Everything is very neutral. The color that I want in this space besides the gunballs are my clients. That I want them to be the star of the show. I want them to be the color. I want them to be the story. I want everything else to kind of, they can see the examples of things but they're the star of the show. This is all about them. So as you enter further into the lobby area, you'll see our little kitchenette set. And this just calls out Nistalgia, the most common on piece of furniture in the studio. People look at that and say, oh, I had a, my grandma had a dinette set just like this. But it also is providing the scale of a breakfast snack and you can see the images over the top of that that, oh, it would be cool. And my breakfast snack to have pictures of my kids. And so it's just another idea of how you can use portraits in your home. And then we have a bathroom changing area that they can go into right past that. But all of this area just kind of is the lobby side area entry as they come into this area. So everything that I put up in the studio has a reason to be there. When I first started, it was, I just put it up to have it up because I wanted to show samples of my work. But then I realized I need to have a reason for that to be there. It needs to be important. And I need to be able to speak to it with my clients. And even if I don't speak to it, there's still a story behind that that's going to reinforce my brand or reinforce the story that I'm telling as a photographer. This building, as a matter of fact, was built in the 20s. And my great grandfather was one of the deputies sheriffs in Mesa. And he used to patrol this building back in the day. And so my children are fifth generation native to Mesa. And so it's kind of a neat thing that I happen to be having my studio in a building that was patrolled by my grandpa, which is kind of a fun story to share with my clients. So opposite on the wall that separates the lobby to the production area, I think most photographers would say, are you insane to have your production area, like with no door on it, completely open to your lobby area? This seems counterintuitive. But this is how we work. We're very transparent. We want people to see what it is that's going on. We want them to feel like they're part of a behind-the-scenes process that they're kind of in this cool art studio. So opposite to the production area is the prop storage. Basically what it is, is it's old feed bins that have been welded together on top of each other, and they make these bins that you can just put all of your props in. And they're supposedly organized, but they don't really stay very organized. But kids come through and they immediately are drawn to that. I don't consider myself a prop-e photographer. I do like to have a few fun things for kids to play with, like, maybe at the end of a shoot. And it gives me, again, something else to hold over their head. You can tell I'm the mother of seven children. I need to have a carrot to dangle for them for them to have good behavior. And then when we get to the really busy season, we can roll all of this stuff out of the way. I can shoot over on this brick wall. I can pull these prints down. Everything is multi-used. So I can shoot over here. We can work over here. We can bring in extra tables where we're cutting at prints, where we're packaging Christmas cards when we have extra help in the busy season. That can all be happening right there. And it's OK if a client comes in and all that's going on, it's fascinating to them. So I'd like to share that with my client.