Hasselblad set up and I was like, I would really like to do that. And so when he came, when it came out to my turn, I said, I wanted to be a photographer. And he literally laughed at me.
He told me that it was a niche career and that I should try heading towards engineering. And he said that photography was a fanciful career. But he literally laughed at me, and I thought, oh, okay. You know, so he said, you’d end up in engineering because I was from the Midlands, the Coventry area. And, he was right. I did end up in engineering, but I’d never let go of the ambition or the desire to seek what it would be to actually be a professional photographer.
Zoe: Well, well done to you for making it happen and, you know, two fingers up to that guy!
Andy Scaysbrook: Absolutely. Yeah. Yeah. Yeah. I won’t name check him!
Zoe: But you proved him wrong. So that’s quite satisfying, isn’t it? Okay. So, I presume you started working where you lived. You mentioned you lived in Coventry in the Midlands there. And just before we started recording, we spoke about the fact that I’m also from the Midlands. So we’re just down the road from each other perhaps when in our childhood days, which is funny. But yes, Coventry football club formed a big part of your photography career at the very start. So can you tell us about that and how it came about and where that took you?
Andy Scaysbrook: Absolutely. I’ve been a Coventry City fan with my father and my grandfather for many years. We were seasoned ticket holders and I snuck a camera into a game, and sat on the front row of the terrace and shot a load of pictures. And I thought I’d chance my arm with the club and I wrote to the club and I said, you know, could I possibly come along and take some pictures one day.
To my complete surprise, they said why didn’t you come along and have a chat? So I duly did and I met the then commercial manager who was a guy called George Curtis, who was an incredible man, a huge beast of a man and a real gentleman. And he asked me and said, we’ll give you a press pass so you can sit on the side of the pitch on the proviso that you give us some action pictures for the program.
Well, at this point, I nearly fell off my feet. I couldn’t believe that I’d been given such an offer. So, I did, and that started my career.
I worked for the club for two and a half years producing and learning a lot from the Fleet Street photographers who were sat next to me and the local agency guys. And I learned about the contacts and I learned about how the industry worked. Above all, I’d gone from the terraces to the side of the pitch and the side of the pitch requires a very professional attitude. You’re not a supporter anymore. So I’d be kind of following the action, moving the camera away and look to see whether we’d scored or not.
So I had a lot to learn, but learn I did. And with a lot of help from photographers around me who could see that I was, I was keen and they were very open and encouraged me. And it was fantastic. It was a fantastic learning curve in the industry. And it gave me the idea that from that moment on, I wanted to work in editorial and press photography.
Zoe: Great. That sounds amazing. And what a way in, I mean, gosh, and the fact that you could watch your home team as well whilst you’re working is a bonus I imagine.
Andy Scaysbrook: Oh, they even paid me. It was incredible.
Zoe: So obviously, yeah, then you developed a love for this and how in those early days, did you market yourself then as a photographer or was it all just down to contacts and people you met in those early days? How did your marketing evolve over time and you get known for what you do?
Andy Scaysbrook: It was quite easy really because the newspaper industry and publishing in general was at the top of its game, so to speak. And there was a huge outlet and there were good budgets within editorial departments, which are now sadly long, long gone. And they were always looking for freelance contributors. So I started working on sending pictures in on spec to like the Kenilworth weekly news, to the Telegraph.
And then eventually people started to say, Hey, you know, what are you doing next Tuesday? Can you go along and shoot this for us? So, that’s what I did and started to build up from there and started to get some tear sheets.
Then in the end, round about 1987, just after we won the FA cup, I thought, It’s not going to get much better here in Coventry. Coventry was in some tough times as the whole country was in the 80s due to the recession. And I relocated down to Bournemouth. And yeah, I set about just literally writing to design agencies, to local photographers, to see if I could come along do some work experience.
Andy Scaysbrook: But the problem was that down South, people outside of the editorial market were very closed about their businesses, how they operated. They didn’t really want to give away too many insider secrets of trade. So it was really, really difficult to get started, but I carried on shooting.
I got some commissions for local agencies and really word of mouth, which to this day is still probably the best marketing I get, is having people recommend me and who have worked with me or have worked me on a campaign or something.
Andy Scaysbrook: I do like to share information with young photographers and more experienced photographers, so I started doing workshops as well and running workshops as well. That gives me a great opportunity to answer a lot of people’s questions, and I’m completely open about what I do, how I go about it and how I work, really.
And I think it’s important that photographers do that – that they should share as much information as they possibly can. Now, in today’s climate, obviously, with social media, that’s a lot easier. But in those days, it was very, very much a closed shop. And if you didn’t go to college or to study photography, it was very, very difficult. And it still is.
Zoe: Absolutely. But I think what you said there about word of mouth and referrals, I mean, I think that continues to be so, so powerful and certainly in the photography communities that I’m involved in and indeed my own, photographers have to do that. They have to be seen and be visible and that’s in support then of any other proactive marketing that they might be doing. But certainly getting known in a community or within a certain niche or industry you know, is so key, isn’t it? That face-to-face interaction.
Andy Scaysbrook: Absolutely. Absolutely. And it also gives you a chance not only to present yourself as a person, but also to present your ideas creatively and as a photographer. And, in terms of marketing, it’s often the case that I will approach somebody with an idea that I think would work for them in terms of their marketing or how they work. So I think it’s important.
You know, the phone’s not just going to ring. It doesn’t work that way. You’ve got to be proactive. You’ve got to define what it is you do, what it is you offer, and then who are those people that are looking for that service. And then market something. Don’t just make yourself visible to them, but go to them with a solution to their problems or to their needs.
And, for me, that takes time and you get a lot of knockbacks because people are obviously working with established photographers and creative teams and that’s fine. But I kind of get over that really of just saying if you’re looking for a new way of approaching what you do, then it would be great to have a chat because I’ve got lots of ideas that I’m pretty sure would be interesting to you.
Zoe: Yeah, very well said. I mean, everything you said there about getting those fundamentals right about who it is that you’re trying to target and getting known within those communities. All of that is so, so important. And, absolutely, you know, fresh talent is always welcome.
Perhaps you may get, like you say, a few knockbacks and a few no’s, but ultimately being proactive I think is the point. And that’s something I’m always trying to reiterate to photographers as well. Like in the process of pitching to the media, you’re going to get far more knockbacks than you’re going to get yeses, but you’ve got to have that persistence and that positive approach and mindset and not let yourself get, downtrodden by those. Y
Yes, there are knockbacks and rejections but it’s not personal. It’s just that maybe they’re not looking right now for a photographer or in the media’s case, they’re not looking to run a story along those lines, but keep going is the point. Which is a nice segue actually to your ideal client….who is your ideal client Would you say, and how do you market to them in 2024?
Andy Scaysbrook: It’s quite odd really because, the kind of work that I, that I’m known for probably is, well, is photojournalism and editorial work. There simply isn’t the market for that anymore, as a sustainable business.
For most of the publishers, everything’s obviously gone online. Print is no longer what it was and is expensive to produce. You know, so what I look to do is I look for businesses and I look to work with people that still require storytelling. Storytelling has kind of been reinvented recently and everybody claims to be a ‘storyteller’.
Zoe: It’s a buzzword right now, isn’t it?
Andy Scaysbrook: It’s truly awful because people piggybacking on a title, but “a title does not a storyteller make”, really. Editorial photographers and photojournalists know how to tell a story. There’s a beginning, there’s a middle and an end. And it’s the, you know, who, what, why, where, when, and, and, and that kind of work that there are still companies trying to feed social media.
Everybody will go to video now. Video is very much the go-to because of algorithms, photography doesn’t get the views or anywhere near what it used to do. So what I’ll often do is I’ll look to…I’ve just done a shoot with a regular client called the Sailor Society, one of the world’s oldest charities, a maritime based in Southampton. And I’ve shot with them for a good four or five years of different campaigns on seafarers. And that’s really human storytelling. So that’s what I love doing.
I also shoot a lot of commercial also video. I’ve been moving into video recently because I’ve simply been asked for it. I’ve just recently shot a video for a fundraising campaign for a charity in the West Midlands called Young Minds Matter which deals with. Children’s mental health and and so on and so forth.
So I really want to do the work that, that matters. I’m not interested in doing commercial photography. I’m at the stage of my career where if I’m to continue doing what I do, then I want to do what I want to do, if that makes any sense. Yeah. I mean, it’s the thing that I found most rewarding…human stories. I love the human condition. And I love people. The good, the bad, and the ugly are all of interest to me, and I love their stories, and I love translating them into visual terms as well.
And it is still as powerful as it ever was, if not better. The single image still stops you. Video is everywhere. And for me that single strong image, and I get this back from my clients as well, where they’ll say, “Oh, that picture – we’ve used that on so many campaigns. That’s such a great shot that really communicates”, and it’s good that. It proves that photography still communicates in the same way as it always did even though we’re in an image heavy world.
Zoe: Yes. There’s no shortage of images, but they still managed to cut through that. That shows the power of it. Doesn’t it?
Andy Scaysbrook: Absolutely. So, with that, I mean, I think it is just a case of, I try to marry up clients and people that I want to work with. I think that’s important. I don’t want to work with people that I don’t want to work with.
Zoe: Been there, done that, probably.
Andy Scaysbrook: Yeah, I mean, I literally have been there and done it all with the 40 years experience. So I’ve experienced all ends of the game from, you know, the top to the bottom.
And as I say, I’ve got choices on what I do going forward professionally. So if I’m to continue down this route, which I am, then it has to be impactful work that makes some difference. Makes somebody sit up, tells a story that matters to me. I’m very much into the human condition and fascinated by it. So that’s what I do, really. I come up with ideas and I approach people and say, What about this? What do you think? This is what I did previously. This is how it worked. This is the returns and break it down for them.
And I think you’ve got to really look at your client and you’ve got to really know and understand what they’re after and look at their business and be analytical and forensic and look around and think “what can I do for them?” So that’s the way I kind of go around my marketing and the rest of it really is from word of mouth from people that I’ve worked for before.
I mean, I had a call the other day, which was incredible. From someone that I worked with, 17 years ago and said, Oh, You’re still on this number. I was like, yeah. Oh, it’s great. Are you still a photographer? Brilliant. That’s great news. We want you to want to talk to you about a shoot. Yeah. So, keep the same number. I’ve had mine for 20 years. Yeah. Don’t change your mobile number. If you do, you’re losing out on clients!
Zoe: Oh, that’s a good story. So I think, from what you said, what’s coming through very strongly is the proactivity that you’ve demonstrated throughout your career to make opportunities happen. And particularly then you were talking about how you, identify who you want to work with and then go with ideas.
I think communication of your ideas is presumably key as well, because it’s all very well getting in front of them and pitching an idea, but you’ve got to be an effective communicator in the sense that you’ve got to sell the vision. Like you say, through examples of past work, presumably you’re able to do that pretty well now, but yes, being a great communicator and that proactivity just seems absolutely key from what you’re saying.
Andy Scaysbrook: Oh, a hundred percent. Yeah. If you’re to be a photographer, a professional photographer, as we all know, in any business, you have to wear many hats and being a photographer on your own is a very lonely business. If you’re not up for it, it will destroy you, tear you apart and you’ll be going off and doing something else. You’ve got to be that marketer. You’ve got to be ahead of the game. You’ve got to understand people’s needs. And you’ve got to promote yourself.
And as you said earlier, there will be times when you get knockbacks. Nothing to do with your work, nothing personal. It’s just not the right fit at the right time.
Coming back from that, after you’ve spent a lot of time researching an idea and a project taking it apart, presenting it, then getting a knockback, that takes it out of you. It doesn’t matter how long you’ve been in the business, that is tough.
And it’s the same for any other business that’s pitching for business and they don’t get it. And it’s not down to price. It’s, you know, said earlier, it’s just a case of not the right, right thing at the right time.
And you have to look and say, right, okay, move on to the next. That requires an immense amount of energy; to keep going back and keep getting those knockbacks. And it doesn’t get any easier, but the simple fact is that if you’re out there doing it, then you’re visible and people will remember you.
If somebody had a good experience with me 17 years ago, and wants to call up and repeat that experience, then I mean, it’s a long, long lead time, I must admit.
Zoe: It’s a bit too long, but you know, it’s better than them not coming back at all! No, that’s really funny after such a long time. So we talked about as you say, clients wanting media content in terms of video content. Are you finding yourself creating video content for your own marketing?
I know you have an Instagram presence, you’ve got a website obviously, but are you proactively creating behind-the-scenes videos, for example? Creating videos, using Instagram reels, you know, those kinds of features that are available to us now as small business owners?
To what extent are you doing your own marketing content creation? And what typically does that look like?
Andy Scaysbrook: To be quite honest, even though I’m sat here talking to a phone now, it’s not something that I, that I do a lot of. I’m not a fan of the whole, “Oh, hi, I’m taking the dog for a walk” approach. Yeah. It doesn’t fit with everybody. It certainly doesn’t fit with me. For those who are good at it, who want to do it, then that’s great. I’m a 60-year-old guy, I think there’s a limited interest in what I do or how I go about it. So what I tend to do is I make films. I’ve started making films.
Video is something I’ve always wanted to do. I wanted to go to film school at some point. But life moved on and I’d hoped, as many photographers did, to move into film eventually at some point. And so the sort of catch point for me really was drone photography.
So I made a film called The Shore – a five minute film shot entirely along the shore of Bournemouth Beach. And I edited it myself, obviously, and set the music. I knew exactly what I was doing. So what I’m trying to do in that sense is to make personal projects that show my creativity, and how I think, and how I work, and how I edit, and really trying to set a scene that way, because I think it’s far more important for me personally, for people to look at my work and judge me on my work.
People often say I can talk the hind legs of a donkey. So I’m not too worried. I’m not too worried about meeting people and conversing with people. I love it. But I’d much rather show off my work than me.
Zoe: As you say, through personal projects, you can absolutely do that. And it’s something you’re passionate about doing in the first place.
Andy Scaysbrook: Absolutely. And you retain control of a personal project. You’re 100 per cent in control which is essential really I think to any project. It’s having that vision and you’ve got to relay that vision and show that you can do that. So I think a lot of photographers show what they’re doing and where they’re going and what new lens they’ve bought and everything. And that’s fine. But do people want to know that?
I think if I were to make content, and I have thought about it online courses, is one of the things I have thought about doing. But, again I much prefer taking people out. I do a lot of work in Cuba and take photographers out to Cuba. And we do a 10 day trip around Cuba.
Zoe: Is that a street photography-type workshop?
Andy Scaysbrook: Yes, street photography and we go into the boxing gyms of Cuba really into the heart of the nation and its people. And I love doing that. I’ve led courses in Nepal and Morocco and other parts of the world taking people to a location and teaching them firsthand. So they’re getting a new sensation of arriving in a country and it’s like that wow moment. And then they’ve got me on hand to guide them and say, right, this is what we’re doing. This is what we’re going to get out of this. And it’s a wonderful thing to see 10 people just explode over a 10-day period creatively.
And then at the end, we work towards putting something together. So they’ve got a project. So they’ve got project Cuba, 10 days of Cuba. So they go away with something which they can reference and then they come back to me as well. And they say, “Oh, I’ve sent you this”.
So yeah, maybe I’ll move into the online world soon. But I think it’s important to show your own creativity off and control it as much as you can. Because when you start working for people, you’ll be working to briefs generally. And that’s an important skill to be able to work to a brief and to nail that brief.
Zoe: Yes, and, and inherently then you’re more restricted by what you can do. Yeah, absolutely. Oh, well, that sounds fascinating. The trips abroad and doing that, that’s awesome. But the online course creation aspect is always going to be there for you, whether you do it now or in five, 10 years time. So that’s potentially an option for you if you decide to hang up your camera one day and just go into the coaching and tuition side.
Andy Scaysbrook: Yes. Yeah. I mean, it’s something that I love doing because are many, many skills to learn in photography, obviously. But. It’s quite simple. Strip away all of this rubbish that you read here and there, you haven’t got to have anything.
What you’ve got to have is commitment and a strong creative ideal and you can go and make your mistakes. It doesn’t matter what lens you’ve got on the front of your camera or who made your camera. It’s not important. It’s the mindset and I love nurturing that bit in people. I love seeing them come alive and they say, I love it. Oh, that’s so easy. I didn’t know it was that easy. And you’re like, yeah. There are the dark arts, but they’re not that dark.
Zoe: Not when someone shows you how anyway.
Andy Scaysbrook: Exactly. Exactly.
Zoe: You mentioned mistakes there. Just before we wrap up, I’d love to know if there are any bloopers in your career, any mistakes you either made or bad things that kind of happened and how you kind of swerve those or got around them at the time. Did anything set you back in your career? Is there anything that you could share with us about that?
Andy Scaysbrook: Oh, crikey. Apart from doing a wedding way back in the day for a friend, and the little battery that was in my Canon F1 at the time decided it’d give up the ghost halfway through. That was a lesson. That was a lesson in so I commandeered a fellow guest’s camera and shot the whole wedding on this guy’s camera.
I think you’ll make many mistakes along the way as anybody does in any career. The important thing is obviously to learn from them and accept that you don’t know everything. It doesn’t matter how long I’ve been shooting, I’m still learning and everybody is, I think, in any role.
You’re gonna make mistakes, you’re gonna kick yourself, I’ve done a few of those things, I’ve done a few silly things, I’ve shot pictures without film in the camera. And you know, you just like sit there going, “How?! What the hell?”, and you’re like, “Oh, because I was concentrating on this…” So everything’s a lesson. It’s a learning curve, isn’t it?
Zoe: Absolutely. Every day, every day is a lesson.
Andy Scaysbrook: Nobody’s been hurt and I’ve never messed a shoot up, so.
Zoe: That’s good.
Andy Scaysbrook: Absolutely.
Zoe: And, your photography has been widely featured in the media, hasn’t it Andy? Would you mind sharing how they came about?
Andy Scaysbrook: Sure. My editorial features…most of these came from direct commissions from the publishers themselves. I have the “honour” of having my work appear in all of the national newspapers from the Sunday Times to the Sunday Sport! I have also received a lot of editorial coverage from personal projects. My Ovacome exhibitions garnered huge coverage for the charity. This was mainly due to the high calibre subjects featured in the shoots and the emotive story that supports the project.
I have also had a lot of press coverage which came from my success in photography awards. My Portrait of Britain and Portrait of Humanity entries have featured across global media and social media channels including The Guardian and The Sun. My “Unmasked” project also has some fantastic coverage that includes The Times and The Sunday Times plus a host of regional papers and websites.
Zoe: Amazing! Well, it’s been absolutely fascinating talking to you. Thank you so much for being so generous with what you’ve shared and talking about the highs and the lows and how you’ve gone about finding clients. I’m hoping that will be fascinating for those listening. And you’ve mentioned some of the projects you worked on more recently. Did you want to mention anything else that you’re specifically working on right now? What are you shooting this week, for example?
Andy Scaysbrook: This week, nothing, absolutely nothing. So that’s the highs and lows of photography. Last week, I was working all week. This week there was nothing on, until something next week when I’m shooting some more video for a client.
Zoe: Well, that’s great. We’re talking today because you’ve been available to speak to me. So I appreciate that.
Andy Scaysbrook: Yes, that’s why we’re having this conversation. But the recent shoot for the Sailor’s Society is great because it’s such an important thing. For us landlubbers, none of us think of what’s going on the high seas when we’re getting our bed at night. These guys and the girls, they have the most dangerous job in the world. And they are some of the most lovely people who do such dangerous things.
And it, it really is an honour to be able to get to tell their stories, really. And for me to meet them and hear about their lives…it puts your own life into perspective. And so yeah, again, I think that’s another thing about working and doing the things you want to do. It’s a great mirror to your own life. And you know, especially with social documentary photography, it offers a mirror up to other people’s lives.
And in this day and age, it’s a lot tougher world than we were used to maybe 10 years ago. So we’re all having to adapt and we’re all having to find different ways of working. So it is always an honour to be able to step onto a ship and meet these guys and these girls who are doing this crazy job and documenting that and telling their story to the world. So that, that means the world to me, really.
That passion is still there and I hope that I never lose it and the moment I lose it, I shall put down the Nikon and say, right, okay, that’s it.
Zoe: It sounds like you’re doing amazing work. So, again, thank you so much for your time and for sharing so generously and to anyone listening, do go and check out Andy’s website Andy, I believe that’s andyscaysbrook.com?
Andy Scaysbrook: It is indeed.
Zoe: And obviously he’s on social media as well, so do go and look up his work, everyone. Again, Andy, thank you so much for your time.
Andy Scaysbrook: Thank you so much. It was an absolute pleasure.
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