Business Bites Episode 99: Why & How to Have Good Brand Photography for Your Business

Why & How to Have Good Brand Photography for Your Business

Episode 99 on the Business Bites Podcast

The Gist Of This Episode:  Brand photography is more than just headshots; it’s a way for you to connect with your perfect client. In this episode, Rachel sits down with her own brand photographer, Christina Blanarovich, and discusses the importance of good brand photography in our visual society and how to get it. 


What you will learn:

  • Why you need to invest in brand photography for your own business
  • How to find the right photographer for you
  • How to prepare for your session
  • What to expect during the whole process
  • and more!

Expand To Read Episode Transcripts

Rachel Brenke: Hey guys, welcome to this episode of The Business Bites Podcast. I am your host Rachel Brenke. Today’s episode is a little different, because normally I’m never actually sitting in the exact same room with the guest, but I have Christina Blanarovich today. We are going to be talking about branding photography for entrepreneurs, why you guys need to have it, how to find a photographer, how to prepare for it, and what to expect.

Christina is actually my brand photographer. I’ve had multiple shoots with her. She shoots film and digital. She is in the New York City area and she is an expert in helping to still tell stories through the brand photography. She actually started as a wedding and portrait photographer, did that for about a decade, and now has transitioned to commercial photography. She has been published. She’s awesome.

I am stoked, actually, because we’re recording two episodes. This is episode 99. You guys are going to be able to find all of the show notes and links to Christina stuff at But if you are a photographer, not only should you listen to this episode because we’re going to talk about how for you guys to also have brand photography for yourself, but in episode 101 in a couple of weeks we are going to be speaking directly to you photographers about why you should be offering commercial and marketing brand photography, how to offer it, etc.

Not only is Christina a brand photographer like she does for me … and for many of you guys, she is for hire, FYI … but she also helps photographers and coaches them to offer brand photography. So long winded introduction, but that’s because you’re so amazing. So welcome to the episode.

Christina B: Thanks for having me.

Rachel Brenke: I am stoked. So this episode, so 99, we’re talking about why to have brand photography, but let’s kind of give a little context of what exactly brand photography is. I feel like a lot of people kind of think that it’s confined to head shots, but in this day of social media, that’s not the case.

Christina B: No, absolutely not. I think that’s probably one of the most important things that people need to realize is that brand photography when done right isn’t just a handful of head shots, because a handful of head shots is just kind of like how you look in the moment, but a brand photography session creates content for you to really reach out to your perfect avatar, your perfect client that you want to hire you.

Rachel Brenke: FYI, I didn’t pay her to use the term client avatar. You guys know that I’ve referenced episode 12 a lot, the magic of a client avatar. So this definitely helps to bridge … Again, if you guys need links to external episodes, it’s all going to be at But in the interest of the client avatar, that is really important. Good buzz phrase, you guys know I love it. I think that’s why Christina and I get along so well.

So let’s answer for them why have brand photography? So we just explain what it is, but why should entrepreneurs, even photographers included, but why should entrepreneurs in general have a brand photography session done?

Christina B: I think one of the most important reasons is that when we’re trying to reach out to our avatars … I know you love the word and I use it all the time, too, and that is definitely not a paid promotion there. One of the most important things is when we’re trying to reach out to people, the whole purpose is we’re trying to create a relationship. We want our clients to get to know us and trust us so they hire us. No matter what you do, whether you’re a photographer, whether you’re a fitness professional, a health professional, it doesn’t matter what your job is, you want to reach out to clients and create relationships with them. You want to build a bridge from them to you.

The only way to do that in our visual society is to create brand content work that really showcases not only who you are, but how you can help them. You have to be relatable and that’s not going to happen with the same smiling photo of you standing in front of a backdrop that everybody has on their websites. You have to have more relatable material. You have to have constantly changing relatable materials so that the client feels like they are a part of your life.

Rachel Brenke: So you guys can’t see it, but Christina has given me a knowing look, because she just had a battle with me for my brand session and trying to talk to me about this sort of stuff, because I have a huge weakness with visual branding. Even though I’ve been a photographer myself, I feel like I can create it for other people, but I can’t create it for myself. For me, that’s why I find it is so important to find the right brand photographer, which we’ll get to here in a minute. But it’s so true Christina just said about making the connections with your audience and duplicating and sharing the exact same headshot or photos over and over again. I’m raising my hand, because I’m just as guilty of not having enough visual content to put out there.

Consider this, your Instagram photos, what’s the shelf life? A couple of days, if that, a couple hours in a day. You can’t keep cycling the exact same three photos through your entire Instagram feed. It’s just not going to work. It’s not going to create that connection, and it’s going to become old hat, and people are going to leave. That’s why it’s really important, especially if you’re someone like me who struggles with visual branding, to find a good solid brand photographer.

I think this is really the section of the podcast of why I really wanted Christina to come on, because I think a lot of entrepreneurs can be convinced that they need to have this visual branding. They know it’s a weakness, they need to outsource it, but they don’t know how to find the right brand photographer. I’m lucky that my brand photographer is also one of my closest friends, she gets me, but it didn’t start that way. We started by doing brand photography together and it’s because of the knowledge that you have. So share with them a bit some tips of how to find the right brand photographer that can help you create that visual branding.

Christina B: Like you said, I think a lot of people’s weaknesses is just the fact that you know you need it, but you don’t know how to get it and you don’t know how to step back and look at it from a client’s perspective. We have in our own heads as entrepreneurs how we want to present ourselves, which is great and that’s important, but we also need to balance that with how our clients want to see us or want to be a part of our lives. So having a brand photographer who just isn’t a photo taker, they could be a fantastic portrait photographer, but a really truly great brand photographer is going to help you actually sit down, figure out your avatar, and create content around that.

I push back with all my clients who you’re not the only one … Although, I do have to admit, I probably push back more with you. But I push back with all my clients, because my plans will always give me a shot list. Guys, I love a shot list to work off because I want to know what you see and what’s important to you, but I want to take that shot list and I want to take it farther. Because the shot list is your side of it, we need to bring in your client’s side of it. That’s where having a brand photographer who will do the work to look through your Instagram, talk to you about who your client is, what your brand represents, who you represent, what’s important to you. Those are all the things that we need to bring across in a brand shoot. It’s so much more than just you in front of a camera.

Rachel Brenke: What I find interesting with that is I’ve worked with Christina a couple of times now and the first time it was kind of, I trust you, let’s see what we can do. We’re going to do some urban shots. This last time today we spent all day shooting and I had sent her like extensive outfit choices and photographs, but even looking at it now, a full day of shooting is really what is needed. The amount of photos that I have put on a pin board wasn’t even enough. So for me, it was great to be able to provide this quote unquote shot list to her so that she could visually see what was in my brain, but then I trusted her to take it above and beyond that. Because even if I send a pin board of 50 photos, well, if I do one photo a day, that’s only 50 days. Shelf life is super short.

So for me looking in how to find a brand photographer is asking the questions to ensure that, A, they’re going to allow for a shot list, because that’s kind of the only way for someone who’s visually design challenged like myself to convey it. I can see it in my head, I can’t articulate it, so I have to go out on the web, Pinterest, Instagram. I did screenshots of other educators and sent them along, but I really needed to find someone, which I cheated and I already had, but I think it’s really important to find somebody that can take it beyond that and trust them to fill in the gaps for you on that.

As far as like … Maybe let’s talk a little bit about a technical standpoint, because like you mentioned a solid portrait or wedding photographer can provide solid work. We’re talking also about this other portion of being able to do almost a consultative coaching side of things when it comes to the brand. But let’s talk about the technical, like what are some things that when you’re looking to hire someone … Because I know you do film and digital, are there certain technical specs that we need to ask of a photographer?

Christina B: Well, absolutely. If your brand photography … you have to figure out what are the uses. So obviously with commercial work you might have just social media use, but you might want to be using it. I work with small businesses, large businesses, people who are using these images on billboards.

Rachel Brenke: Really large, and we can’t share the name yet, but by the time this episode airs if you go to the web though episode page, hopefully we can share some of the big names there.

Christina B: But one of the things is you have to know what your usage is for. Are you going to be using this just for web, are you going to be using this in print, are you going to be using this in a large scale type of way? If you’re teaching, if you’re … like you do, you do a lot of speaking, perhaps you need a giant billboard of you when you’re speaking at an event. So you want to make sure that whatever you are going to be using it for, that photographer can provide. Now it’s not something that most wedding photographers … and when I was a wedding photographer, I didn’t think this way. I thought about larger prints, but I didn’t think about the necessity for high resolution to commercial level. So that’s why I do shoot film and digital.

It really depends on what my client’s needs are. I know certain clients need a fast turnover. Certain clients are going to need the really high resolution images to be used, so they’re going to obviously be more of my digital clients. Some people really want the look of film, so that’s when I go back to my roots for that.

But technically, you also want somebody who can think beyond the portrait, because as a wedding portrait photographer, we’re very used to looking at the prettiest portrait, but the prettiest portrait isn’t always what’s necessary to convey a message in a business. Sometimes you want the bloopers.

Rachel Brenke: Do you want to share the cupcake story from today and maybe we’ll have an example when we air?

Christina B: So we were trying to come with a reason to incorporate something else besides just-

Rachel Brenke: She’s trying to make me more relatable.

Christina B: You’re very relatable, you just don’t believe it. You’re the one who thinks you’re not relatable, I know you are. So we decided to walk by this little cupcake store. Rachel went in and we got a cupcake. She’s sitting out on the front stoop eating the cupcake and I’m like, “Just go ahead and bite into the cupcake.” She bites into the cupcake and oh boy.

Rachel Brenke: It was so sweet. It was good. So I apologize if they’re listening, they’re a great cupcake shop, but it was just … We had so much coffee today, I think it was over the top.

Christina B: Probably. So she’s biting into this cupcake, guys, and I just want you to envision the look of extreme disgust and horror as this cupcake is crumbling off her face. The shoot is just … that is not going the way we had originally envisioned, but I kept shooting through it, because I think it’s gold, personally. One of the things that I saw in my head as I was shooting through Rachel making the most interesting faces was I saw how she could use this, I saw how she could use this image and say, “Hey guys, when things don’t go right, when you have this grand master plan, and then with the first bite it falls apart and it’s just awful, what do you do?”

So I think it’s great as a brand photographer, as a commercial photographer, you have to shoot thinking, what else could this be used for? How else can I see this? Another really important fact is giving multiple setups of the same image, or multiple images of the same setup, because you have to move. I mean, you saw me today. I would move around you five, six times and then be like, “All right, don’t move.” I’m moving, I’m shooting, I’m in, I’m out, I’m all over the place. Then we change it up, because that gives you variety.

Rachel Brenke: Just an FYI, we’re going to talk a bit more about that and the approach to shooting in episode 101 in a couple of weeks. So photographers, if you’re listening, you can come back and learn some more tips from Christina on that. But definitely, I hope you guys that are looking to hire a brand photographer are taking these tips down.

I want to ask one last thing before we move on of how to prepare for the session. Of course, I’ve got to bring in the legal side of things, because it’s what I do, and you guys know I’m not going to let you get away with it. But one of the tough questions I think that you need to ask when you’re going to hire a brand photographer, since this is commercial in nature and it’s not a personal portrait session, you need to ask what can I as the person that’s receiving the photograph, what are the uses? Am I going to get to own the copyrights to the photographs, because then I have control over it, or am I going to have … what kind of license?

Every brand photographer is going to be different. I wish I could give you one solid recommendation of what it should be. I’ve talked about this in other episodes, I talked about this actually in some of the copyright classes on, that there’s pluses and minuses as to whether or not you want to pay for copyright conveyance. If I hire Christina, by default in the United States copyright remains with her, because she’s not an employee in my company, I’m contracting her only for a brand session or a couple … So she would need to either convey copyright ownership to me if I want to be the owner of it and be able to have full control over the use of those images or she can and we can negotiate a commercial license.

The reason I’m not getting into specifics and I just say commercial licenses, it’s going to vary. It’s exactly back to what Christina was just talking about before. What uses are you going to need to use it for? What uses is the photographer will want to allow you to use it for? Now in commercial photography, it’s pretty broad. It’s a lot broader than it’s going to be for a personal portrait session. I just think that it’s important going in these are the questions that you need to ask.

Because unfortunately that I find on the law firm side of things … I do a lot of copyright infringement … is many of you may not know the little tidbit I just threw out a bit ago that when I hire Christina, unless I transfer copyrights to me, she owns all of it. So I don’t own the photographs even though that I’m in them. I only have a license at that point which may be okay, but understand if a third party goes and utilizes it, I’m dependent upon Christina then to take up the reigns to pursue them for copyright infringement.

So these are things you guys need to think about, questions you need to ask. Just understand where the ownership lies. There’s other episodes on copyright. I don’t want to go too much further in this episode, but we’ll link it on the show notes page as well. I just want to ask one question to you on that. How do you work that with your clients when they ask about ownership transfer versus licensing?

Christina B: Honestly, it depends on the client. When I work with a larger corporations or if somebody is going to be using this for more commercial work in the sense where they are literally going to be getting money because of the images that I’ve provided for them, then I charge a usage fee or I charge license for that. But when I work with small business owners, when I’m doing the brand work for more entrepreneurs or small businesses, I find that that confuses them. And they’re not needing it for those purposes, they’re …

Rachel Brenke: They need to listen to The Business Bites Podcast …

Christina B: Yes, they do. So I generally will ask them what their purpose is. Then if it’s for social media, if it’s for their website, if it’s for small print, then I kind of just utilize the usage fee within my regular pricing for them and try to keep it as simple as possible and very laid out in my contract. Thank you-

Rachel Brenke: You’re welcome.

Christina B: … for all of the wonderful help with that. But keeping it all laid out and easy to understand.

Rachel Brenke: Just an FYI on that and then we’ll move on to the next topic is, shameless plug for myself, one of my brands, … It’s also linked at, but it has commercial licenses and commercial contracts. So if you’re going to do this and maybe your brand photographer doesn’t have one, you can send them there and they can snag a template that they can use for y’all’s … Y’all, my Texas is coming out.

Christina B: Your Texas is coming out. But I just want to say, your brand photographer absolutely should have a contract.

Rachel Brenke: 100%. So even if you’re not going to do copyright transfer, it sets expectations and protects both of you guys. To be honest, I will not … of course, I’m an attorney, but I won’t hire someone that doesn’t have a contract for something, because I want to know what is expected of me, and what is expected of them, and that we have it all in one central place.

All right, so let’s wrap up a bit. But prepare them, prepare these entrepreneurs listening with tips on how to actually prepare for their session. How do you even approach that? Because I think that’s the other side of overwhelm by people don’t go to do a branding shoot. Not only can they not find the photographer, but then they don’t even know how to prepare for the actual session itself.

Christina B: Right. I think one of the most important things to do to prepare is what you did. You created just kind of a visual shot list, because that helps your photographer understand what’s in your brain.

Rachel Brenke: So basically be a control freak.

Christina B: Be in control. It is important as an entrepreneur, as a business owner, you do have to have control over it. You do want to make sure that what you have in your head is being shared with the world, because you’re creating your brand message. You want to do that.

Rachel Brenke: Actually on that, so I have admitted that visual branding has been a weakness of mine. So I have given unfettered trust to people in the past … people, i.e. brand photographers … and expected them to execute, but they couldn’t execute if I don’t show them or tell them, and so marks were missed. I have to take responsibility for not providing the shot list or at least some visual examples.

Christina B: I think it’s also important to work with your photographer on knowing who your avatar is, because your photographer absolutely needs to know who your clientele is, because how on earth can you make somebody relatable when … like you could be thinking their ideal avatar is somebody who is very low key and relaxed and wants to have fun and smiles, and in reality they’re going after high powered people who are-

Rachel Brenke: Well, let’s use the example of me. If I had just come to you and you didn’t know who I was and I said, “I’m an attorney and I need a visual branding shoot,” you’d probably put me just by default maybe into a more corporate style session. Instead, she gets someone with ripped jeans and a nose ring, because that’s who I’m talking to and that’s who my audience wants. So yeah, I think that’s a good example of to ask more questions, not to attach to just one specific title or idea.

Christina B: Then the other thing that I would recommend is really sit down and look through your potential photographer’s portfolio, look at other brand sessions, see what they do and what they provide, because if it’s all just smiling shots and that’s not your thing or … you’re going to want a few, but if they aren’t able to provide variety that you need, then you need to keep looking. Honestly, I am not everybody’s brand photographer. I am not a very super corporate brand photographer and I will refer people to friends of mine in the area that I’m like, “What you are looking for, that’s what this person specializes in. I specialize in something totally different.”

Rachel Brenke: I think that’s important. That is also a good mark of when you’re going back to talk about finding a photographer if they’re able to step up and say, “I’m not for you.” I respect you way more than if you try to do it and waste my time and money and botch it. So as far as like the tangible preparation side of things …

Oh, before we go into that, one thing I was going to say, you mentioned asking to look at their portfolio and stuff. I kind of like to go from like a backdoor sort of way and go to my friends or other people in the industry and see work that they have and ask to see it, see their brand sessions, how much content they got, just because sometimes I fear that brand photographers are only going to put the best content in their portfolio, and I want to see the whole gallery of what I’m actually going to be delivered.

Christina B: That’s what I’m saying. Ask for an entire gallery. I will happily show full galleries of all the images so that you know what to expect. I also like to send that when I actually have clients reach out to me and we’re talking about how much time they need, because a lot of clients think, “Oh, I only need an hour.” No, an hour is a headshot session that’s going to get you a handful of images. When you’re talking about creating content that hopefully you can use over months, if not a year, you need time. You need time to change, you need time to move to different locations, you need time to brainstorm.

I mean, how many times did we just stop in the middle of our sessions today and just say, “Wait a second. What happened to what we created? What do we need to do? How do we need to change this up? Let’s look over here. Let’s think.” We put our heads together and came up with new ideas on the fly. So when I actually work with clients and I’m creating a timeline of how long you’re going to need for brand photography, I give them ideas of sessions that I’ve done. I said, here’s an example of a full gallery from a two hour session. Look at how limited it is. The reason there was a two hour session is because I work with this person every two or three months, so they only needed that little extra bit of new photos. But here’s a session that I did that we literally shot for six to eight hours, and that’s you. I think we’re working on like nine now.

Rachel Brenke: But you know what? I’m glad you brought that up, because we had done the two hour session and we’ve also done now the six to eight hour. There’s probably people sitting there that are very busy like myself thinking, “Well I can’t carve out six to eight hours, guys.”

It is so much more efficient for me to pull out eight to ten outfits … and we’re going to talk about it here in a second. But eight to ten outfits, go to like five, six locations, because we pretty much did walking from where my office is, and not have to … I only had to do my makeup once. I only had to do my hair once, and I brought a hair tie to be able to throw it out. I brought a hat. Like variation.

So it was more efficient for … and especially since I hired Christina to come from out of state. So it was overall cheaper, but it was also overall more efficient for her to come down and let me block off an entire day from other work and basically batch process and get this all done at once. Went through the outfits, take our time purposely thinking, because it would have been more time and more expensive to do two hours here and two hours there.

Christina B: Oh, absolutely, absolutely. I highly recommend that when you are doing this … and I work with a lot of repeat clients where every year or twice a year we sit down and we do this. Sometimes they’ll even rent spaces to have different looks. But it is important to say, “Hey, I’m going to get all this done. Let’s really kind of just muscle through it,” and you have it then and you don’t have to keep worrying and keep thinking, “Oh right, well, I’m running out of content. What do I do?”

Rachel Brenke: Yeah, yeah. Because honestly, that was one of the things that happened last year. It’s been a whole year, oh my goodness. We did a two hour session last year in New York. I quit, because I thought … and it’s really the only time I had at the time, but I quickly ran out of utilizing … I mean, I burned through those photographs very quickly.

So let’s shift real quick and talk about more like a tangible preparation outfit stuff. I think I probably … I thought I was going to have too many outfits and come to find out that to get the amount of variation that we wanted, I probably didn’t have enough. But I do think that we nailed it in the sense that I had like three or four pants, I had multiple shirts, and then we had a variation in jackets/sweaters, and we were able to mix and match them relatively easily, stayed within my brand colors. I’m not looking at you because I don’t have brand colors, they are black and white, monochromatic.

Christina B: I did get you in leopard print. That was mine, all right?

Rachel Brenke: That is very true.

Christina B: Your brand photographer should literally give you the shirt off her back.

Rachel Brenke: Yes, literally walking down the street half naked because she gave me her sweater. That’s how you need to find a brand photographer. But seriously, is there anything we could have improved upon today? So I probably had 6 outfits and then so with the variations, maybe 9 to 10 to 12 variations. I’d have to go back and look at the photos.

Christina B: More is out always better. I always tell people if you roll in with a giant suitcase, I am a happy camper, because we can lay it all out and then I can look through it. Sometimes what you think is going to work, I’m going to look at it and go, “All right, but you …” And we had that problem today. You had a bunch of outfits, but I was like, but those three tops …

Rachel Brenke: Just say it, a bunch of black outfits. Everything was black.

Christina B: A bunch of black shirts. Three of the black shirts honestly on camera look identical. The way that I wanted to use them, it didn’t work. So make sure that you’re looking at variations in color, or if you’re not a color person at least variations in texture and style, so that you have a variety. You can’t just wear … well I want to wear only a fitted shirt, because anything flowy is going to make me look bigger than I am. No, you have to have variations in style, trust that your photographer is going to make you look good and find the best angles, and give them a little bit of freedom and creativity to look through your wardrobe and say, “I like this and here’s why.”

Rachel Brenke: Another thing with that, I also made sure I had a variation in casual and more dressed up and then short sleeve and long sleeve. So I could’ve done better on the texture and color aspect, but I do think … because that was another issue we had last year. I wouldn’t say an issue, it was a learning lesson, right? I only had time for a two hour session, but it was cold in New York, they’re almost all winter clothes. So in the summer this year when I wanted to use those photographs again, well it would be weird for me to have a peacoat with a scarf on when it’s a hundred degrees outside. It just didn’t seem real and relatable to the time of year. So I think we did good with long sleeve, short sleeve, and variations.

Christina B: That’s what you can do in a longer session. You can actually change it up and find the pockets. Like yes we have fall leaves out here, but when you were in the short sleeves, we found pockets of areas that … a brick wall that nobody knows what time of year it is when you’re out on your phone or drinking a coffee with a plain wall behind you. So that really helps you be able to utilize your content all throughout the year.

Rachel Brenke: That may have been one of the changes that I would make for the future when we do another session is to not do it when the … because here, it’s fall in Virginia. So all the leaves are essentially … the trees are half naked and they’re really golden orange and yellow. I probably should should’ve done it sooner so there’s a bit more green, because green is kind of classic year-round. It’s not as noticeable as what it’s an autumn color around.

Was there any other tips of things? I mean, use me as an example, I’m totally cool with that, like that we could have improved upon that would help them I guess …

Well, my biggest tip is understand it’s tiring going into a full day very caffeinated but very tired, stay hydrated. The good thing for us is my office is downtown where we were shooting, but if you are going into a location … Christina mentioned having the suitcase for clothing, I would even recommend having food and water and all of that, because it is a long day and if you’re wanting maximizing your shooting time.

Christina B: I would also recommend having somebody there to be a Sherpa. It’s important to have someone. Bring a friend, bring somebody who can carry things, hold things, help you change, help you just adjust, because honestly you don’t want your photographer doing that, because you want them focused on you and what’s the best angle, and you don’t want to constantly be putting things down and picking things up and putting things down and picking things up. So having an extra set of hands … When I do brands shoots up by me, I always bring an assistant that basically does that, but obviously when I travel that makes it a little bit more difficult. So I recommend that people have … and it’s sometimes nice to just have a friend who can be that extra support system for you.

Rachel Brenke: Awesome. All right, so guys, this has been a pretty long episode, but this is a subject that I’m super passionate about and it’s actually something that has overwhelmed me. So I really wanted to break it down for you entrepreneurs that are like, “Oh, I know I need brand photography but I don’t know where to go.” This is a lot of great tips. Just know if you would like Christina to come to your town, she is for hire. All her links and everything are going to be at Photographers, don’t forget, we’ll have episode 101 in a couple of weeks. We’re going to be talking directly to you guys about how to execute, and market, how to offer, and make brand photography successful for your business. So thanks, Christina.

Christina B: Thanks for having me.

Featured Guest & Resources

Christina is a film and digital commercial photographer in NYC. She loves being a storyteller for each brand she works with. She started as a wedding and portrait photographer for nearly 10 years before transitioning to commercial photography. Christina loves to work with brands both big and small to create content that is real, raw and exciting. Commercial does NOT have to be boring! In addition to her photography work, Christina goes back to her roots as a teacher and coach, mentoring numerous photographers a year that want to transition into lifestyle commercial photography and take back their weekends! Her absolute favorite thing to shoot is food on film. Mostly because she loves to eat it. The food, not the film.

You can find Christina here:

Hi, I’m Rachel Brenke

Rachel Brenke

As a mom, team USA athlete and cancer-survivor, I want a real life while I have a real business.  This is why my resources don’t promote hustle-culture, rather tough-love and no-holds-barred tips to achieving both.  In addition to this website, I have a top-ranked business podcast, been featured in places like Forbes and work 1:1 with so many of you.

Enough about me though. I am proud of you for pursuing entrepreneurship. It is rewarding and amazing.  Keep at it!

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