All language subtitles for 2. Routine

I've walked into a very exciting,

fast-moving photography business

essentially 25 to 30 years into the process, right?

So, what Greg has now

is a fierce core business

of taking pictures,

you know, essentially all over the world, right?

I mean, mostly North America, and Europe,

and lots of stuff in the UK, obviously,

but he's incredibly prolific.

And that's obviously the core business.

In addition to that,

we have a studio in Central London, in Mayfair,

which is the sort of headquarters for the business

that doubles as a gallery and a sort of event space

for our own events, and exhibitions,

and parties, and stuff like that.

We have a growing print sales business,

we have Skills,

which is obviously the business that relates to courses,

and good ambitions for that.

We publish books, we make videos,

generally Greg's sort of repertoire-style,

first person interviews.

So, there's a lot going on.

I started managing Greg three years ago,

having been his commercial film producer

for a decade before that,

and the thing that struck me as soon as I took the job on

is that we're a small business,

you know, circus, sort of,

four to six people at any one time

but Greg is a global brand.

And what that means for us in real terms,

so, on any given day,

we'll generally wake up to some inquiries, right?

They might relate to print sales,

very often, they'll relate to opportunities

to work with talent and shoot stuff.

They might have come into me.

They might have come into a generic address.

They might have come in directly to Greg.

And one of the first tasks is to sift through those

and try and get a sense of what's worth pursuing.

I'll generally catch up with Greg

quite extensively in the morning,

I'll have a written list,

he'll have a bunch of stuff that he wants to discuss,

and we'll spend any time from sort of half an hour

to maybe three hours walking it all through and figuring out

the course of action in each case.

And then basically I'll go off

and try and make those things happen.

On the production side,

there's me sort of leading on production.

And then there's a team of three of us,

so me plus two, Cordelia and Annie

who are based in London,

and like me,

will be involved in facilitating whatever the business needs

on any given day.

We have a part-time archivist

'cause obviously Greg is incredibly prolific,

both in terms of the stills and the motions,

so there's an awful lot of archiving, and backing up,

and all of that exciting stuff.

We have a number of photo assistants,

you know, Greg has a, sort of,

longstanding lead photo assistant, Mark,

who will also handle the majority of Greg's retouch

but we have a number of other,

you know, great photo assistants that we've worked with

for a long period of time who will work with us

on bigger jobs or when Mark's not available.

The thing that I find most interesting is that it is a...

For such a small business,

because of Greg's reputation and online presence,

it's got an incredible range.

So the variety of opportunities

and inquiries that come in is, you know, incredible.

And the business moves incredibly quickly.

So, you know, quite often what a week looks like

on the Monday is quite different

to how the week played out when you get to the end of it.

So we are now at a point,

because we in a groove together,

and we've got quite a slick team,

and because of the way that contemporary business is

and how fast-moving it is,

where we do a mad amount of stuff.

We might do a couple of shoots in a day,

we'll work on a couple of product collaborations,

we'll be planning an event, planning a publication,

editing a film and contributing in some way to a course

or multiple courses,

and that, you know,

any given day will invariably look like that.