Jul 2, 2020
Top Virtual Keynote Speaker Photography
James Taylor interviews John DeMato who specialises in portrait, event and headshot photography for top virtual keynote speakers.
In today's episode John DeMato talks about Top Virtual Keynote Speaker Photography.
John DeMato is a portrait and virtual photographer who serves speakers, authors and expert-based business owners to create persuasive visual storytelling that motivates their audiences to care, connect and take action.
What we cover:
- Shooting photos of virtual keynote speakers including Sylvie Di Giusto, Phil M. Jones, Vinh Gianh and Ty Bennett.
- National Speakers Association
- Creating an experience
- Pre-session strategy call for virtual keynote speakers
- Virtual speaker wordrobes
- The challenges of green screen spill
- Photographing 80 virtual events
- DSLR vs Webcam
- Working with the camera
Tools: Google
Drive
Book:
Badass Your Brand by Pia Silva
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Read full transcript at https://speakersu.com/top-virtual-keynote-speaker-photography-sl069/
James Taylor
Hey there, it's James Taylor and I'm delighted today to have on the
show John DeMato. John DeMato is a portrait and virtual
photographer who serve speakers, authors and expert based business
owners to create persuasive visual storytelling that motivates
their audiences to care, connect and take action. I am a huge fan
of john and his work, as are many of many top speakers from all
over the world. And I'm really excited to have him on today to talk
about the work that he does and how he basically helps other
speakers tell better stories about ourselves and what and what we
what we actually do is living. So john, welcome onto the show.
John DeMato
Thank you for having me, James. Always a pleasure talking to you,
my friends. So
James Taylor
shame is a what's happening in your world at the moment.
John DeMato
Well, uh, despite the fact that the world's been a little upside
down and sideways, we've been managing to figure some things out
and kind of roll with the punches. My lifestyle portrait business
took a bit of a header over the past couple of months and
fortunately, I was able to spark some inspiration and create
something that still allows me to be useful and serve the speakers
that I work with. So I'm very fortunate for that.
James Taylor
That unit you and I met I think it was 2018 I'm gonna say 2017 2018
when we did a shoot together in New York City, I been working there
and then I I reached out to you, I can't remember there was no
speaker. I think it told me about you, maybe Geoffrey shore, and we
got together and I was you know, I'm used to like doing photo
shoots and speaker with with photographers, and you get maybe
three, or maybe four usable shots from from a day. I was blown
away. I mean, I think in the shoot that we did, we almost had like
100 shots or something. It was incredible. And that's kind of what
you're known for in terms of your portrait work with photographers
is just basically creating enough content content for them to use
over the course of a year.
John DeMato
Yeah, yeah. I mean, the fact is, is that a speaker's life, you
know, although many of us are grounded now. But despite that, you
know, when things are normal travel, you're busy, you have multiple
tentacles to your business, you don't have a lot of time to
continuously invest. So it's important that when you do get in
front of the camera, how many ever times you do that you maximize
that value by getting as much out of it as you can.
James Taylor
And I think after we did that, I started seeing your work because
you have a style, you know, in terms of photographer, and I
thought, Oh, that looks like John's work. Oh, that looks like you
know, there were there was there was something about it, there's,
there's a certain thing with lighting and a certain kind of feel
and emotion as well. So tell tell us about some of the speakers
that you've worked with many, many, many of them, we would actually
know ourselves.
John DeMato
Yeah. Well, I've been fortunate enough to be interested. Do the
into the speaker community through people such as yourself and
Sylvia, did you so she introduced me to the National Speakers
Association here in the United States and that pretty much opened
the door to me to meet a lot of amazing speakers like her and Phil
Jones is also a an amazing human being and a great clients. I've
worked with other people, like just pet it also within the
community. I've also done a lot of virtual work recently with some
other speakers such as Vin Jang, and Aaron Kane, Ty Bennett, people
that just really blow me away in terms of their presentation and it
just makes my life easier photographing them because they're so
awesome at what they do.
James Taylor
So I'm not very good at it because I was having a conversation with
a speaker the other day and I said, You've got to the speaker had
made a real pivot from doing a lot of in person keynotes all around
the world and suddenly, like many of us can stuck at home. And
they're doing lots of virtual keynotes, lots of virtual workshops
as well. I solicit you've got to have a conversation with john and
work with john, to get a visual representation of what you're
doing. I mean, he's at the moment he's doing like little
screenshots and, and I think maybe using little clips of things
didn't look great. So I was trying to explain to him what you do
when it comes to the virtual so we all know that the kind of
photoshoots that speakers we get, you know about speaking on stages
or, or you know, in some kind in our offices or whatever. But
describe that the virtual thing. First of all, tell us how did it
come about? How did that first gig come from, for being a virtual
photographer? And then tell us about when you start having
conversations with speakers? what they see how you describe what
you do,
John DeMato
right? Well, the reason that it was even born in the first place
was because I was I was sick. I was getting over Coronavirus. I
wasn't feeling great. I hadn't picked up the camera in about four
weeks. And the NSA, New York City chapter was putting on its first
virtual event. And quite frankly, I wanted to feel useful in a
little bit more like myself. So I just picked up the camera and I
was in my office watching the presentation, Jill shuffle bind was
speaking at the time. And I'm like, you know what, let me get a
couple shots to Jill just for the hell of it. And I snapped the
couple I looked at the camera the back of the camera, I'm like,
wow, these these actually don't suck as much as I am and so I
decided to shoot the entire program. And I think Chad highness was
on that one. There was a couple of other there was another speaker
I think I don't hundred percent remember, but either way, I shot
the whole program. And the next day, I've wanted to again feel like
kinda like myself, so I decided to write a social post, which I
hadn't done in weeks. I put it out. And the next thing you know, I
got a ton of reaction from a lot of speakers. And I thought to
myself, this might be something. And from that I kind of consulted
with some other speakers just pet it was actually one of them. She
was one of the first ones I want to talk to about this. And she
gave me some ideas on what would be important for speakers to have
why these photos are important. And the biggest takeaway from that
conversation was, it's about creating image content that speakers
can share with meeting planners and organization heads and people
who book keynotes or facilitators of any type. And basically what
they want to see is the experience that the speaker will create for
their audience. And that's how the whole thing was born. And then
that's how the whole thing kind of steamrolled and developed from
there. And the way that I present it to speakers when I talk to
them is about the experience, but it's also the reality of your
situation right now, if you're migrating to online and doing
virtual presentations, these photos serve the same exact functions
as your branded lifestyle portraits, and your live event stuff.
Because this is what your business is now and to a certain extent
to the future when people, you know, keep this within their
repertoire. But either way, the point being is that you need to put
out photos that represent who you are and who you serve, and why
you do what you do and still have that expression and still have
that artistry and still have that ability to capture your
audience's attention.
James Taylor
I think the interesting thing about you as well is something we've
worked together, we can start off talking about like brand, you
know, what you want the brand to say what there's a whole series of
quite strategic decisions being made along the way as we were kind
of going back and forth, which is not frankly You know we've all
been in this if you had to do photo shoots you you can turn up the
photographer okay stand there maybe change that shirt and but you
can have i do i think you call them as a strategy calls or I don't
what you call those, those discussions you go into with the speaker
or the thought leader, where you really start to kind of drill into
like, What are you trying to say? What is the story that you're
trying to say with images? Yeah,
John DeMato
yeah, it's a precession strategy calling it manifests itself in
different ways depending upon how I work with a particular client
and from where they're coming from in terms of what service they
work with me on but But the main point to all of that is there is
no show up and shoot or even with virtual there is no here's the
zoom link and go make it happen. There is lengthy conversation
beforehand because I need to know who you are in order to know what
types of expressions I need to capture on your face. What level of
artistry I need to include into these photos and how interesting
they need to be based on, you know, the the quirks that make you
you and yeah, wardrobe is important. By the way, it's not it's not
something that should be dismissed. But it is. It is one piece of
the puzzle much like vanity overall is a piece of the puzzle. We
need you to look good. But that's not the most important part.
That's a foundational element. That's a given not a goal. The goal
is to create an image content that will visually punctuate the
sentiment of every single story you want to share, whether it's the
copy on your website, whether it's social posts, blog posts,
whether it's a slide in your presentation of a photo for your book,
whatever the case may be, whatever, wherever you put your story,
your message, your insights part of your framework, you need to
have image content that will punctuate visually that sentiment in
order to drive people to get people's attention. So that they care,
connect, and ultimately take action with you.
James Taylor
Now you have an interesting role in doing that, because you work
with so many different thought leaders and speakers and you're,
you're inside of those, whether it's the zoom webinars, or those
online conferences, virtual conferences that are going on, as well.
So you're also seeing probably from a from a photography
standpoint, and from an audio standpoint, what looks good on the in
the camera, and I'm gonna put my hand up here, I'm not a big fan of
green screen. And, and I love it for certain things. By I feel
there's a real danger that we've got so focused on the tech stuff
that we've put the aesthetic out of the window a little bit, or you
can feel jarring at times if it was being it's being used for just
the sake of using it. So from your perspective, as someone who has
to shoot these, these sessions, what are you finding is working
with Once you take those shots, you can look back and think, ah,
this is interesting, these kind of backgrounds or this kind of
setting or, or this type of setup what what's working for you?
John DeMato
Well, well, from my vantage point green, the virtual background can
either be really cool when it's lit well, and there's separation
between the speaker and the background so that there's no, there's
no spill of the green screen on the person. So they look like the
Incredible Hulk, which I've seen a million times or when they move
their arms. It's not lit well, so anytime they move their arms, you
can see the aliasing around their arms, and you could see where
they're what the actual background looks like. So that looks crazy.
And it is jarring and you're right. So it's a dicey proposition if
you don't really have the proper lighting to do it. But what has
worked, I mean, I've seen over 80 of these events, and I've seen
some amazing stuff and a lot of it is that simple. As dressing up
your office decluttering the background behind your head, creating
contrast between what you're wearing and what the color of your
background is so that you pop off the background. The bookshelf
thing is great. A clean wall is great. I mean, I've seen people
just use plain blue walls or plain blue seamless paper or plain
white, seamless paper. I've seen people go all the way above and
beyond with neon and colors and digital writing boards and all of
this stuff. But the most important thing to keep in mind is that
what you want to do as a speaker is stand out in the frame 100% of
the time, which means whatever you do in that background needs to
support that ultimate goal. Because at the end of the day, if it's
just you talking about the lighting on your face is clean. You look
good. There's no any weird distraction That's the most important
thing, start from there and then build out.
James Taylor
And then what about, you know, obviously, many of the speakers,
they're using webcams, some of them may have nice kind of DSLR,
high quality kind of cameras with nice lenses that they're using to
get little bit of depth of field as well. If someone's just kind of
starting on this process, and they're doing more presentations, and
they know, let's say they're gonna be working with you, and in a
month's time on a project, any advice you would give them in terms
of the technical at the camera that they use, for example?
John DeMato
Yeah, sure. Jeff Shaw, Phil Jones, they use DSLRs. It looks great.
I saw them prior to using it and the quality differences definitely
there. But what I would say is this, don't invest. If you're going
to do virtual photos, don't invest in the technology. It's just for
the photos. It's not worth it. If this is something that is bigger.
That eye you know, you want to present yourself with a little
higher resolution with a little depth of field you know or blurry
background as you guys say with the blurry background. Yeah, yeah,
I'll simplify. Yeah. So if you want if you want the blurry
background, you know, then you then and you plan on being on
getting paid speaking virtual gigs, yeah, I'll give you the tips.
You know, I'll give you the, the HDMI cable you need the DSLR
camera that works best in auto and how to frame it and what to
frame out and all of that jazz and I go over that with some of the
speakers prior to I've had several of those kind of sessions but
here's the thing, if it's not that big of a deal for you, and you
maybe just want to upgrade to say a couple hundred dollar Logitech
that's cool to the point is this. You just need to feel comfortable
about the way you're presenting yourself. And then however that
looks, that's when you call someone like me to photograph you.
Yeah, that's one.
James Taylor
Yeah, it was interesting. I mean, I remember when I was done, we
obviously I've been doing the virtual thing for cloud too many
years. But I remember when we started doing things while I was
using more multi cameras, I just knew I wanted to have a little bit
more movement and just, you know, make it more especially the
longer sessions. I liked having like maybe three cameras, I could
go between a wide shot and an up close and maybe something or even
an overhead shot. Yeah. Yeah. And, and I was thinking, God, this is
gonna cost me a fortune here. I buy like three digit DSLR you know,
I only had one DSLR but let's say I get another. They were like
1500 dollars or $2,000. By the time you had lenses, and in the end,
I had a conversation with one of my speakers. You remembers Tom,
Tom lightning, and he's even a lot of video stuff in the past. And
he gave me a great little tip. You know, this is a kind of hackers
tip. He said, go on to eBay and buy two cameras like a handycam
cameras that like almost the prosumer versions, like five years
ago, they would have been the top cameras. And he said, you can get
them, you get like three of them for like a couple hundred bucks.
And just get them like color and color match them and things or
something can give you that without having to spend an absolute
fortune, and have your one main nice establishing shot with all the
depth of field stuff. He said, but a lot of the things that we do,
we don't need a big, you know, fuzzy backgrounds or depth of field,
because of the rooms that we're shooting in a lot of times when
we're doing virtual.
John DeMato
Yeah, if you're doing if you're doing a solid background, the
narrow depth of field with the blurry background, it's some
consequence, you're not going to see it, it's gonna be useless. In
fact, it'll it'll cause problems potentially with the focus on you
as you're talking. Yeah, but in terms of the multi camera, I mean,
the thing about the multi camera that I've seen that's been very
successful is a getting back to the technical piece, just make sure
that the two that you buy are in fact the same because when you
switch between three that are all completely different, it's going
to look weird and all the matching in the world isn't going to
match, just FYI. And if if one of those chips in one of those
sensors is older than the other, you might have to work harder to
match those two. Just keep that in mind. I think that's a good
point.
James Taylor
I had that with what I was trying to figure out between I use ECAM
and also an ATM switcher for switching and for the email I figured
you know what would be because I couldn't get one of the lenses
just to match and it always looked off and actually thought you
know, I'm going to try and do I'm going to try and make that lens
black and white and I'm going to strip all the color from and so
I'm not going to try and make it look the same thing. And I kind of
experimented with that and I almost going to use it now as my at
the side camera like when I'm kind of talking off camera like it's
like a like a TV now because you obviously your bank For the people
that don't know, you worked in TV for many years as well. So some
of the stuff you've maybe done in the past is now coming probably
pretty useful for you as well.
John DeMato
Well, while having these conversations with people now that now I
get to dust off the producing skills, yeah. And here, but here's
the thing, though, with that multi camera where I was getting
pointing to before was the fact that when you have multi cameras,
yes, doing what you do, when you change the vantage point on you
from wide to medium to close to three shots or overhead, it creates
that visual variety that you want, and that impulse of people
getting bored gets lost when you switch switch switch, that's
great. But one of the most effective things that I've seen a lot of
folks do a multi cam is to they'll have a sitting, they'll have a
sitting camera whether whether in front of the just sitting and
talking, maybe sharing slides, then they'll cut to a second camera
that has a flip chart. You know
James Taylor
This Vin, I think Vin does that Vin Jang
John DeMato
yeah Vin Vin does that yes. And also Clint Pulver did that the
other day. He had a he had a, I think it was three cameras. He had
one where he was standing in front of a backdrop. The second one
was on his, he's a drummer. So he had one on his drum kit straight
on. And then he had an overhead that was straight down on the drum
kit. And it's just, I mean, listen, like I said, you don't have to
start off with like, you know, bells, whistles, confetti, all this
crazy stuff. The fact is, is that you just need to look like a
badass and confident and know what your stuff and then you start
from there and build out. But there's a lot of flexibility with
multicam.
James Taylor
And I think one thing that's interesting getting going where we're
kind of starting to move from, you know, from us being a speaker on
stage where you had that quite a big canvas to work on. So your
body movements are much larger generally, than when you come to a
studio In a small camera, they're all those little small facial
movements like it's like going from being a theatre actor to a film
or TV actor, where you suddenly have to go like slightly kind of
smaller and more more focused. I remember working with actors some
actors before, and they might have a three cam, three cameras in
the room shooting a scene. And and it's, I would say this
especially the case of female actors, is they would know exactly
what lens was on a certain camera. And they knew which lens worked
particularly well for them for certain close ups. Oh, is that the
such and such camera is that such a such lens, because they knew
they had enough. And I'm almost thinking now for other speakers as
we have to get. Obviously we're in we're in version 1.0 of this
just now. I can see very quickly getting to the stage where
speakers not only know like how to do it on stage and that way, but
how to use some of those devices that an actor would use and
playing with the camera and having a conversation and treating that
how that camera was like your best friend. As well,
John DeMato
yes, that's a very good point. And it's something that I've had to
actually coach through some of the stuff that I'm doing not not the
real in person real audience events, but the stage events that I
photographed with clients a lot. And it it really starts with this
number one are what are you presenting? Is this a keynote to an
audience? Is this a webinar where you're just basically talking to
yourself record pre recording it and sharing it? Is it a mastermind
group where it's more of a conversation, hotseat kind of thing,
those that dictates immediately what you need, how you need to play
with the camera. Because if it's if it's like a mastermind
conversation thing, just be yourself just be normal. But if it's
something that's going to be in front of an audience whether or a
live audience watching in or an audience that's going to watch this
purchase it or sign up for it or whatever. You need to be on. And a
lot of the times when I work with clients to do their full screen
speaker shots, you know, and there's nobody here and it's just us.
I in fact, I did this yesterday, I prompt my clients to pull up
sections of their keynote, and to be cognizant of the fact that
your body language still matters. Even if you're sitting. Yeah, you
need to move those hands, you need to move that face, you need
those pauses, I need to see all of those things. Because again, as
I said earlier, these photos are a representation of what your
business looks like right now. And you need to do the same exact
things as if you were in front of a room of 700 people.
James Taylor
Now I'm conscious that because this is a audio podcast, people can
actually see your work. So we're gonna have links in here as well,
but to take us through, let's say if I'm someone listening to this
just now, they're a speaker, maybe they've got an upcoming keynote
or they're giving a workshop and they really want to use that to be
able to do a photo shoot photo shoot Photoshop, or maybe they've
got some really want to start promoting their virtual but you don't
really need to maybe almost like fake it till you make it and do it
do a live type of shoot. Take us through the process of when you
work with a speaker, where does it? Where does it start? And what
are the stages that you generally go through and speaking?
John DeMato
Well, the first step is I just admit, yeah, this is weird. It's
gonna be weird. And it's not the same as doing it live. But it's
important. We go, we talk, I, the first part of the strategy that I
have with a client is I start with, you know, what, what are they
trying to do with these things? Are they just looking to create a
landing page and just let people know, hey, speaker, bureau person,
hey, meeting planner, this is what I do. And that said, or are they
looking to dive a little deeper and create a social strategy? If
they're looking to create a social strategy, then we get a little
more meaty. Basically what I want to know is, what are the types of
presentations that they do is that is the audience usually locked
out or brought into these things because that will dictate Whether
or not I shoot the Brady Bunch shots, the gallery view all the
faces the collection, because my goal in the strategy calls is to
kind of identify the key elements in their presentation, whether
it's audience, are they using slides? Are they doing live drawings
using a tablet? Today? How many cameras do they have? What are the
Today's a flip chart, I'm trying to figure out what that
presentation looks like so that I make sure that I capture images,
fullscreen speaker, speaker with the filmstrip of people on the
side filmstrip of the people on the top the audience if the
audience is available, and side by side mode with the speaker or
the tablet live drawing while they're working. Because my goal much
like the branded lifestyle portrait photos or the live event stuff
that shoot is to capture that visual variety because we want to be
able to sustain them for you know other a sizable amount of time
with images of the same event, but from different vantage points,
because that's when once I have the elements on their end of what
their presentation looks like, if there's an audience, all those
things, that's when I take my laptop, get my folding table roll
around on the floor and shoot them in different parts of my
apartment.
James Taylor
And that's actually important because I think it'd be quite easy to
say, Okay, well, so you just take take photos of the Zoom Room or
something.
John DeMato
But yeah,
James Taylor
but actually the device, let's say iPad, talk about actually the
room this the spacing in which you shoot that because I think it's
really important cuz for me as I'm not a speaker, if I'm a client
or event professional, and I'm looking at that is suddenly has a
more realistic feel. I feel I can imagine myself, you know, so I'm
saying this is a vegan now but sell the sizzle, not the steak. It
feels like it feels real. Feels like, Oh, I can imagine myself
watching that presentation. So you could just briefly describe
because you went through that very quickly, like in filming
different parts of your room. What in your apartment? Why is that
important?
John DeMato
It's, well, it harkens. Well, first of all, you just confirmed what
I had said earlier. It's about creating image content that
illustrates the experience the viewer would feel if they were
tuning in to your presentation at home. Right? So for me, at first,
when I first shot those initial shots for NSA, my camera, my
computer was tethered to my my office on the desk just the way I
work, there was nothing and then the thought of experience,
experience experience create the experience Well, they're not going
to just watch it on that that's why I include my windows and and my
French doors and you know the blinds and shooting on different
surfaces and all of that kind of stuff because what that does is it
creates that whole vibe, that kind of the scenario. And also,
instead of just shooting it against like a white wall or a gray
wall, which I could also do, that's not as interesting yet, but
when you incorporate outside elements, it adds dimensionality and
artistry to the images that captures people's attention. And by the
way, it's because of this virtual session that I think I have the
most famous apartment in the speaker community now. So many
people's photos.
James Taylor
Well, at some some point, I'm going to come and hang out with you.
I think the last time we were together, I think we possibly broke a
few laws in terms of when we were doing that in person photo shoot
of.
John DeMato
Yeah, private property. Yeah. Credit property. Yes. Yes. We're
fine. We finally the photos are
James Taylor
so fantastic. So so people, obviously, and it's difficult with it
with obviously a podcast interview like this, to really get across
what these things look like. So please, we're gonna have a link
CEUs people head over to your site and can see what you do. But
before we can talk about that Usually a question I asked all of the
speakers isn't normally speakers that we have on the show is I
asked them what's in their speaker bag? What isn't that bag that
they carry with them to all of their speaking engagements. So your
your bag, you know, when we get back to doing live events again,
it's going to be a little bit different. So what is in that bag of
tricks that you take with you apart from obviously your one movie
camera and lens, what the other things that you take with you that
maybe speakers don't necessarily think about?
John DeMato
I can't wait to get back to live events. So my mic, my bag actually
has two camera bodies for lenses. And I think now we're going to be
That's going to be in my bag now moving forward. When
James Taylor
And what about resources or apps or tools are there any in terms of
your we have Really can talk about your your mobile kind of
creative process in your own role as a creative a thought leader.
But are there any online resources or tools or apps that you find
particularly useful for the creative work that you did?
John DeMato
The app that I live in? Well first of all, Google Drive is my
that's it's my lifeblood, I work off my phone with it. I work off
my Chromebook, my laptop, it has everything. Another app that I
have found to be extremely useful is my notebook app. That's the
one where I write down idea nuggets that popped into my mind
throughout various times of the day. And that one really helps kind
of fuel my creativity because when I'm in the mood to write
something or find I'm working out a an idea for adding to my
services, I just jot it down in there. And then when I'm ready to
actually entertain the thought of taking action on it, I go right
to that app.
James Taylor
So is that is that Just the one that comes with the phone like the
iPhone Oh,
John DeMato
no, no, no, it's, it's, it's an outside app that you pay for. It
has interesting ways to chapter and Chronicle stuff. And it's, it's
more flexible than the regular one on the iPhone.
James Taylor
And then, if you were to recommend, you know, our listeners just
now, obviously, most most of our speakers, but we kind of touched
on a little bit in terms of thinking about branding about visual
identity, visual storytelling as well. If you can recommend maybe
one book to our listeners that can maybe just kind of help them.
Think about their brand, you know, visually, it could be a booking
of photography, or it could be just a book that's just gonna like
maybe take their mind in a different place. In terms of visuals,
what would that book be?
John DeMato
You know, I would probably say the one the one that started at all
for me and the young woman that helped me with my niche and
discovering this whole, this whole thing. It's bad A brand by
Pierre Silva. Um, it's it. She doesn't talk necessarily about
visuals, but the way that she talks about brands. It Well, there is
a section on on photography. But the point is, is that that book
really gets you thinking about putting yourself out there in a
unique way and the colorful way she presents herself she's New
Yorker. So it really it helps kind of help you see where you are
and where you want to go. And from all that good things come,
James Taylor
and I'm suddenly remembered it was clear that is how I first
learned about your work. You did amazing shot over. I can see it
now. She's wearing a red top. She has quite a
John DeMato
stress like
James Taylor
yes. Yeah. And it was such an iconic type of shot. I thought he
answered on the interview that I did for my creative life. I said,
Who was that photographer, I want to work with that photographer.
And that's how your name came up. So that's when it all kind of
coming back round to things. Full Circle,
John DeMato
we made it. What we made came
James Taylor
back around the other end as well. JOHN, let's imagine you woke up
tomorrow morning, a New York City there, and you have to start from
scratch. So you've got all the tools, your trade, all the knowledge
that you've acquired over the years, but I'm gonna take away your
address book, you know, no one, no one knows you. What would you
do? How would you restart things?
John DeMato
Well, I would probably start to listen, I would go on LinkedIn, I
would look up the types of people in which I want to serve. So
keynote speakers, facilitators, expert based business owners, look
up who is in the New York City tri state area, and start to connect
with them and engage their stuff and don't ask them for anything
until they respond back and then have an actual conversation and
see where it goes.
James Taylor
While talking about connecting where's the best place for people to
go so they can connect with you See some of your work the great
work you've done with lots of other other speakers and they reach
out to you by getting a virtual getting a photoshoot done soon
where's the best place for them to go and do that
John DeMato
that's place is my website. JohnDeMato.com from there you can
sign up for my social sign up for my newsletter. You could also
follow me there just you know email me from there you can
James Taylor
do that. Well john, it's been a pleasure speaking as always I
always love hanging out and I can almost smell the cigar smoke. Are
you a big cigar smoker, so I can almost feel feel the New York City
vibe with a cigar smoke. Just now please stay safe. Stay. Well,
thank you so much for coming on the speakers live and please
continue doing the beautiful creative work that you do as well.
John DeMato
Thank you, my friend. I look forward to seeing you in New York
soon.
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