Dalton Johnson 6/7/26 Dalton Johnson 6/7/26

How to Pitch Yourself as More Than a Photographer

The brief that changed my career in 2024 never would have found me if I had kept calling myself just a photographer.

That sounds simple. It is not. Most photographers spend their entire careers describing themselves by the tool they use. I am a photographer. I shoot landscapes. I do commercial work. The camera is the identity. Everything else is secondary.

But the market does not buy tools. It buys solutions. And the photographers who are landing the most interesting work right now are the ones who figured out how to describe themselves by what they solve, not what they shoot with.

Here is how I learned that, and what it actually looks like to make the shift.

This project for Crazy Creek I was the producer and photographer.

The identity problem.

Six years into my commercial photography career I hit a wall. Work was still coming in but I could feel the industry shifting underneath me. Brands were asking for more than images. Digital publications were hungry for content that came packaged with visuals already built in. The market was rewarding people who could deliver a complete campaign, not just a folder of selects.

I was standing in a kitchen at my grandma’s eightieth birthday, talking to my mom, confessing out loud that I was not sure the photography career was going to hold the way I had built it.

The problem was not my photography. My photography was good. The problem was that I had built my entire professional identity around a single skill in a market that was increasingly looking for combinations.

I had been a storyteller my whole life. As a kid I wrote stories for my dad as father day presents. In college I gravitated toward anything that involved words, almost completing a minor in creative writing (yet my major was math). But when I started my photography career I buried all of that. Told myself a photographer's job was to take pictures. That writing was a hobby. Something for later.

After that conversation in the kitchen I stopped waiting for later.

Adding the skill is only half of it.

I started writing. Consistently and seriously, like it actually mattered to the business, because eventually it would. I pitched magazines. Editors said yes. The clips started building.

But here is what most photographers miss when they add a new skill: adding the skill does not automatically change how people see you. You have to actively pitch the combination.

Nobody was going to look at my photography portfolio and assume I could write. Nobody was going to call me for a hybrid brief just because I had started writing on the side. The market does not guess at what you can do. It responds to what you tell it you can do.

Pitching yourself as more than a photographer means leading with the combination, not burying it.

This image comes from a project where I was the photographer and writer covering cruise travel aboard clipper cruises in the Greek Island... dream job to say the least, am I right?!

What that pitch actually looks like.

When I started positioning myself as a photographer who could also write the story, everything about my outreach changed.

Instead of sending a portfolio and saying here are my images, I started sending case studies. Here is a project where I photographed the location and wrote the article. Here is the reach it generated. Here is what the client got that they could not have gotten from hiring a photographer and a writer separately.

That framing does something specific. It removes the mental work from the client's side. They do not have to imagine what it would look like to hire you for a hybrid brief. You have already shown them exactly what it looks like.

The Rivian project at the end of 2024 is the clearest example I have. A PR agency reached out needing someone to take a week-long road trip through Northern California, stop at the newly opened Groveland Outpost, document the adventure, and write the story for a digital publication.

That brief only landed with me because I had been pitching myself as both for eighteen months. The agency knew what they needed. They searched for someone who could deliver it all. My positioning put me in their path.

One week of shooting. One written article placed in a digital publication. Behind the scenes UGC clips across social media. Over a million trackable views across the campaign.

That result is not possible if I show up as just a photographer.

CASE STUDY: Rivian Motors Road Trips Northern California

Why photographers resist this.

There are two things that hold photographers back from pitching themselves as more than photographers.

The first is imposter syndrome. You have been a photographer for years. You have one skill you feel genuinely confident in. Adding a second skill and leading with it publicly feels presumptuous. What if someone asks you to prove it and you cannot?

The answer is: you build the proof before you lead with the claim. You do not pitch yourself as a photographer and writer the day you decide to start writing. You spend six months writing, building clips, publishing work. Then you pitch the combination with evidence behind it.

The second thing is fear of confusion. You have spent years training the market to think of you in a specific way. Introducing a second skill feels like it might muddy the water. What if people stop taking your photography seriously because they think you are now trying to do too many things?

This fear has it backwards. Adding a complementary skill does not dilute your photography. It makes your photography more valuable by giving clients more reasons to hire you and fewer reasons to look elsewhere. The combination is harder to replace than either skill alone.

How to start pitching the combination.

You do not need to overhaul your entire brand overnight. You need to start showing up as the combination in specific contexts.

Update how you describe yourself in your bio. Not just photographer. Something like: photographer and writer covering adventure travel, or photographer and storyteller working with outdoor brands. The words matter. They tell the market what to call you when they refer you to someone else.

Build one case study that shows both skills working together. A shoot where you also wrote the article. A project where you delivered images and a newsletter. Something concrete that a prospective client can point to when they are deciding whether to take a chance on a hybrid brief.

Then lead with that case study in your outreach. Not your portfolio. Not a list of clients. The case study that shows exactly what it looks like when you do both.

The first time you pitch yourself this way it will feel uncomfortable. That discomfort is not a sign you are doing it wrong. It is a sign you are doing something new.

Because I can write, I’ve landed projects far greater than just photos. Prime example was this project in Venice for Tamron which included photos and video.

What it compounds into.

When I look back at the trajectory of my career, the decision to add writing and pitch the combination is the single clearest inflection point I can identify.

The work got more interesting. The briefs got more specific. The clients who reached out were the ones who valued the full package and were willing to pay for it. The referrals started coming from people who described me as a photographer who could also write the story, which is a much more specific and memorable description than just a good photographer.

The market rewards specificity. It rewards people who solve a complete problem instead of just contributing a piece of one. And it rewards people who tell it clearly, early, and often exactly what they are capable of.

You are more than a photographer. The question is whether you are pitching yourself that way.

Reflection questions:

How are you currently describing yourself to prospective clients? Does that description reflect everything you actually bring to a project?
What skill do you already have alongside photography that you have been treating as secondary?
What would one case study that showed both skills working together look like for you?
Who in your current network would hire you for a hybrid brief if they knew you could deliver one?

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:

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

This adventure photography e-book goes over the business and what “making it” as a photographer in the outdoor space requires. Covering topics such as pricing, marketing, building a body of work, reflection questions, and everything you need to know to make a career out of adventure photography.

Updated: June 2025

Invest In Your Photo Career Today

How to Pitch Yourself as a Writer Before You Feel Ready

Nobody feels ready.

That is the thing nobody tells you when you are sitting on the edge of something new. You are waiting for a signal that you have done enough, learned enough, practiced enough. That the work is good enough to show someone. That you are legitimate enough to call yourself the thing you want to be called.

The signal does not come.

I spent years wanting to write. I had been a storyteller my whole life. As a kid I wrote stories for my dad. In college I gravitated toward anything that involved putting words together. When I started my photography career I was drawn to the narrative behind every image, not just the image itself.

But I did not pitch myself as a writer for a long time. Because I did not feel ready. Because I told myself that writing was something other people did. People with journalism degrees. People with clips. People who had already been published somewhere that mattered.

What I did not understand then is that the clips come from pitching. The legitimacy comes from doing the work. The readiness never arrives on its own. You manufacture it by moving anyway.

Here is what I learned from finally doing it.

The moment I stopped waiting.

Six years into my commercial photography career I hit a wall. Work was still coming in but the industry was shifting underneath me. Brands were asking for more than images. Digital publications were hungry for content. The market was rewarding people who could deliver a complete package, not just a folder of selects.

I was standing in my grandma's kitchen at her eightieth birthday, talking to my mom, confessing out loud that I was not sure the photography career was going to hold the way I had built it. That conversation cracked something open.

After that night I started writing. Not for anyone yet. Just writing. Getting the muscle moving. Learning what my voice actually sounded like on the page versus what I assumed it sounded like. There is a difference, and it takes time to close the gap.

A few months in I decided to pitch a magazine. Not because I felt ready. Because waiting was not working.

What a pitch actually is.

A lot of photographers overcomplicate this.

A pitch is not a resume. It is not a portfolio review. It is not an application. A pitch is a short, specific proposal for a story you want to tell. It answers three questions: what is the story, why does it matter to the readers of this publication, and why are you the right person to tell it.

That last part is where photographers have a built-in advantage that most writers do not.

You have already been to the places. You have already met the people. You have already lived the stories that publications want to tell. You are not pitching something you researched from your desk. You are pitching something you experienced with a camera in your hand.

That is not a small thing. Editors want writers who can show up and produce both the story and the visuals. Finding someone who does both well is genuinely difficult. If you are a photographer who can write competently, you are already ahead of most of the writers in their inbox.

The pitch I sent that changed things.

I will not pretend my first pitch was polished. It was not. It was too long and tried to explain too much. But it had a real story at the center of it, a place I had actually been to, people I had actually met, images I had already taken. The editor could see the whole thing in her head because I gave her something concrete to look at.

She said yes.

That first yes did not mean I was a writer. It meant I had one clip. One clip is enough to get the next pitch read with more attention. The second yes comes faster than the first. The third faster than the second. The legitimacy you were waiting to feel before you started is built in the doing, not the waiting.

What to pitch and where to start.

Start with publications that already cover the subjects you shoot.

If you shoot adventure travel, pitch adventure travel publications. If you shoot outdoor gear, pitch outdoor lifestyle magazines. If you shoot hospitality, pitch travel and food publications. You are not starting from zero on these subjects. You have been living inside this world professionally. You know the brands, the locations, the people, and the stories that readers of these publications actually want to read.

The pitch does not have to be complex. It can be as simple as: I just spent a week photographing a road trip through Northern California and came back with a story about what it actually feels like to travel sustainably through landscapes most people only see in photos. Here is my angle. Here are two or three images. I can deliver both the text and the visuals.

That is a pitch. Short. Specific. Concrete. With a built-in visual component that most writers cannot offer.

The worst they can say is no. Most of the time they do not even say that. They just do not respond. And that is fine. You move to the next one.

How the clips build on each other.

Once you have one published piece, your next pitch is not starting from scratch. You are not just a photographer who wants to write. You are a photographer who has written for a publication. That distinction matters more than it should, but it does matter.

Every clip makes the next pitch more credible. Every published piece trains your voice. Every editor relationship is a door that can open to another door. The publication you pitch today might refer you to a brand that needs a writer. The brand that needs a writer might refer you to a PR agency. The PR agency might call you for a job that only exists because you are the complete package.

That is exactly how the Rivian project came to me at the end of 2024. A PR agency reached out needing someone who could photograph a week-long road trip through Northern California and write the story for a digital publication. That brief only landed with me because I had spent eighteen months pitching magazines and building clips that proved I could do both.

The brief found me. I did not find the brief. That is what building the body of work does over time.

The practical steps.

Make a list of ten publications that cover the subjects you shoot. Do not aim for the biggest ones first. Aim for the ones where your specific experience is most directly relevant.

Read three to five issues of each one. Understand the tone, the length, the kinds of stories they tell, and the kinds they do not. A pitch that shows you understand the publication gets read differently than a generic story idea.

Write a pitch for each one. One paragraph describing the story. One paragraph explaining why it fits their readers. One sentence about who you are and why you have access to this story. Two or three images that show what the visual component looks like.

Send them. All ten.

Some will not respond. Some will say no. One or two might say yes. One yes is enough to start.

You will not feel ready when you send them. That is not a signal to wait. That is just what pitching feels like before you have done it enough times to be used to the rejection.

The photographers who are writing for publications, landing hybrid briefs, and building careers that compound over time are not more talented than you. They are not more credentialed. They just sent the pitch before they felt ready.

Send the pitch.

If this resonated, subscribe below for more on building a photography career that compounds over time.

Reflection questions:

What story from your last six months of shooting could you pitch to a publication today?
Which ten publications cover the subjects you already shoot? Have you ever actually read them cover to cover?
What is the real reason you have not pitched yet? Is it skill, or is it the feeling of not being ready?
If you landed one writing clip in the next 90 days, what door would that open that is currently closed?

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

Invest In Your Photo Career Today

Why One Shoot Should Never Just Be One Deliverable

Most photographers hand over a gallery link and call the job done.

I used to do the same thing. Shoot the job, edit the images, deliver the files, move on. That was the workflow. That was what the client asked for. That was the whole transaction.

It took me years to realize how much I was leaving on the table. Not just money. Reach. Impact. The kind of results that make a client call you back and refer you to someone else.

The Rivian project at the end of 2024 was the clearest proof I have seen of what changes when you stop treating a shoot like a single deliverable and start treating it like the raw material for an entire campaign.

If you are a photographer still handing over a gallery and walking away, this is for you.

Quick Note: If you find this article helpful, the idea come 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. If that is you, check it out.

One shoot contains multitudes.

Think about what actually happens on a commercial shoot. You show up with your camera. You spend hours, sometimes days, in a location with a subject, a product, a vehicle, a landscape. You capture thousands of frames. You see things from angles no one else will see. You experience the story firsthand.

And then you deliver 50 selects and disappear.

That experience you just had? It was a magazine article. It was a newsletter. It was a series of behind the scenes social clips. It was a short film. It was a blog post. It was a quote card. It was a YouTube video. It was a podcast episode waiting to happen.

None of that requires going back to the location. None of it requires a second shoot day. All of it lives inside the work you already did.

The shoot is not the deliverable. The shoot is the source.

Exploring Tioga Pass with Rivian. Photo by Dalton Johnson

What the Rivian project actually produced.

The brief was straightforward on the surface: take a week-long road trip through Northern California in the fall, stop at the newly opened Groveland Outpost, document the adventure on a sustainable electric vehicle, and write the story for a digital publication.

One week. One vehicle. One location.

But here is what that actually became.

The professional photos went to Rivian for press use, PR campaigns, and marketing materials. High resolution. Polished. Exactly what a brand needs when they are launching a new outpost and want visuals that hold up in a magazine spread or a billboard.

The written article was placed in a digital publication. That article told the story of the road trip, highlighted the fall colors in Yosemite and around Lake Tahoe, introduced readers to weird little towns scattered through Northern California that most people have never heard of, and documented what it felt like to charge an EV at a brand new outpost and be among the first people to use those chargers. The article was not a press release. It was an actual story. People read it because they wanted to, not because they had to.

The behind the scenes iPhone footage became UGC clips for social media. Raw. Unpolished. Real. The kind of content that performs on Instagram and TikTok precisely because it does not look like an ad.

The combination of all three — professional photography, longform writing, and social UGC — generated just over a million trackable views. Not from a single platform. Across all of them, each format feeding the others.

That is what one shoot looks like when you stop treating it like one deliverable.

CASE STUDY: Rivian Motors Road Trips Northern California

Why photographers leave this on the table.

There are a few reasons this does not happen more often.

The first is scope. Most photographers are hired to shoot. The brief says photography. The contract says photography. So they show up and shoot and deliver photography and go home. Nothing in the engagement asked for anything more.

But here is what I have learned: the brief is almost never the full opportunity. It is just the thing the client knew how to ask for. If you can show up with more, most clients will be thrilled. They did not ask because they did not know it was possible from a single hire.

The second reason is skill. Writing is a skill. Editing video is a skill. Building a distribution strategy is a skill. If you only have one of those skills, you can only produce one of those outputs. This is exactly why skill stacking matters. Every skill you add does not just open a new revenue stream. It multiplies the value of every shoot you ever do.

The third reason is habit. Photographers are trained to think in images. The frame is the unit of work. But a frame without context is a beautiful file sitting in a folder. Context is what makes it travel. And context requires words, narrative, and distribution.

Road-side pit stop because it was just so pretty! Photo by Dalton Johnson

How to start thinking differently about your next shoot.

Before your next job, ask yourself this question: if this shoot were the source material for a four-week content campaign, what would that campaign look like?

Map it out. The hero images go here. The behind the scenes clips go here. The written story goes here. The short-form social content goes here. The email newsletter goes here. You do not have to produce all of it on every job. But knowing what is possible changes how you show up on set.

You start capturing differently. You think about the behind the scenes moments that will make sense as a clip. You keep a voice memo running in your pocket so you can capture your thoughts in real time for the article you will write later. You ask yourself what the emotional arc of the story is, not just what the shot list says.

None of this adds significant time on set. It adds intention.

The compounding effect.

Here is what most photographers do not see until it is already happening: when you deliver more than images, your clients start talking about you differently.

You stop being the photographer they hired for that one job. You start being the person who made that campaign work. The distinction matters enormously when the next brief lands on a desk and someone asks who they should call.

Clients do not just come back to photographers who delivered good images. They come back to photographers who made their jobs easier, their campaigns stronger, and their results measurable. A gallery of 50 selects is a deliverable. A million views is a result.

The Rivian project opened doors not because the photography was exceptional in isolation. It opened doors because the photography was part of something bigger than itself.

That is the shift. One shoot, treated as source material, becomes a campaign. One campaign becomes a case study. One case study becomes the reason the next brief lands with you instead of someone else.

Stop handing over the gallery and walking away.

The shoot is just the beginning.

If this resonated, subscribe below for more on building a photography career that compounds over time.

Reflection questions:

Think about your last three shoots. What other formats were hiding inside that work that you never produced?
If you had to turn your next shoot into four different types of content, what would they be and where would each one live?
What skill are you missing right now that is limiting what you can pull out of a single shoot?
What would it mean for your client relationships if you started delivering results instead of just deliverables?

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

Invest In Your Career Today

I Stalled For Two Years. Here Is What Pulled Me Out.

Never stop learning. I know that sounds like something you read on a motivational poster. But the connection between growing publicly and landing better clients is one of the most direct things I have experienced in my career.

I stalled for about two years in the middle of my career as a commercial photographer. Not because work dried up. Work was still coming in. I stalled because I saw the writing on the wall. Photography was changing and I was not keeping pace with it. That feeling sat heavy on me for a long time.

Some of my best automotive work has happened along this road and the collision of fall colors and sunset really make this work for Rivian stand out.

So I made a decision. As a kid I always wanted to be a writer. I loved storytelling. I loved words. What if instead of ignoring that, I leaned into it? Not instead of photography, but alongside it. I started writing. Consistently. Seriously. Like it actually mattered to my business, because eventually it would.

Eighteen to twenty months later something clicked. Photography and writing collided in a way I could not have planned. Together they became a tool I could not have accessed with just one skill alone. The combination opened doors that neither could open on its own.

Then Rivian came calling. Inbound through a PR agency. They needed someone to photograph the Groveland Outpost and the surrounding area, then take a five day road trip and write the story using those photos for a digital publication. That job existed because I had become a complete package. A photographer who could also write the narrative. Digital publications do not just want images. They want images with a story wrapped around them. Companies with blogs need both. Social media managers are starting to understand SEO and they need someone who gets the full picture.

This project was more than a road trip, it was an opportunity to push the vehicle both on and off the road.

The moment I stopped treating writing as a side skill and started treating it as core to what I do, everything shifted. The work got better. The briefs got more interesting. The clients who reached out were the ones who valued the full story, not just the photographs hanging in isolation.

Your job is not to be perfect at one thing. Your job is to stay curious and keep adding skills that make you more valuable to the people you actually want to work with. The photographers who are building sustainable careers right now are the ones who refused to stop at the edge of what they already knew.

Getting to do this project with my new puppy and girlfriend was a huge added bonus!

Now, Let’s Make This Article Helpful For You

Sit with these honestly. There are no right answers. Just use them to get unstuck. Grab a coffee, find a quiet spot, and give yourself fifteen minutes with these questions. Do not rush through them. The answers you avoid are usually the most important ones.

When did you last feel genuinely excited about a project? What made that project different from what you are working on now?
What skill have you been curious about but keep putting off because it feels outside your lane?
If a dream client called you tomorrow, would your current skill set be enough to land the job? If not, what is missing?
Are you marketing the work you want to be hired for, or the work you have always done?
What would you do with your career if you knew you could not fail at it?
Who in your industry is doing work that makes you jealous? What do they offer that you do not yet?
What did you love doing as a kid that you have completely abandoned as a professional?

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:

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

The Photography Business Is Changing. Here Is What I See Working Long Term.

I have been a commercial photographer for the last decade. Patagonia, Ford, Rivian, Four Seasons, and over a hundred and sixty other brands. Every single year the game changes. Some years I adapted well. Other years I did not. That is just the honest truth about this industry.

This year I spent a long time rethinking my business model from the ground up. What I found surprised me in some ways and confirmed what I already suspected in others. If you are a photographer trying to build something sustainable, this is what I want you to hear.

1) Be More Than A Photographer

If you are only taking photographs, you are going to become obsolete. That sounds harsh but it is the reality. The photographers who are winning right now are the ones who bring more to the table. That means being a producer and a photographer. It means being someone who can not only create a campaign but actually distribute it to a real audience. It means picking up a video camera and learning how to tell stories in motion. The more you can offer, the harder you are to replace.

2) Small Productions Might Have Higher ROI

Big productions do not always mean big payouts. I learned this the hard way. A massive shoot with a giant crew and a long logistics chain does not automatically mean more money in your pocket. Sometimes the leanest, most focused projects are the most profitable ones.

I photographed the release of the Groveland outpost for Rivian, which included taking a Rivian for a week long road trip through Northern California and visiting Yosemite National Park

3) Use AI To Your Advantage

AI is a real tool and you should be using it. I know some photographers feel weird about this but I am not one of them. AI has genuinely sped up my workflow and helped me work smarter. Get familiar with it and use it to your advantage before someone else does.

4) Market Yourself

Marketing matters but not all reach is created equal. A million views from people who will never hire you means very little. Focus your energy on building an audience that actually makes sense for your business. Quality of attention beats quantity every single time.

Some brand work for Solo Stove for their release of the cookwear… hard not to enjoy a good breakfast while camping when you bring this along.

5) Build A Brand That Helps Others

Info products can make you money but do not expect overnight results. My ebook sells a few copies every month. We are talking twenty to fifty dollars. That is not going to change my life but over a year that is two to six hundred dollars that buys Christmas presents or funds a spec project. Small passive income stacks over time.

6) Never Stop Learning

The last one is the most important and I know it sounds cliche. Never stop learning, asking questions, and growing. I stalled for about two years because I stopped pushing my creative knowledge forward on social media. The moment I refocused on that, work started coming in fast. The connection between showing up, growing publicly, and landing clients is real and it is direct.

Hopefully this helps somebody out there figuring out their next move. If it does, drop a comment or send me a message. And if you have questions, ask away.

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

The 50-Day Marketing Challenge That Will Change Your Photography Business

Every photographer I know goes through the same cycle.

You get busy. Work comes in. You stop marketing because you don't have time.

Then the work dries up. And you panic.

I've done this more times than I want to admit. The fix is always the same: stop waiting for work to find you and start putting yourself back in front of people every single day.

I call it the 50-Day Marketing Challenge. And it has pulled me out of every slow period I've ever hit.

Before I get into it — I put the full breakdown of how I market my photography business inside a $10 ebook called The Adventure Photographer's Playbook. If you want the whole system, check it out here.

Why 50 days?

30 days is too short. You won't see results in 30 days because the sales cycle in this industry is long. I've connected with a brand in January and not made money with them until April. That's normal.

90 days is the real cycle for pitching and landing work. But 50 is the entry point — long enough to build momentum, short enough to commit to without burning out.

What the challenge actually looks like:

Every day for 50 days you do all of the following:

Send at least one pitch. Email, Instagram DM, LinkedIn message, cold call if you can find a number. It doesn't matter. Send something to someone who could hire you.
Post something. A photo, a behind the scenes, a story, a lesson. Show up somewhere publicly.
Follow up on something. An old lead, a past client, someone who went quiet. One touch per day.

That's it. It sounds simple because it is. The hard part is doing it every single day when you're tired, busy, or convinced it isn't working.

The most important thing I learned:

The work rarely comes from where you expect.

You'll pitch 50 brands and hear nothing. Then someone you emailed three months ago will reply out of nowhere. Or a brand will find you through a post you forgot you made. Or a past client will refer you to someone you've never heard of.

You don't know where the yes is coming from. You just have to be in enough conversations for it to find you.

That's the whole game.

How to start:

Make a list of 50 brands you want to work with. Not dream brands — realistic ones. Brands whose aesthetic matches your work and who are actively creating content.

Day one: pitch five of them.

Then pitch, post, and follow up every day for the next 49.

Track everything. Who you contacted, when, what you sent, what they said. Most will say nothing. Some will say no. A few will say yes.

And some of those yeses will come from places you never saw coming.

One last thing:

I still do this today. Every time I can see a slow period coming — when I know I've been heads down on a project and let my marketing slide — I start the clock again.

50 days. Every day. All of the above.

It has never not worked.

Reflection Questions

When did you last actively market yourself every single day for more than two weeks? What happened when you stopped?
Write down 10 brands right now that you could pitch this week. Not someday — this week. What's stopping you from sending those pitches today?
What does your follow-up system look like? Do you have one, or do you rely on memory?
If you committed to 50 days of daily marketing starting tomorrow, what would success look like at the end of it?

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

The Photography Career Is a Numbers Game. Here's What That Actually Means.

I used to think the best photographers got the most work.

They don't.

I learned this the hard way — as a substitute teacher editing photos in the back of a classroom, pitching 100 brands a day just to keep the lights on.

Not 10. Not 20. 100.

Instagram DMs. Emails. Cold calls when I could find a number. LinkedIn messages. I sent images, ideas, spec shoots, trip concepts — every single day to anyone who might say yes.

Almost nobody responded.

If I got a no, I was happy. At least someone opened it.

One person a week said yes. One out of 700.

That ratio sounds brutal. But here's what I learned: it's not rejection. It's math.

I wrote down everything I figured out over the last decade in a $10 ebook — The Adventure Photographer's Playbook. If you're trying to go from nothing to booked, it's the fastest shortcut I can offer.

Here's the part nobody tells you upfront:

If one out of 700 says yes, you don't need to get better at photography. You need to send more pitches.

The photographers who make it aren't necessarily the most talented. They're the ones who stayed in the game long enough for the numbers to work in their favor.

Here's what that looked like in practice:

Early career: Every yes was a kit deal. A brand would send gear, buy a few photos, and call it done. Not glamorous. But each one was a relationship. And relationships compound.

Mid career: The ratio got better. Not because I got lucky — because I got known. People started recognizing my name before I pitched them. The 1 in 700 became 1 in 200. Then 1 in 50.

Now: Most of my work is inbound. Brands reach out because they've seen what I build. But I never stopped pitching. I still create projects and bring brands into them. The model hasn't changed — just the conversion rate.

Three things that actually move the needle:

1. Volume beats perfection. Send the imperfect pitch. The brand who never sees your work can't hire you.

2. Spec work is your proof. Don't wait to be hired to create. Go make something worth sponsoring then ask brands to be part of it.

3. Play the long game. I connected with one brand in 2023. Didn't make money with them until 2025. That's normal. Stay in touch.

The numbers game never ends. It just gets more efficient.

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

A Not-So-Quick Stop To Photograph California’s Emerald Bay

As a South Lake Tahoe “local” I don’t often come to Emerald Bay because it is always packed with people and finding parking feels impossible unless it is midnight or 2am (yes, that is an exaggeration, but that’s how I feel). However, today, I was headed out of town at the perfect timing and along my drive I saw that Emerald Bay was going to look special at sunset.

As always, the gallery of images is at the bottom, so skip there if you don’t care about the words

How did I know Emerald Bay was going to be worth photographing? There was an inversion layer building, but one that wasn’t too dense, so I could still see Fannette Island. Which meant, staying to watch sunset and photograph Emerald Bay was well worth waiting for a parking spot.

Parked at “the perfect pull out” of Emerald Bay on my way out of town. Follow Dalton on your favorite platform: @storiesbydalton

Much to my surprise, the “best parking spot” was totally empty! So, I whipped the van in place, grabbed my camera, and started playing around with a few different compositions.

Whenever the area is not packed, I like to scramble up the opposite side of the parking area to photograph my van and bay to give a perspective not often captured. When you do this, be careful not to knock down any rocks on passing cars or fall off the cliff. You would get seriously messed up!

What I Brought On Today’s Photo Walk:

As the evening unfolded, I flew my drone and watched the clouds ebb and flow as if they were an ocean tide sloshing on the shore. Poetic huh?! Maybe, but let’s get back to this for you all.

On evening that are cold with strong winds, flying a drone is challenging as the battery life is shortened. I think each flight I had was roughly 10-12 minutes, in comparison to the traditional 28 minutes under perfect conditions. So, I made quick work of what I could with the drone.

As the sun was setting, I couldn’t quite get everything I wanted from this single spot, so I wandered around to create a few more compositions.

The Floating Tea House

from $26.95

Lake Tahoe’s only island, Fannette Island, cloaked in a rare, pink inversion layer. If you look closely, you can see the tea house atop the island. Did you find it? If so, take a step back and look at how the reflection of the pink inversion layer gives this illusion that the island is floating. Hence the name.

Additional Information:

Please allow 5-10 days for printing and shipping.

I have the ability to print custom sizes and material (like wood, gatorboard, etc.). If this interests you, please reach out to dj@dalton-johnson.com for a free quote with the size and material you desire.

Size:

Material:

Mostly, those meant using the van to create a “frame” around the island. All in all, I’m happy with how this unexpected stop pushed my creativity and gave me the opportunity to create something new in a spot that I have visiting maybe 100+ times.

P.S. at the bottom is a FAQ for anyone curious about Emerald Bay.

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

if you see any images that you would like as a print, send me an email

FAQ: Visiting Emerald Bay in Lake Tahoe

1. Where is Emerald Bay located?

Emerald Bay is located on the southwest shore of Lake Tahoe in Emerald Bay State Park, along Highway 89 (California) between South Lake Tahoe and Tahoma. It’s one of the most photographed viewpoints in Lake Tahoe.

2. Why is Emerald Bay so famous?

Emerald Bay is famous for its deep turquoise water, dramatic granite cliffs, and Fannette Island, the only island in Lake Tahoe. The bay is also home to Vikingsholm Castle, a historic Scandinavian-style mansion built in 1929.

3. Is there an entrance fee for Emerald Bay State Park?

Yes. Parking lots within Emerald Bay State Park typically charge a day-use fee, especially at the Eagle Falls Parking Area and nearby trailheads.

4. What is the best time of day to visit Emerald Bay?

Early morning is usually the best time to visit Emerald Bay. Sunrise offers soft light for photography and fewer crowds, while midday tends to be the busiest with limited parking.

5. What is the best time of year to visit Emerald Bay?

Late spring through fall is the most accessible time to visit Emerald Bay. Summer offers warm weather and full access to trails, while fall provides fewer crowds and beautiful color around Lake Tahoe.

6. Can you hike down to Emerald Bay?

Yes. One of the most popular hikes is the Vikingsholm Trail, which descends about one mile from the overlook down to the shoreline and Vikingsholm Castle.

7. How difficult is the hike to Vikingsholm?

The hike to Vikingsholm is relatively short but moderately steep. The trail drops about 400 feet in elevation, meaning the return hike back to the parking lot is uphill.

8. Can you visit Vikingsholm Castle?

Yes. Vikingsholm Castle is open for guided tours during the summer season, typically from late May through September.

9. Can you kayak to Emerald Bay?

Yes. Many visitors paddle to Emerald Bay from nearby beaches like Baldwin Beach or Camp Richardson Marina. Kayaking is a popular way to explore the bay and reach Fannette Island.

10. Can you visit Fannette Island?

Yes, but only by kayak or paddleboard. Fannette Island is the only island in Lake Tahoe and features the ruins of a small stone tea house built for the owner of Vikingsholm.

11. Is Emerald Bay good for photography?

Emerald Bay is considered one of the most iconic photography locations in Lake Tahoe. The Emerald Bay Overlook provides a classic panoramic view of the bay, Fannette Island, and surrounding Sierra Nevada peaks.

12. Where is the best viewpoint of Emerald Bay?

The most famous viewpoint is the Emerald Bay Overlook along Highway 89. Several roadside pullouts offer slightly different perspectives of the bay.

13. Is parking difficult at Emerald Bay?

Parking can be very limited, especially during summer weekends. Arriving early in the morning or visiting during shoulder seasons can make finding parking much easier.

14. Can you swim in Emerald Bay?

Yes, swimming is allowed in Emerald Bay. The water is extremely cold year-round, even in summer, so most swimmers only stay in briefly.

15. Is Emerald Bay open in winter?

Yes, Emerald Bay is open year-round. However, winter storms can temporarily close Highway 89 (California), and trails may be snowy or icy.

16. Are dogs allowed at Emerald Bay?

Dogs are allowed in some areas of Emerald Bay State Park but are generally not permitted on certain trails leading down to Vikingsholm or the beach.

17. How long should you spend at Emerald Bay?

Most visitors spend 1–3 hours at Emerald Bay depending on activities. A quick viewpoint stop takes about 15–30 minutes, while hiking down to Vikingsholm or kayaking can turn it into a half-day adventure.

18. Are there restrooms at Emerald Bay?

Yes, restrooms are available near the main parking areas and trailheads, including the Eagle Falls Parking Area.

19. What else is nearby to see?

Popular nearby stops include Eagle Falls, Eagle Lake, and scenic drives along Highway 89 (California).

20. Is Emerald Bay worth visiting?

Yes. Emerald Bay is widely considered the most beautiful location in Lake Tahoe and is a must-see stop whether you’re hiking, kayaking, photographing the landscape, or simply enjoying the view.

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.

Dalton Johnson 2/28/26 Dalton Johnson 2/28/26

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.

Follow Dalton on your favorite platform: @storiesbydalton

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

✌️

Additional Reads You Might Like:

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.

Dalton Johnson 10/28/25 Dalton Johnson 10/28/25

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.

Dalton Johnson 10/28/25 Dalton Johnson 10/28/25

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,

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,

Dalton Johnson

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?

If you haven’t done so already, consider following me on your favorite social platform:

LinkedIn | YouTube | Instagram

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Dalton Johnson 10/27/25 Dalton Johnson 10/27/25

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.

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.

Dalton Johnson 10/27/25 Dalton Johnson 10/27/25

I Should Be On Everest Right Now, But I’m In Las Vegas

I am supposed to be on Everest, right now, the broken record in my head repeats. Why am I standing on top of my van watching the sunrise from Las Vegas?

Waiting for the rising sun to come with its much needed blanket of warmth. Connect with Dalton on your favorite social media: @storiesbydalton

Have you ever end up somewhere and you just don’t understand how you got there? The confusion hits hard, you want to make the best of your focus, and yet all you can do is dream of being somewhere else. Well, this was one of those times for me.

It was April 2023 and I was supposed to be on Everest, filming a documentary about a blind veteran climbing the tallest peak in the world, not for himself, not to see what the view is like (I hope the oxymoron gives you a chuckle), but to challenge the status quo around blindness and give other wounded solders a role model to say, “yes, I can do thing I thought impossible.”

His name: Lonnie Bedwell

We met on Denali about a year before, while I was filming the award-winning short documentary Climbing For Furley, and as time passed he reached out with a last minute invitation to come film the trip and hopefully make a documentary if the trip is a success.

In many ways, this was a dream assignment of dream assignments. Lonnie’s story is great, the setting couldn’t be more stunning, and I have a personal goal of creating something on all seven summits.

However, with the last minute nature of the trip, bringing me on board 10 days before the expedition left, not all the boxes were checked.

When I arrived at the airport ready to leave, I was denied. My passport, while valid for the next 7 months, did not meet all the requirements. The Nepal Tourism requires all travelers to a passport valid for 6 months after their return date. I was one week shy of that requirement.

My trip ended before it started.

I was devastated.

For 48 hours, I tried to get a new passport, but, the passport office was overwhelmed with 10x the normal inquiries and even with a Congressional push to get me an overnight passport, I still could not.

Breaking the news to the team, I didn’t know what to do with my two month open schedule. So, I packed the van and headed to the desert to lick my metaphorical wounds.

In 2023, I had been in this career for almost 8 years, yet I considered myself a young-gun in the industry. With lots of lessons, like this, still to learn and never repeat, I was in a rut. I was angry. For the most part, I was a climbing dirtbag with a camera, so when the bureaucracy of paperwork held me back, I couldn’t accept my failure.

The time in the desert was a warming respite from the cold I often endure in my career, but I couldn’t get out of my own head.

Kristin, my girlfriend, tried everything she could to cheer me up, but I was in an unbreakable mood. I felt bad she had to experience my mood. I wanted to let her go enjoy herself, but we were traveling in a van together, so she would have had to leave me behind. In many ways, that sounded nice, but I didn’t really want to shrivel up like a piece of jerky out here in the desert.

So, we pushed on together. Driving through Alabama Hills, Death Valley, Valley of Fire, and towards Lake Mead.

A few weeks into the trip, still being a sourpuss, I wanted to turn the corner. Let things go. But, how?

The mishap was out of my control and that is what I needed to accept.

At least, from all of my travel the major lesson I have learned has been: When things are not going your way and the results are out of your control, you need to let it go. I believe this concept is coined “The Traveler’s Mindset”

So, one of the evenings sitting alone lake side, I intentionally watched the light show on the mountains acting as the backdrop to Lake Mead change from a washed out daytime blue to orange to purple to a black bright with stars seeking an internal silver lining.

For the rest of this trip, seeking that silver lining would become my north star, but, it wouldn’t come on this trip. In fact, I would have to wait until June, just when I would have been coming home from Everest, to find my silver lining, which would literally take me around the world.

I sit quietly looking out at the calm waters, trying to make sense of everything that had happened. Connect with Dalton on your favorite social media: @storiesbydalton

The Small Things That Help

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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:

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:

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Dalton Johnson 9/23/25 Dalton Johnson 9/23/25

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.

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.

Dalton Johnson 9/3/25 Dalton Johnson 9/3/25

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.

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.

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

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.

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.

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

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.

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.

The Adventure Photographer's Playbook

$10.00

The Adventure Photographer’s Playbook is an e-book created by full-time photographer Dalton Johnson to help new photographers go from nothing to booked in the adventure photography space.

Updated: June 2025

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The identity problem.

Adding the skill is only half of it.

What that pitch actually looks like.

Why photographers resist this.

How to start pitching the combination.

What it compounds into.

Reflection questions:

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The moment I stopped waiting.

What a pitch actually is.

The pitch I sent that changed things.

What to pitch and where to start.

How the clips build on each other.

The practical steps.

Reflection questions:

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One shoot contains multitudes.

What the Rivian project actually produced.

Why photographers leave this on the table.

How to start thinking differently about your next shoot.

The compounding effect.

Reflection questions:

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Now, Let’s Make This Article Helpful For You

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1) Be More Than A Photographer

2) Small Productions Might Have Higher ROI

3) Use AI To Your Advantage

4) Market Yourself

5) Build A Brand That Helps Others

6) Never Stop Learning

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Why 50 days?

What the challenge actually looks like:

The most important thing I learned:

How to start:

One last thing:

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Here's the part nobody tells you upfront:

Three things that actually move the needle:

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What I Brought On Today’s Photo Walk:

The Day’s Gallery

FAQ: Visiting Emerald Bay in Lake Tahoe

1. Where is Emerald Bay located?

2. Why is Emerald Bay so famous?

3. Is there an entrance fee for Emerald Bay State Park?

4. What is the best time of day to visit Emerald Bay?

5. What is the best time of year to visit Emerald Bay?

6. Can you hike down to Emerald Bay?

7. How difficult is the hike to Vikingsholm?

8. Can you visit Vikingsholm Castle?

9. Can you kayak to Emerald Bay?

10. Can you visit Fannette Island?

11. Is Emerald Bay good for photography?

12. Where is the best viewpoint of Emerald Bay?

13. Is parking difficult at Emerald Bay?

14. Can you swim in Emerald Bay?

15. Is Emerald Bay open in winter?

16. Are dogs allowed at Emerald Bay?

17. How long should you spend at Emerald Bay?

18. Are there restrooms at Emerald Bay?

19. What else is nearby to see?

20. Is Emerald Bay worth visiting?

About Dalton:

What I Brought On Today’s Photo Walk:

Additional Reads You Might Like:

The Day’s Gallery

FAQ About Photographing Owls:

1. What is the best time of day to photograph owls?

2. What time of year is best for photographing owls?

3. What lens do I need to photograph owls?

4. What camera settings work best for owl photography?

5. How do I find owls to photograph?

6. How close can I get to an owl?

7. Is it ethical to use owl calls or playback?

8. Can I use flash when photographing owls?

9. What shutter speed do I need for owls in flight?

10. How do I photograph owls at night?