Staring Into The Yellow Eyes of a Short Eared Owl
By no means do I consider myself a wildlife photographer, but, yesterday, I had the chance to "chase" this owl around for about an hour.
Zipping past the bird on a fence post, I said to Kristin, "hey look, an owl."
"Wait, where? I didn't see it." She responded in disappointment.
So, I flipped the van around and checked out the owl.
as always, the full gallery is at the bottom, so skip there if you don’t care about the words
Zipping past the bird on a fence post, I said to Kristin, "hey look, an owl."
"Wait, where? I didn't see it." She responded in disappointment.
So, I flipped the van around and checked out the owl.
Then, it dawned on me. I packed my Tarmon 150-500 lens and should put it to use. So, I swapped lenses and attempted to walk towards the owl to take some photos.
It flew away.
Watching the owl hunt, I was a bit disappointed I didn't get a shot, but alas, that happens.
Loading back into the van, I drove off.
Almost back to the highway, "do you want to go back and find the owl?" I asked Kristin.
"If that is you asking for permission to do so, yes, go ahead and turn around." She knows me :-) and with the permission I flipped the van around and drove back to find the owl.
Scaring it away not one, not twice, not thrice, I new I needed to change up the approach.
What I Brought On Today’s Photo Walk:
No more walking up to the bird, I needed to stay in the van.
If somebody else would have saw this, they would be laughing and call me an idiot, but it worked.
Hanging outside of the the driver window, I inched forward in the van. Snapping photos every chance I could get just in case it flew away.
Snap. Snap. Move. Snap. Snap. Move.
Until, finally, I got close enough to capture this image with the 150-500mm lens. Now, the waiting game for the owl to turn its head.
Then, snap, snap, snap.
I got it!
Again, thank you to anyone and everyone reading this. If you have enjoyed this journal entry, shoot me an email to say hey: dalton@dalton-johnson.com
✌️
The Day’s Gallery
FAQ About Photographing Owls:
1. What is the best time of day to photograph owls?
Most owls are crepuscular or nocturnal, meaning they’re most active at dawn and dusk. During breeding season, you may also see daytime activity. Great horned owls and burrowing owls are often visible in early morning light, while barred owls may hunt just before sunset.
2. What time of year is best for photographing owls?
Late winter through early summer is ideal. During breeding season, owls are more vocal and active as they defend territory and feed young. Spring also offers better light and cleaner backgrounds before dense foliage fills in.
3. What lens do I need to photograph owls?
A telephoto lens between 400mm and 600mm is ideal. Owls are sensitive to disturbance, so longer focal lengths allow you to keep a respectful distance while still filling the frame. I use the Tamron 150-500mm, however a 70-200mm with a 2x converter would also serve you well.
4. What camera settings work best for owl photography?
Start with:
Shutter speed: 1/1000 or faster for flight
Aperture: f/4–f/6.3
ISO: Adjust for available light (don’t be afraid of higher ISO at dawn or dusk)
Continuous autofocus (AI Servo / AF-C)
Burst mode for action
5. How do I find owls to photograph?
Listen first. Many owls announce themselves before you see them. Research local species and habitat preferences. For example:
Great Horned Owl prefer wooded areas and open edges.
Burrowing Owl live in open grasslands and desert flats.
Barred Owl favor wetlands and dense forests.
6. How close can I get to an owl?
As a rule: if the owl changes behavior because of you, you’re too close. Use long lenses and let the owl remain relaxed. Ethical distance ensures natural behavior and protects nesting birds.
7. Is it ethical to use owl calls or playback?
Playback can stress owls, especially during breeding season. Many wildlife photographers avoid it entirely. If you use it, keep it minimal and stop immediately if the owl shows signs of agitation.
8. Can I use flash when photographing owls?
It’s strongly discouraged. Flash can disorient nocturnal birds and disrupt hunting behavior. Natural light or high-ISO performance is a better choice.
9. What shutter speed do I need for owls in flight?
Aim for 1/1600–1/2500 for sharp wing detail. Owls fly silently and smoothly, but wings still move fast, especially during takeoff or hunting dives.
10. How do I photograph owls at night?
Use:
A wide aperture (f/2.8–f/4)
High ISO
Silent shooting mode
A stable tripod or monopod
Focus on backlit silhouettes at dusk rather than full darkness whenever possible.
11. Why are my owl photos soft?
Common causes:
Too slow shutter speed
Missed focus on the eyes
Heat distortion over long distances
Shooting wide open at too close a focus distance
Always prioritize eye sharpness.
12. What is the best autofocus mode for owls?
Continuous autofocus (AF-C / AI Servo) with animal eye detection (if available) works extremely well, especially for perched birds that may suddenly take flight.
13. How do I photograph owls without disturbing them?
Move slowly. Avoid direct eye contact. Stay low. Don’t approach nests. If an owl is repeatedly looking at you, puffing up, or shifting position, back up.
14. Are owls protected by law?
Yes. In the United States, owls are protected under the Migratory Bird Treaty Act, which makes it illegal to harm, harass, or disturb them — especially during nesting.
15. How do I photograph burrowing owls responsibly?
Stay far from burrow entrances. Never block access paths. Shoot from your vehicle when possible. These small owls are particularly sensitive to disturbance.
16. What weather conditions are best for owl photography?
Cold, clear mornings are excellent. Owls often perch visibly to sun themselves after cold nights. Light snow can also create beautiful contrast against darker plumage.
17. How do I photograph white owls without blowing highlights?
If photographing a snowy owl, slightly underexpose (-0.3 to -0.7 EV) and protect highlights. Use your histogram rather than relying on the LCD preview.
18. What’s the biggest mistake beginner owl photographers make?
Getting too close. Ethical distance should always outweigh getting the shot. A calm owl is a photogenic owl.
19. How do I compose better owl photos?
Look for:
Clean backgrounds
Eye-level perspective
Catchlight in the eyes
Natural perches (avoid distracting manmade elements)
Leave space in the frame for the direction the owl is looking or flying.
20. How do I photograph owls in snowy environments?
Use exposure compensation to prevent gray snow. Watch for white balance shifts. Shoot in RAW to recover highlights and maintain feather detail.
21. Do owls return to the same perch?
Often, yes. Owls are creatures of habit and may use the same hunting perches repeatedly. Observe patterns rather than chasing them.
22. Is it better to shoot handheld or with a tripod?
For perched owls at low light, a tripod helps. For flight, handheld shooting provides more flexibility and tracking ability.
23. How do I tell if an owl is stressed?
Signs include:
Head bobbing
Feather puffing
Repeated scanning of you
Flying off repeatedly
If you notice these behaviors, give the bird more space.
24. What’s the best way to improve at owl photography?
Spend time observing before shooting. Learn their behavior. Scout locations without your camera. The more you understand the owl, the better your images will become.
About Dalton:
Dalton Johnson is a photographer, filmmaker, and writer.
Over the last 10 years, Dalton’s creative work has taken him to every continent, above the arctic circle, and below the antarctic circle.
His travels are documented in a free, weekly newsletter called UnBound, which is written for those daring to build their dream life.
7 Lessons I Learned While Creating My Newest Adventure Documentary; 14ERS
There was no intention of making this documentary, but as the summits ticked and I kept pressing record, a story unfolded. I guess that is the luck of the draw when you put yourself in the right position. If you are here as a fellow peak bagger, I hope you enjoy the film. If you are here as a filmmaker, I hope these lessons help you along your journey.
There was no intention of making this documentary, but as the summits ticked and I kept pressing record, a story unfolded. I guess that is the luck of the draw when you put yourself in the right position. If you are here as a fellow peak bagger, I hope you enjoy the film. If you are here as a filmmaker, I hope these lessons help you along your journey.
1) Filming a documentary as a crew of two was dumb.
While the end result of 14ERS is something I can be proud of creating, the origin story of the project started with a simple question:
"Can we summit all of these peaks in the time window we have?"
There was no goal of making a documentary, but I did have my camera, so why not film the process, right?
At least that is what I thought.
Turns out, filming yourself is freak'n hard and WAY more work! Also, the downside of not being able to move the camera makes creativity a bit harder. What do I mean? Since we were filming ourselves, the camera movements are very simple/created in post.
Most of the movement shots are done via POV. Making this film have very natural feel. However, the mix of VFX and graphics really bring the overall quality of the film from a basic vlog to a film.
A few tips for filming yourself:
b-roll is key, so set up time lapses, talk to the camera, and film your surrounding area
have a good tripod
be willing to attach the camera to things for POV / fixed shots in weird places like a water bottle, hiking pole, etc.
Follow Dalton on your favorite platform: @storiesbydalton
2) Making a documentary takes about 2 to 3 years... with all the resources at hand, maybe 18 months. If you are about to embark on this journey, here's what I wish I knew at the time investment.
I just released my second documentary and I've started to notice a pattern for the creation timeline, so here's a rough timeline streamlined:
3-6. months planning, researching, getting permits, aligning people
6-12 months finding investors/sponsors (optional and done at same time as planning)
2 months to film (just fyi you might need to wait a few seasons to film, slowing the process)
1-3 months to outline footage and create first draft
3 months for edit and revisions
1 month sound and VFX
2 weeks exporting and creating marketing materials
2-3 months promotion (assuming you are not doing a film tour/film festival circuit)
1 day release
If all of this is perfectly aligned, you might be able to finish in 18 months. Expect for this to take longer is you are solo editing and make sure to leave time away from the project so you can look at it with fresh eyes.
Follow Dalton on your favorite platform: @storiesbydalton
3) These were the 5 most challenging parts of making my most recent documentary:
filming is the fun part, but sitting down to create the story arc takes time and collaboration
the process is slow and revisions take a while to get them right
publishing is much harder than another round of edits
finding sponsors vs investing your own money
promoting the film can make or break the investment (especially if this is a personal project)
Follow Dalton on your favorite platform: @storiesbydalton
4) Reaching the metaphorical (and physical) summit isn't really worth the hype.
I've chased summits for nearly 10 years and have more than 100 under my belt, but I don't remember most of them. Hell, if it wasn't for photos I don't even know if I would remember standing on the summit of the peak. So, thankfully I have photos, right?!
So, what is climbing a mountain about?
That's personal, but here are a few principles that apply to physical and metaphorical mountains you can climb:
1) CURIOSITY - can you start that business and make it profitable? can you push through the burning in your thighs? can you snap a photograph that will tell a story?
2) VISION - you have an idea and don't want to stop until you see it for yourself. This goes beyond curiosity because you already have the belief you can do it, it's just about following through
3) EDUCATION - if anyone told you climbing a mountain was pointless, they are not wrong, but you can still learn from pointless things. The mountains have taught me far more about who I am and what I can do than any classroom I have been in. It's the school of hard knocks, but dang the mountain is a great teacher.
These three words (I call principles, but maybe I am using that word wrong... yes I did look up the definition) are the truth as to why you should embark on a journey to a summit you choose.
Instead of letting others tell you to climb this mountain or that mountain. Pick your own and go climb it.
Wow... I didn't expect that ending lol
Follow Dalton on your favorite platform: @storiesbydalton
5) Distribution is key for funding a project
The longer I am in this industry the more I loath the question, “so, where is this filming going to end up?” Since I am not an established filmmaker with a track record of winning emmy’s the answer is, “I don’t know.”
However, the get investors interested in a film, they want to know what the ROI is going to be. So, building out a stream of distribution channels can be huge. This doesn’t have to be OutsideTV, Netflix, etc. Distribution can come in all shapes and sizes.
Here are a few of the places I look to distribute:
film festivals (duh)
podcasts
short form social (this gets views and leads to longer video)
blogs and newsletters
specialty websites
Together, these can scrap up at least a million or more views if deployed correctly.
Follow Dalton on your favorite platform: @storiesbydalton
6) There were so many doubts in my mind the entire project length.
At first, I didn't even know if we would be able to summit every peak, let alone film it, then turn the clips into something worth watching.
I was filled with internal doubt the entire time:
Was I wasting my own money?
Was this project going to be fun if I filmed the entire time?
Did I have the knowledge base to even make this dream come to life?
All of these internal questions battled inside of me for almost two years, but last week, I released the full documentary.
You can watch it here if you want: https://youtu.be/P8VzC7_85MI?si=P773MNdvbKXMes86
Turns out, I can do it.
Turns out, I have the knowledge.
Turns out, that risk was worth while.
Now, for the next steps of the process:
1) submitting to film festivals (kinda doing it backwards, but that's okay with me)
2) landing/submitting to streaming platforms
3) learning how to marketing a film once it is published
For now, I'm just taking one step at a time, but, I am excited to see where this goes in the end.
Follow Dalton on your favorite platform: @storiesbydalton
7) Finding the joy in the smallest of moments, that might be the greatest take away from this project.
I used to think the only thing that mattered were the incredible shots that took somebodies breath away. However, throughout the course of this project, my mindset around this shifted.
Instead of focusing on perfect light, I focused on what actually mattered, the journey.
Yes, you still need those banger shots to tell the story, but without:
the flowers on the side of the trail
the trailhead signs
the silence and stillness not often found on the trail
the grand views during "poor light" you see while summit 14ers
the story would have fallen flat.
Instead, I leaned into the journey, the process, the experience one gets while on a mountain.
That made this project feel very human, elevated the project, and made it into the documentary it has become today.
About Dalton:
Dalton Johnson is a photographer, filmmaker, and writer.
Over the last 10 years, Dalton’s creative work has taken him to every continent, above the arctic circle, and below the antarctic circle.
His travels are documented in a free, weekly newsletter called UnBound, which is written for those daring to build their dream life.
This System Gets Me 1M Views Every 90 Days
Over the past 10 years I have developed a distribution system I call, “Follow the Journey” to bring viewers along virtually on these kinds of trips. While I don’t have a massive following, 50-something thousand in total, this distribution system is designed to engage viewers over and over again through a variety of formats as well platforms. The secret is staging and diversity.
Over the past 10 years I have developed a distribution system I call, “Follow the Journey” to bring viewers virtually along content trips. While I have not built a massive following, roughly 50k+ in total (check out my media kit for up to date data), this distribution system is designed to engage viewers over and over again through a variety of formats as well platforms.
The secret is phasing the release of content and diversity of content delivered.
My idea for this began in 2020 when I started to realize people wanted to follow a journey, but didn’t want to work to follow. So, I created this system to showcase and encourage casual viewers to return time and time again. Keeping up with the adventures I was personally going on.
Now, I use this model to distribute content and get millions of views from the projects I am creating for myself, or clients.
An selfie from the creation of 14ERS, a documentary that took viewers along for the ride to the top of each 14er in the Sawatch Range over 20 days. Follow Dalton on your favorite platform: @storiesbydalton
Phases of the Content:
I have found how I release content to in phases to be more important than what I am releasing. Not to say you can just release crud into the world, but the platforms algorithms are so good at finding an audience, when you put it out into the world, the dreaded algos will do work for you, finding the audience the content fits.
So, here is how I publish content in phases that brings viewers along for the journey and keeps them interested. Meaning, they come back time and time again:
Getting Started: Provide a BTS look at getting ready and building suspense for the trip. Showcasing how people can follow along and why they should follow along. Introduce the stories you are going to tell and what people can expect when they follow.
The Journey: Showcase daily POV of the trip “in real time”, recaps at the end of every day across platforms while planting easter eggs for long form content, and share slightly longer weekly round ups across several platforms with more easter eggs. The easter eggs here are key to keep the interest going. Note: this doesn’t have to be complicated. Just a cliff hanger or say “I’ll be sharing more on this in a separate post”, etc.
Post Trip: Debrief the trip to the audience who has followed along, share what is to come and how you will do this, but in the mean time provide ways for followers to binge the highlights and BTS of what was done. This is great for the new people seeing you for the first time. Also, tease what is coming up and how it will get done. Examples: how you edit the finished trip, how you process traveling, what does it look like to continue the journey, etc.
Long Form Reminders: Share the long form with those who have followed along, getting everyone re-excited for the trip. This is the full circle moment for the viewers. They lived the journey with you, now they want to join. This could be a film premier, a showing, IRL event, or as simple as releasing the video on YouTube.
Leaping into the freezing waters of a glacial fed lake while on a project in Alaska. Follow Dalton on your favorite platform: @storiesbydalton
Diversity of content, with average numbers for all you data driven people out there:
Being everywhere at one time is taxing and doesn’t lead to the best content, but being in the places that fit what you are doing can create significant impact. So, when distributing content, I try to be in several places that make sense for me and not focus on being everywhere. Below is the breakdown of where I am with the average daily views this brings.
UnBound, the weekly newsletter:
37k+ weekly readers = 5k/day
if you are not signed up I highly suggest checking it out: Click to Sign Up For UnBound
creates long form articles: grows over time with SEO (I don’t include these numbers as it is hard to track for a specific series)
Social media (sharing BTS, posts, reels, stories, etc. throughout the trip):
LinkedIn: 3-4k/day
Instagram: 1-2k/day
YouTube: 3-4k/day
Reddit: 4-10k/day
Pinterest: I use it, but don’t count these numbers
Threads: I use it, but don’t count these numbers
TT: not on the platform, but considering
X: not on the platform
Leveraging earned media:
Digital Magazines
Podcasts
Newsletters
Tourism Boards
Collabs with local pros, tour operators, guides, influencers, etc. across social media
Blogs (this one isn’t as impactful anymore)
Paid media (for an extra push or if needed):
While it has not happened to me yet, if everything flops I will put my own money behind the content to get it over the 1M mark if I am required to via contracts.
With 40-something projects of this kind under my belt, I have not had to do this, yet, when I include projected viewership numbers. Fingers crossed I still don't have to, but if I did, it means two things:
first, I over-estimated what I could accomplish and gain
second, what I am putting out is not worth viewing
in both cases, that is on me, so understand these for yourself
So, tally that up, not including earned media, paid media, or long for article views, we are already at 1.1M organic views in 90 days.
Kristin enjoying a not so casual catamaran ride in Nicaragua while on an assignment for Rancho Santana Nicaragua. Follow Dalton on your favorite platform: @storiesbydalton
There you have it, the “Follow the Journey” system I use to gain returning viewers of longer projects.
While this method doesn’t lead to follower growth, it is a great way to increase your visibility as a creative and start gaining fans who want to follow your journey in this creative life.
If this was helpful for you, or you want to connect, shoot me an email: dalton@dalton-johnson.com
About Dalton:
Dalton Johnson is a photographer, filmmaker, and writer.
Over the last 10 years, Dalton’s creative work has taken him to every continent, above the arctic circle, and below the antarctic circle.
His travels are documented in a free, weekly newsletter called UnBound, which is written for those daring to build their dream life.
Here's Why Day Rates Are Dying and Where They Still Exist In Photography
Who still uses day rates when hiring a photographer? This is what I'm seeing...
Part of the industry is clinging to day rates meanwhile another part of the industry is looking towards photographers to be the producer, creative director, editor, photographer, etc.
Ripping along the OHV trails of Sedona, AZ for Polaris Adventures. Connect with Dalton on your favorite social platform: @storiesbydalton
Who still uses day rates when hiring a photographer? This is what I'm seeing...
Part of the industry is clinging to day rates meanwhile another part of the industry is looking towards photographers to be the producer, creative director, editor, photographer, etc.
In other words:
1/2 the industry still relies on the "old model"
1/2 the industry is looking for a new model
Now, that is a bit confusing so, let us dive into which half is doing what.
The 1/2 of the industry using the old model of day rates, photo reps, etc. are the legacy brands and agency world. So, think Satchi & Satchi, Coca-Cola, Ford, Oglivy, Garmin, etc. Why? Because it is the model they have built and it works. Moreover, they are more confined to budgets given to them and set day rates let them know if they can afford the photographer.
Meanwhile, the brands who are social first, or just a younger more agile brand, are moving away from day rates with photographers because they are handing over a full project to the photographer and letting them "do their thing". This is most common in the social space, but larger and larger brands are following this model. So, what does it really look like?
Brand has an idea, reaches out to the photographer and says, "We have $5k, can you build a library of images for us to use on social around product x?"
The photographer can negotiate, but for the sake of simplicity, let's just say they agree. That photographer is now acting as a solo-agency (assuming they don't have a team), so they are;
-storyboarding
-finding models and paying them
-location scouting and doing the permitting
-getting things approved by brand
-building and paying for the team
-shooting the project
-culling the images
-editing
-delivering
That's the life of a solo-agency owner…
Want to learn more about the adventure creative space? Grab your copy of my e-book below, it’s $10 and this tip comes from page 34.
Read More Tips From The E-Book:
Here's Permission To Scratch Your Creative Itches
There are stupid ideas and then there are creative itches you have to scratch. This hike to a "hidden waterfall" in Alaska was kinda both.
There are stupid ideas and then there are creative itches you have to scratch. This hike to a "hidden waterfall" in Alaska was kinda both.
Kristin packed a dress in her backpack and mine was full of camera gear.
Leaving the trailhead, there was no obvious way to this waterfall. In fact, you cross a tiny "bridge" then just hop off the side into the wash.
After crawling through some bushes a crazy wooden ladder that feels like it is going to disintegrate under your feet appears and you crawl down it. Then, you repeatedly crawl down ropes or ladders or slippery slopes until you start getting sprayed by water and hear a roar similar to that of a jet engine from around a corner.
Approach with caution, but finally, you have arrived.
Just remember, you have to crawl back out to get home!
The end result:
1) a great time wandering through the woods
2) I wrote my highest performing blog about this hike and it makes a few dollars a day (for the past three years straight)
3) licensed a handful of images to Big Agnes, a travel company, and a tourism board
4) a memory I look back upon fondly and dream of making more memories like this
Aka that silly itch really blossomed into a great outing.
Breaking Free From Creative Lows
Many of us return from a trip, drop our gear on the floor of our now dusty rooms, and head for a quick shower hoping to feel whole again. While the hot water feels great, processing a trip doesn’t happen that fast. But, clean is always a better feeling than being dirty. Yet, the “to do list” when arriving home is lengthy:
To the UnBound Reader,
Many of us return from a trip, drop our gear on the floor of our now dusty rooms, and head for a quick shower hoping to feel whole again. While the hot water feels great, processing a trip doesn’t happen that fast. But, clean is always a better feeling than being dirty. Yet, the “to do list” when arriving home is lengthy:
unpack
laundry
import images to your drive & back them up
maybe start editing a few
let your friends know you are home
flip through the pages of your journal
prepare for the upcoming work in your near future
I know I am forgetting some, but the length already give me anxiety so there is no reason to make it longer. Did you notice where that list left off?
Paddling towards a gigantic iceberg arch in Antarctica. Thank you for reading, please consider connecting on IG @storiesbydalton
“Preparing for the upcoming work…”
Well, if your career is as unstable as mine, preparing for uncertainty is hard. Not in a play a sad song on the violin kinda thing, but more of an analysis by paralysis kinda thing.
The freelance life of a photographer, filmmaker, and/or writer ebbs and flows upon so many factors it’s easy to get overwhelmed in the sea of things to do. However, for the last year, I’ve been trying to refine my systems and I’ve finally landed on one that works.
Exploring the foothills of the Pacific North West during blueberry season, only to be met with a thick layer of fog. Thank you for reading and consider connecting on IG @storiesbydalton
I call it, “The 100, 100, 100.” You’ll see, I’m very original as I explain a bit deeper. After a little bit of reflection, my career was stalled by three bottlenecks; posting, editing, & networking. So, I started blocking off three 100 minute blocks of time to make my days at home look like:
4:30 - 5:00am: wake up
5:00 - 5:30am: stretch and take care of dog
5:30 - 6:00am: journal
6:20 - 8:00am: writing & scheduling posts (block 1)
8:30 - 10:10am: editing projects (block 2)
10:40 - 12:20pm: networking (block 3)
12:30 and onward: all other things life throws my way
At first glance, this looks like a terrible schedule, but it has given me enough structure to get ahead, make great connections, and turn an unstable career into something a bit more predictable. With that said, I’m still digging my way out of a sinkhole of unshared projects. As in 18 projects, from this year alone, that have not seen the light of day, so wish me luck, right?
Anyways, please, steal this for yourself and/or hit me with some ideas on how this system can be improved.
Keep Exploring,
The Small Things That Help
Thank you for taking the time to read UnBound. I hope the images and stories have scratched your mid-week wanderlust itch. If they have, would you please consider forwarding this newsletter to a friend?
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This Side Hustle Has Failed Five Times, Yet I Keep Pushing On
Sitting here on my couch, feeling excited and a bit bummed, I’m reflecting on why I keep trying to make this failing side hustle work. Again and again and again and again and again, it has failed in one way or another. Yet, I keep iterating and grinding away hoping to make this side hustle a reality.
Sitting here on my couch, feeling excited and a bit bummed, I’m reflecting on why I keep trying to make this failing side hustle work. Again and again and again and again and again, it has failed in one way or another. Yet, I keep iterating and grinding away hoping to make this side hustle a reality.
So, what they heck is this side hustle? I’ll give you a hint, my childhood goal has always been to travel the world and tell stories. In short, that’s the side hustle, but how it takes shape is now on its sixth iteration. Here are my previous five failures and what I learned from them.
Before I dive in, I want to quickly acknowledge my main career is commercial and editorial photography & filmmaking. I love the career, the access it provides, that I’m good at it, and the creativity, yet, I’ve always been a bit disenchanted with financial security being tied to clients whose needs vary year to year. The ups and downs of a photo/filmmaking career is why I have put time and effort into this side hustle.
A selfie of me ashamed to admit these failures, so I hope they help some of you.
Failed Attempt 1 of 5:
In 2015/16, I started an IG account ( seekshangrila - terrible name, I know, but it meant something to me) to share my travels and adventures in one place, meanwhile connect with other people doing the same thing as me. In just a few months, that account grew from 0 to 10k by posting iPhone snaps while cycling around New Zealand and backpacking in Yosemite National Park. The images are cringe worthy now, but the growth in followers confidence I should invest in a camera.
I bought the Sony a6000 and started focusing on creating images.
At some point, I realized I could make money from snapping images and sharing them to social media. So, I changed the focus of the account over time from iPhone snaps for people to enjoy with a longer caption about the adventures to “I’m a professional photographer, look how amazing my photography is! Hire me!”
Then, that account hit a plateau around 12k, I had renamed the account daltonjohnsonmedia, and just went all in on sharing photos like other professional photographers. And guess what, I faded into oblivion like all the other people who just push how great they are at using a camera.
So, I did what any logical millennial would do, I started a blog.
I didn't know anything about blogs, or blogging as a business, so these "blogs" were really just IG captions with a few photos. So, looking back I'm not surprised it didn't work, but I tried and I learned.
Writing daily to see what would happen. Nothing. But, my writing did get better. At times I had a few articles perform, most of them never did anything.
Secretly, I thought I was the best writer on planet earth and just didn't understand why nobody was reading. It must have been Google's fault (eye roll), but, I chugged along. Cranking out articles. I even started to submit article ideas to magazines, but they didn’t respond.
At some point, I realized blogging was not working, so I decided to educate myself and started reading blogs. Turns out, I had everything wrong.
I tossed in the towel, turned that site into my portfolio, and let it sit. Eventually, a few articles ranked on Google, providing some traffic and job leads for photo and video work.
What I Learned Looking Back:
An audience doesn’t care how you make money (as long as it is ethical) and surely don't want to hear about it, unless that is the content you share
Leaving your core audience behind because you feel like doing something different isn’t helpful
Ego destroys all good things
You need a business model to make something sustainable, but that also means you need to know what a business model means
Diversity of outlets only works if you spend time nurturing them all
Failed Attempt 2 of 5:
Roughly 2017 till 2020, I continued pushing on with the writing and posting to IG, there wasn't really a business model (I didn't have the vocabulary at the time) but I was landing clients off and on for photo/video as well as editorial work. So, I figured I would just go all in. That IG account grew to 17k, I started a newsletter (a recommendation of a college buddy), and kept the website chugging along. The newsletter grew to about 1k, maybe 1500, but then I fell off the map because commercial and editorial camera work exploded. Then, COVID hit, and well I recouped at my parents place for month to reset, learn, and figure out what I was going to do because everything stopped.
Failed Attempt 3 of 5:
2021, I spent a year learning more about business, business models, marketing, etc. I still had the IG account, the blog, and the newsletter, but I had no momentum. The IG account was going backwards, starting the year roughly at 15k and losing followers daily. The blog wasn't really getting any traffic and I wasn't sharing my newsletter because I just didn't care. I was licensing images and selling prints, but nothing was really popping. No growth, just meh.
But, Jan 2022 I got a call to produce/DP a documentary on Denali, accepted the job and road tripped from Baja to Denali. Recorded the film and booked a few photo gigs that paid well enough to linger around Alaska for a few months.
During that time, I figured I would give YT a shot, but why not, right? Well, that was an epic fail. YT travel videos take a ton of work (more than making a documentary), have a cadence that isn't for a sane person, and make no money LOL until you have a massive catalog of footage that generates income via ads and brand deals. But, at least I tried, right?
The YT dream went on for about a year with almost nothing to show for it.
Failed Attempt 4 of 5:
2023 - 24: I got a random DM on LinkedIn, "Can you write as well as you photograph?"
"Yup, I've been published in national magazines like Men's Journal (sent link of story)"
"Cool, meeting tomorrow, what time works for you?"
sent time and booked a call
A few months later, I was running a vertical of Men's Journal (turns out the random DM was a VP at MJ's parent company) and was looking to expand MJ into adventure travel.
I was their guy.
I went hard and built that site from nothing to roughly 450 articles and 170k UMV in just 8 months (it took 4 to launch).
I literally went to every continent, above the arctic circle, and below the antarctic circle for assignments.
Then, the parent company got into trouble, VPs moved companies, and the program I was running got axed.
Ironically, they couldn't even quote my contract correctly during my termination email LOL
Failed Attempt 5 of 5:
mid/late 2024: For some reason, every article that was published was "given back to me", the IG account (now totally destroyed) was handed back to me, and I started The Adventure Travel Network.
At first, it did really well and grew quickly online. Traffic skyrocketed to roughly 500k in a matter of months, it was epic.
Then a Google update hit and I went from making $2,000-3,000 a month of passive ad income to $300/mo. Then $200/mo. Then $100/mo.
Dead.
In early 2025, I pushed for about two months will affilates and trying to figure things out, but the writing was on the wall. This wasn't going to work, so I integrated the site into my portfolio website and continued my work with photo and video.
Attempt 6, Will It Finally Work?
The call to share great stories can't be shaken.
A few weeks ago, while I was swimming in Lake Tahoe and beating myself up mentally, the phrase “unbound” popped into my head. A mantra of sorts that showcased, in a single word, a life not attached to the status quo. In fact, it would be the opposite, a life full unbound and willing to give a middle a finger to accepting the chains of societal norms.
Aggressive? Yes, but that chip on my shoulder is unavoidable and who doesn’t like that movie scene in Top Gun of Maverick giving the Mig pilot the middle finger? I have loved that scene since I was a wee-little-lad.
So, I rebranded the newsletter, mapped out a list of stories that have been denied through magazine submissions, and just decided I would try this thing myself.
And, that’s how UnBound was born.
But, I’ll be honest, right now it makes $100/mo and I don’t have much of a business model to figure out how and where it should go. Yet, I am taking it slow enough that I don’t fully have to worry about that, for right now, as $100/mo covers the costs of doing business for now.
We Both Took a Massive Risk To Build a Hospitality Portfolio
Four years ago, I photographed my first hotel, for free, to start a hospitality portfolio.
Chips and guac table-side at the beach for Rancho Santana Nicaragua. Photo by Dalton Johnson
Four years ago, I photographed my first hotel, for free, to start a hospitality portfolio.
They had it all going on, but their marketing was terrible. Like stock photos and pixilated phone images from guests. That kind of terrible, yet they were charging between $1500 and $2000 a night!
One cold pitch later, we had four nights in a standard cabin (which was far from standard) and 1 night in the VIP cabin, which came with its own helicopter pad.
The shoot went really well, I worked 15 hours days for 5 days straight, and even created a new 1-minute video spot for them. All for free.
Before you get your panties in a ruffle about under cutting the market, blah, blah, blah... they took a serious chance on me. I had never photographed a hotel, or shot video of a hotel. They had to put me in a room because the place was off the grid. They had to send a boat to pick me up, feed me, and pay for everything from air plane rides to see glaciers to halibut fishing. And, there was no guarantee I would deliver.
But, I did.
Then, out of nowhere that adventure lodge was recognized with not 1, but 2 Michelin keys.
Which put them and my work center stage in the luxury world for adventure hotels.
Since there acknowledgments, their guest list has grown and so has my client list. Instead of begging to give away free work, I'm booking a few tourism boards and experiential hotels (state side and international) every year.
A prime example, this boutique surf lodge in Nicaragua - Rancho Santana Nicaragua
A full week of surfing, zip-lines, food that melted in my mouth, exploring workshops and coffee farms, sailing on a catamaran, motoring across a lake so large they feel like the ocean, volcanoes, and so much more.
All of that started because of a cold email and doing some free work.
P.S. These images come from the first 4 hours of being on property, check out the full gallery from this surf lodge in Nicaragua:
Case Study: Trails & Tails for B.F. Goodrich
As far as smooth productions go, this one was clean and easy, after a few hiccups to start. Getting the tires on the Ford Bronco was a challenge as the car arrived late to the shop, delaying the scouting day. Good thing we booked two scouting days and I had visited this area countless times for rock climbing!
Client: B.F. Goodrich
Agency: Saatchi & Saatchi
Talent: Andrew Muse and Kicker Muse
Brief: Showcase the relationship between human and dog while ethically hitting the trail.
Location: Joshua Tree, CA
A Little BTS:
As far as smooth productions go, this one was clean and easy, after a few hiccups to start. Getting the tires on the Ford Bronco was a challenge as the car arrived late to the shop, delaying the scouting day. Good thing we booked two scouting days and I had visited this area countless times for rock climbing!
Stuck in San Diego waiting, we pulled out computers and used Google Earth to showcase/highlight the tires in action. Andrew was totally gung ho for any and all ideas. Apparently, he was sent to a Ford Bronco driving course and was ready to do anything we asked in the vehicle. Because of this, our options were wide open.
Quick note: at the time of production (2021), our crew met the requirements for a “low impact production” so location permits for the area was not required.
Once the rig was ready, we immediately left the beach life of San Diego for a cold and cloudy vibe inland. While this weather was not what we were hoping for, it did provide us with the mud we wanted for the shoot.
Day one: very muddy
Day two: sun came out, but still muddy. Thick mud
Day three: we got the Bronco cleaned and detailed, the tires sparkled
Day four: perfect sunny day, lots of lifestyle images on the trail with the dog
Image Gallery:
Collab Posts:
The 5 Stages of Visiting Bear Lake in Rocky Mountain National Park
With the timed entry into Rocky Mountain National Park, access to Bear Lake at sunrise takes a little bit of planning. While there are day of permits available, they seem to be impossible to land. So, if you are making the trek out to Rocky Mountain National Park, I suggest you secure your entry permit months beforehand.
Before diving into the 5 stages of Bear Lakes, here’s a little backstory you should know before visiting Bear Lakes for yourself:
With the timed entry into Rocky Mountain National Park, access to Bear Lake at sunrise takes a little bit of planning. While there are day of permits available, they seem to be impossible to land. So, if you are making the trek out to Rocky Mountain National Park, I suggest you secure your entry permit months beforehand.
With that said, Kristin, my partner, was able to land an entry permit for the morning slot, the night before, during late-summer in the middle of the week. I think we were lucky, but who really knows?!
Now that your permit is secured, it’s time to set your alarm the night before and try to sleep, crossing your fingers you wake up to an early alarm, drive through the dark to the trailhead, and walk the .5 of a mile to Bear Lake.
Yup, the walk is very short, so no need to rush.
I suggest bringing a warm beverage to keep you warm, even if it is the summer as the lake sits at 9,449 feet. From there, set up your camera, enjoy the alpine glow on the cliffs, and push that shutter button.
You can walk around the lake to create different images, I liked the alpine glow in the morning from the eastern bank of the lake and the northern bank of the lake around mid-morning when most of the lake was in full sun.
Now, let’s explore the 5 stages of visiting Bear Lakes:
1) Arriving In Pitch Black Wondering Where Bear Lake Is At
Camera: Sony a7r4
Lens: Tamron 28-75 f/2.8 G2
Focal length: 44 mm
Aperture: f/5.0
Shutter-Speed: 1/40 second
ISO: 400
2) Patiently Waiting For The Alpine Glow To Start
Camera: Sony a7r4
Lens: Tamron 16-30 f/2.8 G2
Focal length: 16 mm
Aperture: f/2.8
Shutter-Speed: 1/30 second
ISO: 400
3) Standing In Excitement The Glow Has Arrived, But Also Realizing You Are Cold From Sitting To Long
Camera: Sony a7r4
Lens: Tamron 16-30 f/2.8 G2
Focal length: 16 mm
Aperture: f/2.8
Shutter-Speed: 1/100 second
ISO: 400
4) Realizing There Is More To Bear Lake And Start Walking Around, Feeling Hard Core FOMO You Didn’t Do This Before
Camera: Sony a7r4
Lens: Tamron 16-30 f/2.8 G2
Focal length: 16 mm
Aperture: f/2.8
Shutter-Speed: 1/320 second
ISO: 250
5) Looking Over Your Shoulder And Thinking, “Dang! Bear Lake has it going on!”
Camera: Sony a7r4
Lens: Tamron 16-30 f/2.8 G2
Focal length: 30mm
Aperture: f/5.0
Shutter-Speed: 1/320 second
ISO: 250
The Smallest Pre-Production Mistake Almost Jeopardized The Entire Campaign
I overlooked one of the smallest details during pre-production and it almost jeopardized this entire campaign.
That detail: overnight parking at the trailhead
Here's how I fixed it without the client ever knowing (yes, if they read this it will be the first time they ever know about this mistake).
I overlooked one of the smallest details during pre-production and it almost jeopardized this entire campaign.
That detail: overnight parking at the trailhead
Here's how I fixed it without the client ever knowing (yes, if they read this it will be the first time they ever know about this mistake).
Arriving the day before production to iron out the final details, pick up permits, etc. I found out we could NOT park our vehicles overnight at the backcountry trailhead.
Pause, have you every heard of a backcountry access trailhead not allowing overnight parking?
I had not.
Online said you could park there.
But, a new local law changed overnight parking for the entire area, which I only would have known if I called the ranger station and specifically asked about parking.
Easy fix for the future, but I only had 12 hours to come up with a solution before the full production crew arrived and the shoot started.
So, here were my options:
1) Park and take the ticket.
2) Find new parking, there were a few campgrounds about 20-30 minutes away, and find a shuttle of some kind for the final person.
3) Find BLM land to park the cars and risk getting broken into while unattended.
The final catch, we needed the production van at every trailhead to swap batteries, dump footage, access different cameras (mostly drones that were only allowed in specific areas).
Here's how I weighed the decision:
Option 1: Terrible idea! The client surely would not be happy, the crew would invoice for the ticket, and
Option 2: We were already at the ceiling for this production budget so our quote for parking all the vehicles was roughly $2k because the campgrounds were "full"
Option 3: Where the heck was I randomly going to find some trustworthy BLM to park vehicles for three days while we shot this backcountry project?
At a loss, I called the local fixer. They new of a spot, kinda. It was an abandoned mining area that was popular for dirt biking.
With the new beta, I headed there to scout. It was perfect and dropped the pin into the group chat, "Hey everyone, which update on parking, this is the new spot. See you all there tomorrow."
Then we used the van to shuttle everyone to the trailhead.
Utilized a crew member to drive the van to each intersection, providing the support needed with gear, food, water, etc.
When the van wasn't supporting the project (we did have lots of biking to do), they went back to the mining area to look over the vehicles.
Turns out everything worked out and the client never knew, until now.
I Didn't Choose Photography, I Chose Survival
There is something about having a mountain of debt, no inbound leads, no business model, and youth that makes you sit back to reflect upon the compounding dumb decisions you have made up to this point. At least for me, that was the case.
There is something about having a mountain of debt, no inbound leads, no business model, and youth that makes you sit back to reflect upon the compounding dumb decisions you have made up to this point. At least for me, that was the case.
Let me briefly take you through some of those decisions:
At 8 years old I dedicated myself to the pool for I had a dream to play a sport in college. I had been a successful competitive swimmer (All-American in the 100 butterfly as a freshman in High School) and successfully transitioned to water polo. That transition landed me a scholarship to Santa Clara University and became the team captain of my college team for two years.
After graduating undergrad early, which I do not regret what-so-ever, I flew to New Zealand with a single goal “to cycle around the South Island” for 62 days as a graduation gift to myself and to act as a reset to reflect upon the next stage of my life. I did this cheap, in total $5-7k which includes buying a bike set up, plane tickets (which was like $2k), food, no phone, camping almost every night, showers, etc.
Upon returning from NZ, I did a short stint at grad school, this I do regret, and stacked up $40k of debt in a matter of months with the thought I would become a high school math teacher. In California, that would have been a salary of roughly $60-80k a year with a $2k/year “bonus” for having a master’s degree. So, if I would have followed through on that, paying off my master’s degree would have taken roughly 30 years. Not a good investment!
Knowing that I was not aligned, because of the down time cycle New Zealand gave me, I dropped out and “became homeless”. I moved back onto my bicycle and started to work odd jobs like outdoor education, substitute teaching, and picked up a camera.
I tried my hand at writing as well, but I could never really figure that business model out, at the time.
But, I knew living on a bicycle was not a sustainable lifestyle for me. Sure it was cheap, but I wanted to surf, rock climb, and, well, not live in a tent on the side of the road. Don’t get me wrong, I love camping and backpacking, but not really for 365 days a year. It gets old fast.
Lunch time siesta while living on a bicycle somewhere in West Virginia.
At the time I realized I wanted more than a bike and tent I was cycling from the east coast to the west coast somewhere between West Virginia and Kentucky. But, I had no income, no house, no apartment, and no job prospects. In many ways, I was still decompressing from the athlete life which I had been living from 8 years old. Fifteen years later, my mind was still on sport and I didn’t really know myself outside of a pool.
I knew my personal limits and how to break through those.
I knew my mental limits and how to break through those.
But, I didn’t know how to have fun, laugh, play, or do things for no reason.
Then a camera came into my life.
Just before leaving on this attempt to cycle across the country, I was working for an outdoor education school part time in Baltimore. The whole time I was snapping photos for fun and sharing them with the marketing director, Ben Worden, at the end of each trip I taught. Without thinking much about it, Ben would say a few nice words and provide feedback after each submission. Then, towards the end of my three month contract, Ben called me into his office to have a conversation that kinda went like this:
“You know you are a really good photographer.” Ben complimented me.
”Okay, thank you.”
”Like people would pay you for your photography.”
”Okay, but how much do people really make selling photos?” I asked rolling my eyes.
”Um, 10 times what you make per day right now.” Ben quickly responded.
My jaw dropped in disbelief, “Wait, really?”
”Not exactly, but I would certainly pay you double what you are making now, next year, if you wanted to photograph for us.”
”Yes, sign me up. What do I need to do?”
…
From there, Ben gave me a laundry list of things I needed to do for the school to hire me as a freelance photographer come the spring season. It was the end of fall and, at the time, Outward Bound Baltimore was closed for winter. So, as I cycled across the country I kept trying to understand what I had to do, how much it would cost me, and if I could actually make it happen.
Turns out, it wasn’t really that hard, or expensive:
Get some insurance ($50/month)
Create a sole proprietorship ($10-25 depending on your state)
Keep photographing (my time, which I had a lot of).
The only catch, I was still broke, living on a bicycle, and eating Bisquick with mustard for breakfast, lunch, and dinner. Sure I also had the occasional hot dog, but not often.
In somewhat of a stroke of luck, I had some family shit hit the fan and my parents bought me a plane ticket from Ohio back to California to be with them. Upon arriving at their place, they lent me a Mercury Mariner (which I couldn’t afford the gas or insurance), and that car would became my next home. I couldn’t fully lay down in the back, but I could lay down enough to fall asleep.
For a few weeks, I stayed at my parents place and applied to a few jobs, meanwhile photographing every day.
For the most part, I wasn’t really creating anything with my camera, but I was learning and building a work flow. I even tried to do some marketing for photography at a few local spots, but nothing really came around. Eventually, I got a call back for a substitute teaching position in Watsonville, CA, packed the car, and left my parents house with the mindset that had to land the job because I didn’t have enough money to drive to Watsonville and back to my parents without making some money.
With a college suit on, I walked into that interview, on a Tuesday or Wednesday, knowing I was going to do whatever it took to get the job.
The interview was short and sweet. The hiring lady looked over my paperwork and said, “If you want, you can work everyday. We need bodies in classrooms.” I got the message, scanned my finger prints (I passed), and had to take a TB test.
The thing about TB tests is that they take between 48-72 hours, and, because my bank account had less than $500 in it, I couldn’t do anything. So, I parked my car at Pleasure Point in Santa Cruz, CA, surfed, and started taking surfing photographs with the dream that I could make some money while taking photos.
Nothing on day one.
Nothing on day two.
Nothing on day three.
Sure, I made a few friends and kept practicing, but I really couldn’t figure out how to make any money. Surfers exiting the water asked me if I got any images of them and would let them look through the back of my camera to preview what I shot, but I didn’t have a way to get them images, let alone sell the images, or collect any money. I had no idea what I was doing.
So, when my TB test cleared on Friday, I was in set to substitute teach. Monday was my first class.
PHEW!
I still needed to play it safe on fuel and watch my money because substitute teaching paid NET30, so those dwindling 500 bucks had to last me until I got paid, which wasn’t easy because it was between $20-40 in fuel to drive to the school I would be teaching at each morning (the school changed daily), plus I still needed to buy food. Thankfully, I was still accustomed to my Bisquick meals, so that didn’t cost much.
When that first check came in a major sigh of relief came over me. A couple grand after a month of work. I finally had some wiggle room, but winter break for schools came quick and I was back in the same position once I couldn’t work for two weeks.
Again, I started to realize this new path, substitute teaching, would not be sustainable, but I needed to keep teaching, so I could try to figure out this whole photography thing.
There was so much to learn, but I really didn’t know what to do or where to start.
Feeling a bit defeated, headed to a local book store and returned to my college days of “hitting the books”. Buying a book on freelance photography I read that thing cover to cover, twice. It kinda helped, but not very practical. The skinny, market yourself, land work, produce the work, share the work, and do all the legal things correctly otherwise it’ll bite you in the butt. Good to know, but it surely didn’t pay my bills.
So, I kept going to cliffs of Santa Cruz every morning and every evening to take photographs. December came and went. No sales. January came and went. Again, no sales. And February arrived with a random phone call from a phone number based in my home town.
“Hey, been thinking about your photo offer. I need to update my website. We are doing a bike ride this weekend and if you can come here, I can pay you.”
Wow, my first gig! I crunched some numbers, called him back, and landed a $600 job. That was 7x what I was making at the outdoor school, 4x what I was going to make per day as a substitute teacher, and more money than I had in my bank account. So, I bit the bullet, said yes to the shoot, and spent most of my money on fuel driving the 300-something mile round trip back Auburn to photograph the ride.
I pushed my creativity and did my best to take some images I could be proud to share. In the end, I was still a beginner, but the client was happy. I got paid and I immediately spent the money on a zoom lens so I could improve my photography.
With two lenses, covering 16-200mm I had the bare minimum for action sports. But, I still wanted to photograph in the water, so on my next paycheck I spent $250 of it on a cheap water housing so I could take surf photographs from inside the water.
Instantly, this leveled up my photography game while I waited around for Ben to call me and offer me a job. So, I kept shooting everyday. Sometimes in the ocean and other times on the cliffs with my long lens. At the end of each session I had three goals:
sell something
take 1000 images
drain my battery
Usually I accomplished 2 & 3, but almost never sold anything. I did this all winter long.
Turns out, spring had arrived and Ben had not yet called. Worried he might never call, I decided it was time I do something about it and called him to ask for the job.
He picked up, “Hey Dalton! How are you doing?”
“Good, I have been photographing a ton everyday. I try to shoot at least a 1000 images and I’m getting better. Oh, I did all the things you said I needed to do, so maybe I can still photograph for you all soon?”
“Yeah, let’s talk about that. I have a job for you. Could you fly out here for two weeks and photograph a few trips? We can cover your flight and pay you between $3000 and $5000 for the whole trip.”
“I’m in. How do I sign up?”
“Just write me a proposal contract. I’ll send you an email with the dates.”
“Okay…”
A warm summer night with a fire on the east coast during a kayaking expedition along the Potomac River. Turns out my skill with the water housing became very useful for more than just surf photography.
Turns out I had to wait until June to return to the east coast for the assignment, but it worked out in the end. Learning to ask for the work you want was a learning lesson for me right then and there. After that summer, I still substitute taught, but less and less each year as I built my photography career. It took three years before I was able to completely stop teaching and focus full time on photography.
The biggest difference, learning how to sell and submit images. Once I had a large enough network to do this, I was able to sustain myself as a creative.
Building Sustainable Client Roster as an Adventure Photographer
For most adventure photographers, one-off shoots are the natural entry point into the business. A single project might cover an expedition, a branded social media campaign, or a weeklong assignment with an outdoor company. These opportunities are exciting, often highly creative, and a great way to get your foot in the door.
For most adventure photographers, one-off shoots are the natural entry point into the business. A single project might cover an expedition, a branded social media campaign, or a weeklong assignment with an outdoor company. These opportunities are exciting, often highly creative, and a great way to get your foot in the door.
The challenge? Once the shoot is done, so is the paycheck. Chasing the next gig can quickly become a cycle of feast and famine.
That’s where retainer clients change everything. A retainer is an agreement where a brand, outfitter, or publication pays you consistently—monthly or quarterly—in exchange for a set amount of work. Instead of starting from zero every month, you build predictable income and a long-term partnership.
For adventure photographers, retainers are powerful because they:
Create stability in an unpredictable industry.
Build trust and efficiency with clients who know your style and workflow.
Allow you to focus on storytelling, rather than constantly pitching new work.
Free up creative space to pursue passion projects, knowing your base income is covered.
One-off shoots are still valuable—they can expand your portfolio, introduce you to new brands, and lead to bigger opportunities. But if you want to turn adventure photography into a sustainable business, adding a few retainer clients to your roster is one of the smartest moves you can make.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months:
Read More From The Photographer’s Playbook
Building a Sustainable Business Requires Multiple Revenue Streams for Adventure Photographers
Adventure photography is exciting, creative, and deeply rewarding — but it’s also a business. One of the best ways to keep your photography career sustainable is to create multiple revenue streams. Not everything will be “hot” all the time, so having different income sources gives you balance, consistency, and room to grow.
Adventure photography is exciting, creative, and deeply rewarding — but it’s also a business. One of the best ways to keep your photography career sustainable is to create multiple revenue streams. Not everything will be “hot” all the time, so having different income sources gives you balance, consistency, and room to grow.
Here’s how I personally break down my income streams:
1. Passive Income (low effort, long-term returns)
These are the revenue streams that keep working in the background with little ongoing effort. For adventure photographers, passive income might look like:
Selling prints of your best adventure shots
Publishing photography books or e-guides
Creating online courses or workshops
Long-term investing
The goal: put in work once, and let the sales continue while you focus on other projects.
2. Semi-Passive Income (some effort required)
Semi-passive income takes a bit more maintenance but can scale well. Examples include:
Image licensing (brands or publications buying rights to your photos)
Contracted side work (like video editing for past clients or partners)
Gear rentals (renting camera or outdoor equipment you already own)
Social media collaborations and sponsorships
These streams are flexible and often bring in steady income when bigger jobs slow down.
3. Working Income (active, hands-on work)
This is the income that requires your full energy and attention. For many adventure photographers, it’s the core of their career:
Commissioned photography projects
Creative development for brands or expeditions
Marketing or content consulting
Speaking engagements or guided adventure workshops
Working income is often the most rewarding — but it’s also the most time-intensive.
Balancing Business and Creativity
When you become a photographer, you also become an entrepreneur. That means thinking like a business of one:
Track profit vs. loss
Stay updated on market trends
Do your taxes correctly (or hire a pro)
Market yourself consistently
Outsource when needed
Regularly audit your business health
And here’s the key: work ON your business as much as you work IN your business.
On = CEO, COO, CFO tasks — planning strategy, marketing, finances, and growth.
In = Creative employee tasks — editing, updating your website, designing newsletters, producing photos.
Making time for both ensures you’re not just creating, but also building a foundation for long-term success.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months:
Read More From The Photographer’s Playbook
Working On Your Business vs Working In Your Business as an Adventure Photographer
When you step into the world of adventure photography, you’re not just a creative—you’re also a business owner. That means your success depends not only on how well you shoot, but also on how well you run your business. Many photographers fall into the trap of spending all their time “in” their business—editing, emailing, and shooting—while neglecting the bigger picture of working “on” their business. To build something sustainable, you need both.
When you step into the world of adventure photography, you’re not just a creative—you’re also a business owner. That means your success depends not only on how well you shoot, but also on how well you run your business. Many photographers fall into the trap of spending all their time “in” their business—editing, emailing, and shooting—while neglecting the bigger picture of working “on” their business. To build something sustainable, you need both.
Why You’re More Than a Photographer
The moment you choose to make photography your career, you also become an entrepreneur. Think of your business as a one-person startup—you’re the CEO, CFO, and creative all rolled into one. To thrive, you have to balance the creative work with the behind-the-scenes operations that make growth possible.
Understanding Revenue Streams
Adventure photography can be unpredictable—work flows in waves depending on seasons, clients, and trends. That’s why diversifying your revenue is key. Here’s a breakdown of income streams to consider:
Passive Income – Products that keep selling without much ongoing effort, like books, photo prints, courses, or even investments.
Semi-Passive Income – Revenue that requires some maintenance, such as licensing images, offering gear rentals, or ongoing contracted editing work.
Working Income – The most hands-on income, like shooting assignments, creating custom campaigns, or consulting.
Relying on just one type leaves you vulnerable. Spreading your efforts across all three gives you stability and flexibility.
Working In Your Business
This is the hands-on side of being a photographer. It includes:
Editing photos
Shooting assignments
Writing blog posts or newsletters
Designing products
Managing client communications
It’s the day-to-day grind that keeps things moving—but if this is all you focus on, you’ll stay stuck in survival mode.
Working On Your Business
This is the high-level, strategic work that sets you up for growth. Think of it as stepping into the role of CEO:
Reviewing profit and loss statements
Marketing and positioning yourself in the adventure space
Building new revenue streams
Networking and hiring contractors when needed
Auditing workflows and tools to improve efficiency
Without this CEO mindset, your photography business won’t have direction or long-term stability.
Finding the Balance
Adventure photography requires you to wear both hats each week. Schedule time for both:
On your business: one or two focused blocks each week for strategy, finances, and planning.
In your business: the creative and production time that brings in your revenue.
This balance ensures that while you’re busy capturing the world’s most beautiful landscapes and stories, you’re also building a business strong enough to keep you out there doing what you love.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months:
Read More From The Photographer’s Playbook
Here's Why Photographer's Should Always Include Photo Licensing in Your Contract
One of the most important lessons I’ve learned as an adventure photographer is that photo licensing belongs in every contract. It protects your work, ensures you get paid fairly, and prevents misunderstandings with clients. Without clear licensing terms, you’re leaving the value of your images up to interpretation, which can lead to disputes or lost income.
One of the most important lessons I’ve learned as an adventure photographer is that photo licensing belongs in every contract. It protects your work, ensures you get paid fairly, and prevents misunderstandings with clients. Without clear licensing terms, you’re leaving the value of your images up to interpretation, which can lead to disputes or lost income.
Protect Your Work
When you include licensing in your contract, you clearly define how your images can be used, for how long, and whether they are exclusive. This gives you legal protection if a client tries to use your images outside of the agreed-upon scope. It’s not just about contracts—it’s about safeguarding the creative work you’ve poured time, skill, and money into producing.
Ensure Fair Compensation
Licensing lets you price your work according to its value. A single-use social media post has a different value than a nationwide advertising campaign or a full print run. By clearly spelling out usage, duration, and exclusivity in your contract, clients understand exactly what they are paying for, and you are paid fairly for the rights to your images.
Avoid Confusion and Disputes
Clients don’t always understand the nuances of photo licensing, and that’s okay. But if licensing isn’t addressed in the contract, assumptions can lead to misunderstandings. By laying it all out in writing, everyone is on the same page. You protect yourself, and you give your client confidence that the project is professional and organized.
Maintain Long-Term Value
Including licensing in your contract ensures that you retain control over your images. Time-limited or non-exclusive licenses allow you to reuse images in the future, sell them to other clients, or include them in personal projects. Avoiding vague terms like “in perpetuity” protects your ability to generate income from the same work multiple times.
This lesson comes from The Adventure Photographer’s Playbook, where I cover licensing, pricing strategies, and how to structure your contracts to protect both your creative vision and your financial sustainability.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months:
Read More From The Photographer’s Playbook
Understanding Usage in a Photo License as an Adventure Photographer
In photo licensing, usage refers to where and how a client is allowed to use your images. It is one of the three key elements of licensing, along with duration and exclusivity, and it directly affects the value of your work. Understanding usage helps you price your projects fairly and protects your ability to monetize your images in the future.
In photo licensing, usage refers to where and how a client is allowed to use your images. It is one of the three key elements of licensing, along with duration and exclusivity, and it directly affects the value of your work. Understanding usage helps you price your projects fairly and protects your ability to monetize your images in the future.
Types of Usage
Usage can vary widely depending on the client and the project. Some of the most common categories include:
Digital: Websites, email campaigns, newsletters, blogs, and internal communications. This can include paid and organic social media content.
Print: Magazines, brochures, posters, expo banners, in-store signage, or other physical advertisements.
One-Time or Limited Use: For specific campaigns, such as a magazine cover, a short-term ad, or an event promotion.
Full Marketing or Multi-Platform: Covers multiple channels, combining digital, print, and social media usage across campaigns.
Why Usage Matters
Knowing the usage of your images allows you to assign value accurately. A single-use social media post is worth far less than a national advertising campaign running across print, web, and digital platforms. Clear communication about usage ensures clients understand the scope of the license and helps prevent misunderstandings or misuse.
By defining usage upfront, you also protect your ability to sell or license your images elsewhere. Combined with clear terms for duration and exclusivity, usage helps you structure a professional, fair, and sustainable licensing agreement.
This lesson comes from The Adventure Photographer’s Playbook, where I cover practical strategies for licensing, pricing, and protecting your images in the adventure and travel photography world.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months:
Read More From The Photographer’s Playbook
Understanding Duration in Photo Licensing for Adventure Photographer
In photo licensing, duration refers to how long a client is allowed to use your images. It is one of the three key components of licensing, along with usage and exclusivity, and it directly impacts the value of your work and how you structure your pricing.
In photo licensing, duration refers to how long a client is allowed to use your images. It is one of the three key components of licensing, along with usage and exclusivity, and it directly impacts the value of your work and how you structure your pricing.
Time-Limited Licenses
A time-limited license gives a client the right to use your images for a specific period, such as 6, 12, or 24 months. After the agreed-upon duration ends, the client must stop using the images unless they renew the license. Most companies will not use images beyond two years, so time-limited licenses make sense for both the client and the photographer.
Time-limited licenses allow you to retain control over your images and create opportunities for additional income. Once the license expires, you can license the same images to other clients or include them in personal projects.
One-Time or Per-Use Licenses
Some licenses are even shorter, granting usage for a single campaign, publication, or event. Examples include a magazine cover, a single social media campaign, or a limited-run print advertisement. One-time licenses are valuable when clients need short-term access but do not require ongoing rights.
Avoiding Perpetual Licenses
A license in perpetuity grants the client unlimited use of your images forever. This can significantly reduce your potential for future income from the same work. Whenever possible, avoid perpetual licenses unless you are being compensated at a very high rate. Limiting the duration ensures your images maintain long-term value and flexibility.
Understanding duration helps you quote projects accurately, protect your work, and maintain the ability to monetize your images multiple times. By combining clear terms for usage, duration, and exclusivity, you can create fair, professional licensing agreements that benefit both you and your clients.
This lesson comes from The Adventure Photographer’s Playbook, where I cover licensing, pricing, and strategies for sustainable photography business growth.
This lesson comes from my ebook "The Adventure Photographer's Playbook" and it costs $10. Why so cheap? The goal is to help as many new to mid level photographers as possible go from nothing to getting booked in 18 months: