How’s this for a deal?

Right now you can get ALL 3 of my photography eBooks for only $17.

I’m offering this limited time deal through PhotoWhoa.com, who has bundled together all three of my books at a 48% discount off of the regular price.

This offer is only good through February 7, and it will likely happen again, at least not any time soon.

How to Become a Pro Photographer

You want to take the next step from amateur to pro, but you have no idea how you can start earning a living from photography. This e-book answers many of your questions about the industry and the business-side of photography.

With this e-book, you will learn the ins and outs of the photography business. This book isn’t about how to take better photos, it’s about taking your hobby into a full-time career. This is the book to read if you need to know about the business and logistics side of a photography career.

Making the Image

Making the Image is a conceptual guide to have you thinking outside of the box so you can start creating beautiful images. With this guide, you’ll be able to learn how you can take beautiful photos in order to create true emotional impact with your audience.

Bailey utilizes beautiful imagery from his own portfolio so you can easily grasp the concepts that he’s teaching. For your convenience, the book is horizontally formatted, making it easily readable on computers and iPads.

Going Fast with Light

Going Fast with Light teaches you the nitty-gritty technical details so you can properly use your tools to take better photos. Specifically, you’ll learn about using off-camera flash in outdoor settings, where even the best photographers have trouble against the elements of nature.

With the techniques used by Dan Bailey, you’ll be able to efficiently take control of lighting situations even when you face great challenges such as the sun, and you’ll be able to do it without having to lug cumbersome, heavy lighting equipment.

Click Here to Get All 3 of These eBooks for Just $17

Again, this offer ends on February 7. Consider signing up for my Adventure Photography Blog Newsletter to stay informed about future deals and get exclusive content delivered right your inbox.

Who needs a light stand when you have a backpack?

Strobist gear here is about as simple as you can get: Camera, SB-800 Speedlight that’s being triggered from the on board pop-up flash on my Nikon D700, and a Lumiquest Softbox III. Now that’s going fast with light.

Of course, what you don’t see here is all the times my flash wouldn’t fire because the brim of my bike helmet kept pushing the pop-up flash down just enough to shut off the circuit. I tried holding the camera away from my face a little bit, however after multiple failed attempts, and much laughter from my model, who happened to be a fellow photographer, I finally discovered a workable solution

I took my helmet off.

Sometimes you just have to improvise.

I’m proud to announce that I’m now officially featured as a Photoflex Pro Showcase Photographer. As someone who’s been using Photoflex gear for over 20 years, (I still have the 12″ LiteDisk that I bought in 1991 and my Photoflex Galen Rowell Chest Pouch), I’m excited and extremely honored to be included among a group of very talented and accomplished shooters, who Photoflex feels are “masters of shaping light and capturing the perfect image.”

In my Going Fast With Light style of adventure and action strobist photography, I need gear that’s lightweight, durable, quick to set up, and that performs in all conditions outside. Let’s face it, I’m highly energetic, and frankly, kind of a spaz at times. I’ve been known to drop things, bang into stuff, and on occasion, even fall down with my gear in hand. I need tools that get the job done and that won’t break, or at least that I can bend and cajole back into shape with a set of Leatherman pliers and some duct tape.

Photoflex gear fits that very strict set of criteria for me. Lately, I’ve been posting some of the photos that I’ve been able to create with my favorite Photoflex tools, such as the Octodome NXT and the WhiteDome softboxes and the TritonFlash battery powered strobe. Very simply, I’m excited about the gear and I’m excited about the imagery that it helps me make.

Check out my profile page on the Photoflex Showcase site and look for the first of my Photoflex LightingSchool Tutorials later this month.

My sincere thanks to the great folks at Photoflex for making kick ass gear, for recognizing me and my photography and for including me in their lineup of professional image makers.

The other night, I trudged into the cold and dark with with my friend Tim to do some snow biking action photography. My idea was to try and get a deep blue background of cold, dimming Alaska winter sky and then light Tim up with the Photoflex TritonFlash.

I’d just gotten my WhiteDome softbox the day before, which throws out a big blast of omnidirectional light. I wanted to light the biker as well as the snow covered trees around him and figured that the WhiteDome would be perfect for that. And as with other recent shoots, using the TritonFlash would allow me to keep firing with fast recycle times in the zero degree temperatures.

The sun was already down when we reached our location, so we quickly got down to business; Tim built the jump and I set up the light. In just a few minutes, I found a vantage point, did some test shots for exposure and then gave him the go.

Here’s the setup showing the WhiteDome in action and light placement in relation to the subject. Also, the shot below shows just how portable the WhiteDome is. For being a 24″ x 32″ box, it rolls up surprisingly small an stuffs into a skinny stuff sac that I can strap the side of my photo pack. Another very useful tool to help me go fast with light.

Exposure was 1/10 sec at f/2.8 ISO 2000, which let me hold onto as much ambient as possible. Lens choice was my Nikon 14mm f/2.8, which allowed me to get in close and still show environment. I got so close on a few occasions that Tim and I actually made contact as he flew past me. I swear, that had nothing to do with the times he ended up crashing into the trees!

Below are three more shots from the series. I like them all, especially the “big air” photo. It has a more dynamic jump, but it doesn’t have any trees in close. The last one was shot much later, well after the all light was gone from the sky. It’s cool, but it lacks the vivid contrast of the green and purple (complimentary colors) that the other shots have.

What do you think?

Dear readers, I would like to take a time out from your regularly scheduled blast of outdoor photography yumminess and say,

Thank You!!!!!!

For what, you may ask?

For reading this blog. For taking the time out of your day to check out what I have to say here on a daily and weekly basis.

Last week was the SINGLE BIGGEST WEEK for visits and page views since I started the blog back in early 2008. In addition, more readers stopped by the site in January than in ANY OTHER month in its four year history. For that, good people, your rock.

I derive great motivation to know that the energetic ramblings of my photography obsessed mind actually amuse you enough to keep you coming back for more. I enjoy sharing my knowledge, experience and insight with you and also seeing your images during Monday photo callouts on my Facebook Page each week.

So, let’s keep the deal going- you keep reading and I’ll keep posting. How’s that sound?

In the meantime, if you’re a somewhat new reader, leave a comment and let me know how you found the site and also what kind of photography you like to do. Don’t be shy, introduce yourself- we’re friendly around here! If you like, feel free to share a link to your own site!

Also, if you have time, why not cruise around some of the older posts- there’s lots of great stuff to explore! Be forewarned, though, others like you have dipped into the archives only to lose entire blocks of recorded time. Some have never returned…

1. You know, I think I have enough camera gear. I don’t really need any more lenses.

2. Why would I need a bigger monitor?

3. I got the shot on the first try, so you don’t need to do THAT again.

4. Wear whatever you want to the photo shoot, especially if it’s black or white.

5. I don’t really care so much if other people see my work.

6. Why would I need two monitors?

7. You know, I don’t think I spend enough time on Twitter and Google+.

8. I love keywording!

9. My best photos were all shot at noon.

10. No, we have to get it perfect, because there will no way to fix it in post.

11. Sweet!! Another overcast day!

12. I generally buy the slowest lenses that I can get my hands on.

13. I can’t wait until I have to upgrade all of my software again!

14. You don’t have to pay me, because I’ll get great exposure on your website.

15. What the heck is a “Strobist?”

16. Yes, I can tell you exactly when I’ll be finished taking photos of… [insert subject here.]

17. I make most of my money from shooting landscapes.

18. Making cold calls to clients is one of my favorite things to do.

19. I think my next car will be a Lexus.

20. When I say “just one more shot,” I really mean it.

Add your own…

As photographers, we’re always trying to stretch our creative boundaries and come up with great new image ideas. However, as you well know, it’s not always easy.

Sometimes, we fall into ruts. We get stale. We lose motivation. Then, when we do stumble upon a new technique or photographic approach that kick starts our inspiration, we throw it into our bag of tricks and commence creating some fantastic new imagery.

Before long, we end up falling back on that “new” technique too often, and it too becomes stale. What started as a powerful creative spark has now become the same old same old. That doesn’t mean you can’t still keep it in your bag of tricks, you just shouldn’t rely on any one approach too much in your photography.

Here are three simple ways to break out of that creative rut and throw some new excitement into your photography. I know there are more, why not leave a comment and tell me what does it for you.

1. Break the rules with how you use gear.

I saw a cool dirt bike photo on a forum the other day, where the photographer had taken a 24″ softbox to the track and used it to light up the biker. In his own comment, he then said, “I realized that this is [obviously] not the proper use of a softbox.”

Let’s get one thing straight. There are no rules in photography. You can use your gear however and wherever you want. In fact, stepping outside the box with your equipment is a great way to drive your creativity. What’s the worst that can happen? You might break it. So what. It’s just gear. You can buy new gear, and if you end up getting a great shot, isn’t that worth it?

Yesterday I got my new Photoflex WhiteDome in the mail, and immediately strapped the thing on my photo pack and took it outside in the snow. If you’ve been following along lately, then you know that I’ve been using the Photoflex TritonFlash on a number of cold, snowy photo shoots. If that high-tech piece of lighting gear works fine in those conditions, what do I have to worry about a big piece of fabric?

The WhiteDome is basically a big Chinese lantern that’s made of durable fabric instead of paper. It’s white on all sides, so it throws 360 degree light. Designed for shooting interiors, imagine the possibilities of shooting outside with it? I was just playing around yesterday, but I’ve already got some new ideas that I can’t wait to try out!

Think of cool new ways to use the gear that’s sitting on your camera shelf, or buy a new piece of gear and try using it in a new way. Chances are, you’ll come up with something really cool. Even if you don’t you’ll still have fun, and isn’t that what photography is really all about?

2. Shoot in crappy weather.

Don’t you get bored of shooting in the nice, friendly sunshine all the time? Yea, me too. Now hang on a minute. I LOVE the sun as much as anyone, maybe even more than you, but nothing is gong to make for cooler, more adventurous photos then shooting in the soup.

Cameras are tough. They can handle the elements, some better than others, but as long as you keep the lens dry, or at least mostly dry, then you should be fine. Don’t put it away when the heavy rain and snow starts falling, keep it around your neck and keep snapping away.

Heavy weather often leads to the most exciting photographs. They’re the ones we ooh and ahh over. Plus, they make a statement about your own personal toughness and true dedication to your craft. Shooting in crappy weather not only leads to great imagery, it makes you look more bad ass. That’s important, right?

3 Use a different camera.

Photography isn’t about cameras, it’s about what you do with them. After all, they’re just tools, and like anything else, you can get so used to your favorite DSLR that you fall into those traps of using the same technique too often, just like you can do with your favorite lens or technique.

Try leaving the DSLR at home and heading out with your compact camera, or your iPhone. The whole iPhoneography thing is taking the world by storm, partly because it’s so liberating. Pro shooter Lisa Bettany, aka MostlyLisa, the woman behind the Camera+ app, is in the middle of an around the world trip with only her iPhone. Pretty cool.

I made these two photos with the Fuji X10. After years of never owning a compact camera, I’ve been having great fun with the X10, shooting panoramas, shooting friends, shooting street scenes, whatever looks like it will make a fun photo. Photography for photography’s sake, and that’s a good thing.

When looking at powerful imagery, we often wonder about the creative ideas that went through the minds of the photographers who created those images. Of course, each artist has his or her own style of approach, so I’ve asked a handful of accomplished and talented landscape photographers whose work I admire to share their own insight on photographic inspiration and method.

In their own words, here are their answers to the following question that I posed to each of them. Please be sure and thank each photographer for contributing to this article by visiting their websites and blogs, checking out their eBooks and by sharing this post.

What inspires your creativity when you’re looking for subject matter to photograph, and when you do find a subject, how do you typically approach shooting it? i.e, first thoughts, visual exercises, methods or techniques.

Younes Bounhar

“In terms of inspiration I am really not very choosy. It literally can come from anywhere. I obviously look at a huge amount of photographs on a daily basis, but inspiration comes for me from everyday life, from the news, from my travels, my own madness, etc…

Composition is really central to my approach to shooting. While concept, light and technique are obviously important, composition is what really brings it all together. I always strive to make as aesthetically pleasing photographs as possible, and composition is what it is all about.

The approach is fairly simple, I rely very heavily on visual elements of design. I am always on the lookout for lines, shapes, balance, negative space and base my compositions around those elements. Recently, I have been trying to simplify my images even more and really distill the essence of my subject to the extent possible.”

-Younes is a travel and landscape photographer based in Ottawa. See info about his upcoming Morocco Photo Adventure Workshop Tour and read his blog here.

Jim Goldstein

“As an outdoor photographer in general I am inspired by the beauty of nature. As an eternal student of the craft I am always inspired to look for new ways to photograph my subjects. Internally I aim to transform my inner “wow” moment by artistically interpreting the scene and referencing against a mental rolodex of techniques, styles, etc. that will present my subject in a new and unique way.

I usually identify my subjects based on the emotion they evoke in me and rarely do I shoot my subjects straight away unless rapid lighting changes require me to do so. Studying my subject and evaluating the scene, even if briefly to an outsider, allows me to determine a composition, perspective, technical settings, lens choices and techniques that I’ll employ to capture the scene or subject as I envision.

Where ever possible I try to scout and make notes of places and subjects that are of core interest to me and return to photograph them more than once. While inspiration can happen in a second it can also happen over time.”

-Jim is a full time professional photographer who specializes in outdoor and nature photography. Check out his brand new ebook, Photographing The 4the Dimension: Time, and visit his blog for more photographic insight.

Ian Plant

“In my opinion, nature photographers too often seek out beautiful scenery and epic light. There’s nothing wrong with this approach, but it often leads to a lot of photographs that look very much alike.

I’m inspired instead mostly by moment, and those rare and fleeting convergences of typically disparate elements that for a brief time come together in a powerful way. Those elements can be a pleasing juxtaposition of compositional forms, the effect of weather on a scene, or even something as subtle as the brief convergence of a cloud with a landscape feature. Weather, mood, the passage of time during a long exposure – these and other “intangibles” are where I find my greatest inspiration.

I like nothing more than to capture a fleeting moment that transforms even a mundane place into something sublime. When seeking to capture moments, patience, flexibility, and decisive action become indispensible virtues.”

-Ian is a full time professional nature photographer, workshop instructor, and the author of 8 outstanding photography eBooks.

Ken Kaminesky

“For me, each situation is unique and i don’t have a “typical” approach to setting up a shot. Since I shoot a lot of urban images I often know that I have to be up at sunrise to get my shots with the least amount of people possible in the image. I often have to shoot quickly and move on, especially if I want to get a lot of photos taken during the best time of day. It can be a bit of a run and gun way of working at times.

My first thoughts in urban areas (if I don’t have specific permission) are: Please let there be no dim witted Napoleon complexed security guards. In a more natural settings, I pray for the least amount of man eating bears possible

What inspires me is symmetry, interesting abstract compositions, amazing light at sunset and sunrise, perfect cloud cover, glimmering city lights on a rainy night and any other form of beauty that presents itself to me. I can’t wait for the next inspiration, whatever that will be.”

-Ken is a full time travel photographer who shoots urban landscapes. He specializes in creating iconic HDR imagery of the places he visits. Follow his adventures on his blog.

Bret Edge

“I find just being outside inspires me to create images.  Being locked away in an office all day zaps my creativity.  Heading out for a good hike, especially in an area that’s new to me, fills me with creative energy and gets me excited to make photographs.

I approach most new subjects the same way – with camera in hand and tripod packed away.  I believe the best way to explore a scene is to do so with the camera in your hands, not on a tripod, which allows you to easily move around and try different perspectives.  Get high, get low, use a foreground or don’t, move side to side, walk back and forth.

Once the camera gets secured to a tripod it seems like we’re somewhat stuck.  Exploring the scene from as many angles as possible allows me to discover more creative compositions.”

-Bret is a nature and adventure photographer based in Moab, Utah. Check out his ebook, The Essential Guide to Photographing Arches National Park, and read his blog here.

Guy Tal

“I realized that I am most creative when I’m emotionally connected to the places and subjects I work with. This, to a large degree, is why I chose to live in a remote and scenic little town in a place that I love and where I am consistently inspired. I like to develop a relationship with the things I photograph so I can sense their moods and know how and when to approach them.

When I’m out, I give myself enough time to explore and listen to their stories. It’s these stories, big or small, that create the concept in my mind before I even know what the visual image will look like. A concept is the trigger that leads me to think about composition and visualization. I will spend time identifying the visual elements available for me and determine how to best arrange them within the frame.

Visualization, especially, is important. I need to see in my mind the finished image, knowing how it may appear once captured and processed. Sometimes, the result of visualizing is actually a decision to return at another time because some element is missing or the light is not ideal.

Once visualized, I’m already most of the way there. The rest is a technical exercise. The camera doesn’t come out of the bag until the time is right and I know exactly how I want to compose and present the image. It’s a methodical and deliberate process, favoring quality and personal expression over quantity. I review it in detail in my “Creative Series” eBooks.

This image above was five years in the making. I first saw these blooming badlands in 2005 and despite the flowers, conditions were just not right and I did not have time to “work” it. I kept returning year after year but this rare phenomenon did not occur again until the spring of 2010. When it finally did, I knew exactly what I wanted and was finally able to capture it.”

-Guy is a full time photographer, writer and naturalist based in Utah. Check out his Creative Series eBooks and read his musings about nature and photography on his blog.

Russ Bishop

“My approach to action/adventure shooting of course differs from my landscapes and nature. For the active shots, I love to shoot wide] and up close, and the 16mm is the perfect go-to lens with its great depth of field and ease of handling. These shots are spontaneous and I want that feeling to come across in the image. I’m part of the action and just documenting the flow of events – whether it’s a skier skating by or a climber negotiating a ridge.

For the landscapes, I’m meticulous about researching an area beforehand, using topo maps and programs like Photographer’s Ephemeris to determine ideal positions. But then I like to store that information in the back of my mind and arrive at a location with a child’s eye – spontaneous and open to all the possibilities. As with the actions shots, I love shooting wide with plenty of depth of field to create a sense of place for the viewer and the 17-35mm gives me just the flexibility I need.

Regardless of my subject, I love bold bright colors and try to always include angles in my images to impart a sense of drama and draw my audience into the frame.”

-Russ is a California based fine art and stock photographer who specializes in nature, outdoor adventures and travel. Visit his blog for the latest imagery, tech tips and travel anecdotes.

Anne McKinnell

“Sometimes I get stuck and I don’t know what to photograph or what technique to use to create something meaningful. When that happens I usually head for the water – it is usually the ocean, but it can be a lake or a river too, that is what really inspires me. I know I will find something, but I don’t know what it is going to be when I head out the door and that is what is exciting.

It all depends on what happens when I get there. Maybe it will be a lake and it will be glassy calm so I will try to create an image with reflections that portrays peace. Or it might be the ocean on a windy day and the waves are crashing against the rocks so I will try to portray the power of nature. Or maybe it’s just a breezy day, I don’t get the reflections or the crashing and I have to put some thought into what kind of feeling the scene gives me. Either way, it forces me to truly experience nature, find what is emotional about the place and the time, and try to put that emotion into my image.”

-Anne recently traded in her old life to become a nomad photographer/writer. Follow her adventures here and download her free eBook, 8 Types of Natural Light That Will Add Drama To Your Photographs.

A few months ago, when Getty Images bought Photolibrary, I was faced with the decision to either sign with Getty or let my Photolibrary contract lapse. You can read my post to see the for and against issues that I considered: Will I Sign With Getty Images? Should You?

It was not an easy decision, for me, nor for many other photographers who suddenly found themselves face to face with a company that doesn’t always get favorable nods from photographers or ASMP.

After weighing my options, and waiting until the very end of the deadline, I chose to sign, partly out of pure professional curiosity. After all, I often write about the stock photo industry here on my blog, so it only made sense to get some firsthand experience with Getty.

Now, three months later, I just received my first montly commission statement. What did it look like? While I won’t reveal specific amounts, I’ll share with you the following.

• The total amount of my statement was higher than the total commissions from all of my other agencies during the same time period.
• The majority of the income from the statement was from a single relatively high dollar US sale from a rights managed outdoor adventure image that was licensed directly through the Getty website.
• The rest of the income on the statement was from a small number of relatively low dollar NON-US rights managed sale that was licensed through a Getty Partner Portal website.
• The total amount of sales from all of my other stock agencies was less than the lowest sale amount from my Getty statement.
• The biggest sale on this Getty statement was higher than my highest sale during my 5 years at Photolibrary.
• The total amount of my first monthly Getty statement was higher than any of my previous quarterly Photolibrary statements.

So, what do I infer from all of this? A few things, actually. That although the stock agency business model has been severely affected by the changing economy, there are still clients who are willing to pay high dollar to license rights managed images. It’s still a viable income source.

However, it does confirm what I already know, which is that as a pro photographer, I can no longer count on stock agency income as the “bread and butter” income that it once was. These days, it’s much more “butter” than “bread,” and whereas a few years ago, I could pretty much count on a significant monthly income from my stock agencies, these days, it’s all over the board. Some months, I’ll get pretty good sales, while some months, my stock photo agency sales won’t even buy me a full tank of gas.

On the plus side, it tells me that I’m glad I chose to sign with Getty. Do I expect these to be my feelings 100% of the time during the next year? No, but with a decent rights managed sales showing up on my first statement, I can confirm that they’ve already made money for me. I can only hope the trend continues.

If you’re curious about which high dollar, rights managed image sold on this statement, it’s a backcountry skiing image from Colorado. I’d love to hear your comments about your experience with Getty Images, especially if you also just came over from Photolibrary.

Backcountry skier at sunset, Cameron Pass, Colorado

In his book, Outliners: The Story of Success, Malcolm Gladwell repeatedly mentions the “10,000 Hour Rule,” which he claims is the number of hours it takes to achieve expert status or success in a specific field or craft.

What about doing something for 10,000 days?

Considering that Joe McNally has been working his photographic ass off for over 30 years, which roughly equals 10,000 days if you do the math, it’s easy to see why he’s just so damn good.

During his long and prolific career shooting for Time, Life, National Geographic, Sports Illustrated, and just about every other major publication, he’s garnered more expert tips on photography than most of us will ever be able to absorb in our entire lifetimes.

However, that’s not what makes him such a great teacher. Merely knowing stuff isn’t the key to being able to effectively instruct people and help them advance at their own craft, it’s being able to pass on your hard earned experiences to others in a way that excites and inspires your audience.

In his book The Moment It Clicks: Photography secrets from one of the world’s top shooters, Joe gives us 250 pages of practical insight about what it takes to create great imagery as only he can.

What do I mean by “As only he can?” Anyone who’s attended his workshops or heard him speak knows that the true magic of Joe’s instructional genius doesn’t come in the form of long winded pontifications or technical explanations. It comes in the form of golden one-liners.

Joe has an uncanny ability to distill years of photographic experience about a particular subject down into a single Earth shattering tip. Why Earth shattering? Because it’s essentially so simple, that when it comes out of his mouth, you’ll stamp your feet so hard that you’ll literally shatter the surface of the Earth wondering why you didn’t think of it.

The visual design and format of The Moment It Clicks works so well as a learning tool, because for each example, Joe lays out the background and behind the scenes info for an image that he presents. Then in big bold letters, he gives you the single tip or piece of insight that made that particular shot come to life.

Stuff like: Sometimes the best light happens after the light is gone. Or, Remember, it’s a game of inches. Even getting the light source out there at the end of the reach of your arm makes the light better. Or how about this one? When I look at a window, I will often say, you know, ‘nice view.’ But in my mind, I’m saying, ‘light source. Or, even something like this, There’s nothing as sweet and simple as basic human interaction. It trumps everything. And, If you want something to look interesting, don’t light all of it.

Of course, the images in The Moment It Clicks are outstanding, just as you would expect they’d be. The represent such a wide diversity of subject matter that they’ll appeal to just about anyone. Combine all this with a section that outlines Joe’s 10 masterful lighting tips, as well as detailed descriptions of his camera and lighting gear, this book is an absolute winner.

If you’re like me, you’re always trying to read about five or six books at once. The great thing about this one is that you don’t have to read it cover to cover to get the goods, you can just as easily skip around and read one tip at a time. It’s designed to be able to do that.

You could just keep it by your bed or desk, or your favorite reading chair, which is what I do, and read one or two pages when you get a free moment. This gives you chance to really absorb what he’s saying, without having to commit to the entire book at once.

Want something that’s going to teach, inspire and challenge, entertain you, and help you really understand photography? Then do yourself a favor and get The Moment It Clicks and learn from a true expert. I promise, you will not be disappointed.

Special treat: Check out this old video of Joe McNally and see what he was like back in the day. Same enthusiasm. Same energy. Same vision. Just 10,000 days younger.