Silky black... ruffled pink... cheerful, buttery yellow...

Bonnie, here, exploring the Dutch countryside with professional photographer Efraín Padró and nine of your fellow readers, looking for shots we can sell to magazines when we get home.

Today we strolled through the famous Keukenhof Gardens, filled with tulips, tulips, and more tulips... climbing up hills, stretching across fields, and lining lakes and streams in every imaginable color.

On our way to the gardens, Efraín told us that magazines like a variety of different shots to go with a single article, and that we should try to tell a visual story in at least three shots:

** The far-away, “establishing” shot:

Jerry Mink

Barbara Harvey

** The closer, mid-range shot:

Maggie Martin

Daphne Wright

Jerry Newsome

** And the way close-up detail shot:

Connie Owens

Sue Stevenson

Once we’d shot as many flowers as possible from near and far, above and below, Efrain showed us a really fun camera trick that makes instant art out of your flower shots (especially great for flowers that are past their prime).

Imagine these shots, printed large on canvas:

These are super-easy to make, as long as you have a lens that zooms. Here’s how to do it:

STEP 1: Put your camera into Aperture Priority mode (Av or A), and set your aperture between f-8 and f-22. If it’s not very bright out, f-8 should do it. If you’re somewhere with a lot of sunlight, try something higher like f-11 or f-22. This is so that your shutter speed will be slow.

STEP 2: Set your ISO as low as it can go (100 or 200).

STEP 3: Zoom in on something bright and colorful.

STEP 4: Now simultaneously zoom out quickly and press the shutter.

Voilà -- instant art! Take a lot of variations to get the hang of it, with some closer, some farther away, and with different subjects.

Tomorrow we’re headed to old Haarlem, where we’ll wind through the narrow streets, looking for windmills reflected in canals (and, in my case, looking for another tempting waffle cart).

I’ll let you in on a few more tips then.

P.S. If you couldn’t make it to this expedition, join us in Rome this September with professional photographer Rich Wagner. In a small group of nine, you’ll learn the tricks you need to turn the breathtaking sights in front of you (like the Pantheon, Coliseum, and Trevi Fountain) into gorgeous travel photographs... and then how to sell them when you get home. We’ve already filled three seats and I expect the rest to go soon. Secure yours and a big $300 discount today.

Ugly black nets in the trees... cars parked all along the road... boring overcast sky...

It wasn’t the best option for a daylight shoot, but we couldn’t wait to go back at twilight.

Bonnie, here, coming to you from a cute little town called Leiden, in The Netherlands. Professional photographer Efraín Padró and I are gearing up for the first day of our Holland Photography Expedition, with nine of your fellow readers.

We just found the perfect spot for our twilight shoot. During the day, this particular canal is pretty boring. It’s also lined with cars, and the trees on the left have ugly black nets over them.

Here’s what it looks like:

But we noticed a few things that made us want to come back for twilight:

** 1. The canal is lined with lamps. If those light up nicely, they’ll add interesting reflections in the water.

** 2. Even though there are cars along the sides and ugly black nets in the trees, those won’t show up after dark.

** 3. It’s cloudy, which makes this shot look pretty “blah” during the day. But just after dark, that won’t matter. With a little luck, the sky will look blue and beautiful against the lamp light.

Here’s the very same canal, just after dark:

Photographing at twilight is great when you’re traveling somewhere and you want to hide something ugly or the sky is plain white. Get your tripod and try it out for yourself.

Things to look for when you scout out a twilight spot during the day:

** Lamps along the street...

** Buildings that light up at night...

** Reflections in water...

** Things that might “hide” after dark, such as cars, construction, nets on trees... etc.

Keep in mind that twilight is a little tricky. When the sun first goes down, the sky won’t immediately turn blue. Start shooting and watch the sky. Usually it happens a few minutes after sundown, and stays blue for 20-40 minutes more. That’s the “sweet spot.”

Can’t wait for our first day tomorrow! We’re headed to the Keukenhof Gardens, where we’ll find more varieties of tulips than we can count.

While we’re at it, I’ll keep my eyes and ears open for more tips to send you.

P.S. Our next European Photo Expedition will be in Rome this September, where we’ll set up a few twilight shoots among the ancient ruins and picturesque streets. The Coliseum looks AMAZING at twilight, as does the Trevi Fountain, and the many other sights that light up by night. Wind through cobblestone streets alongside professional photographer Rich Wagner, with a gelato in one hand and your camera in the other. It’s going to be fantastic. You’ll eat and shoot and eat and shoot... sample a little wine... and learn how to sell your photos when you get home, too. This one’s going to sell out fast. Sign up early to make sure you get a spot, and to save $300 (plus other discounts, if you qualify).  Visit our website!    

What about you, where you are right now?

We’ve talked about what CAN happen in the future if you submit photos to stock agencies every week... and we’ve talked about how much fun other stock photographers have...

Now let’s talk about you, where you are right now. Can you really sell your photos as stock, starting now?

Yes, you can.

Is it going to happen automatically?

No. You have to go through your photos, find the very best ones, and upload them yourself.

A bunch of your fellow readers took The 30-Day Stock Success Program and did it in under 30 days.

Here’s what they had to say:

“Hurrah and high praise for the 30 Day Stock Success Program! It really was the "kick-in-the-pants" that I needed! I just received my first approvals from Big Stock -- 5 out of 10 submitted (in less than 5 days)! Thanks Bonnie for putting together a great course! This is not rocket science, but knowing what the agencies are looking for is critical. The 30 Day Stock Success Program has made all the difference! Thanks big time!”
-- Rick Bauer

***  “Bonnie, I just wanted to thank you for putting together the 30 Day Stock Success Program. I followed it pretty much to the letter this month, and now I have pictures accepted at Bigstock and Fotolia. It was the motivation I needed to get going and keep going with my stock photography. Once again, thanks so much!”

-- Janice Sakata-Schultze

***
“I've been watching the 30 Day Stock Success Program. It is terrific!!!! I really wish it had been around when I was getting started! You should have a lot of successful stock photographers after they watch this program! I'm going to watch it all, myself. It never hurts to keep learning!!!”

-- Caroline Maryan

***  “Just a note to thank you for the excellent 30-day Program of Stock Photography! The step-by-step instructions were easy to follow, and the procedures for downloading images to stock agencies made the process quite simple.  “I have now received e-mails with the following great news... Bigstock has accepted two images, Fotolia and Dreamstime have each accepted an image! This was my very first time to submit images to any stock agency, and I can hardly wait to prepare for more submissions.  “Thank you for the photography tips, motivation, and as you say, 'a kick in the pants' to just begin to do it. I strongly recommend your program to others."
-- Kenneth A.B.

***

“After signing up for the online course, I went from being on one agency to five agencies with over 30 pictures up now between the five. I've sold two just in the last week. Long way to go but a great start. Great course, Bonnie!”

-- Shaun Sanders

***

None of these folks had any formal training in photography. They just followed the videos, then got out there and started doing it.

Whether you pick up and follow along with the videos, or you take the time to figure it out for yourself, you’ve got nothing to lose.

If you want it, go get it.

P.S. No-Brainer Alert: The 30-Day Stock Success Program is 50% off right now. Plus, it’s guaranteed. If you don’t get your photos accepted into a stock agency in 30 days or less, we’ll give you your money back. No questions asked.

To grab a copy for 50% off and pick up a FREE copy of a new report that’ll show you how to make your first $10,000 in stock photo royalties before midnight tonight, visit our website.

So far this week, we’ve looked at how much you can make by selling your photos as stock, and how much just one good stock photo can bring in on its own.

Ripping open an envelope to find your very first stock photo paycheck is a thrill, to be sure. But it’s not all about the money. It’s got to be about the fun, too. After all, if you’re not enjoying what you’re doing, you’ll run out of steam... and, eventually, out of those easy profits, too.

Professional photographer Shelly Perry says it all stems from finding your photo niche among the things that excite you.

Read more of Shelly’s tips on finding success -- and happiness -- in stock photo sales, below...

P.S. Stock photographer Ryan Lane describes his career as “the funnest job I’ve ever had. I don’t work, I play. I am free to create and express, and I earn my income from doing so.” If you’d like to get a piece of the action -- making money while you have fun photographing the things that you love -- there’s no time like now to get started. Sign up for The 30-Day Stock Success Program and I guarantee you’ll be up and running in 30 days. Get a copy before tomorrow, Saturday, May 12 and receive 50% off plus a special new report FREE.

SHOOT WHAT YOU LOVE AND MAKE A LIVING      
Interview with stock photographer Shelly Perry

BONNIE: Shelly, how and when did you get started in stock photography?

SHELLY: In 2005, I needed a stock photo for a design job I was working on. What I found in traditional stock was too expensive (about $600). I then happened upon iStock, signed up, and got the image I needed for under $10.

Once I started buying images there, I couldn’t help watching the numbers of some contributors and realized that this model was actually making people more money than traditional stock, based on quantity of downloads rather than the dollar amount per sale. At that point, I began to contribute my own photos.

BONNIE: How long did it take to start making money from it?

SHELLY: My first sale was something like 20 cents, but by the end of 2005, I had made about $1,500 from a few hundred photos. That’s certainly not enough to live on, but it grew steadily from there. By 2009, I started making more from stock photography than I ever had in my career in social work.

Bonnie: How has contributing to stock affected your life?

SHELLY: It’s affected my life on a number of levels -- the most important being that I am able to make a living doing what I love to do. I love stock for the fact that I can shoot what I want when I want without having deadlines or someone dictating what they need. In this sense, I find it liberating to be the photographer I want to be.

BONNIE: Do you truly believe that someone can start right now, as an amateur, and eventually make a living at this?

SHELLY: I do. I think the curve is steeper than it was a few years ago, which means it’s harder for folks to get a foot in the door and getting accepted is more stringent than it used to be. But the doors are still open -- you just need to be persistent.

BONNIE: What do I need to be successful at this?

SHELLY: You need to have the desire and the tenacity to not get discouraged. Learn from rejections and work at improving as you go. Stock is also a bit of a numbers game. Generally, the larger a portfolio, the more success you’ll have. But a large portfolio of mediocre shots will not do as well as a small portfolio of exquisite photos tailored specifically for stock. The people who are able to do that seem to do quite well even without large portfolios.

BONNIE: I’ve gotten a lot of reader comments that go something like, “My interests in photography were X, until I heard that people shots are big in the stock industry.” Do you think we should all focus on people photos to do well? What if my interests are flower photos?

SHELLY: People photos do well, that’s no secret. But there are a number of photographers who do other subjects like food, animals, landscapes, architecture, nature, travel, and so on… and they do very well.

In fact, they do better than the majority who are focusing on people. Reason being that if you have a niche that you’re passionate about, you’ll actually have much less competition.

The key with shooting your passion is to do it very well. Produce something fresh and new so buyers looking for these subjects (and they do look for these) will find a “go-to person” who specializes in a niche area.

BONNIE: So, how do we find that niche?

SHELLY: It’s important for you to know what’s inspiring to you. What do you love about photography, what do you love to shoot, and why? I personally don’t believe in forcing a subject on someone and saying this is what your photography needs to be about. If you go by that, you won’t be excited about it, and you’ll lose interest rather quickly. Instead, I believe you should shoot what thrills you and do it the very best way that you possibly can.

BONNIE: Thanks, Shelly!

[Editor’s Note: Shelly’s right that the curve is steeper, these days. It’s harder, as a beginner, to get your foot in the door with stock agencies. But I’d like to make it easier for you by walking you through the process in The 30-Day Stock Success Program.  In it, I’ll show you exactly what to do to get your photos accepted into a stock agency in 30 days or less. And I’ll guarantee your success or give you your money back.  To try it out for 50% off and receive a new report FREE that’ll help you earn your first $10,000 in stock photo royalties, go here now.

Yesterday, we talked about how much income you can make in your spare time by picking out 10 new photos a week to sell as stock.

Today, let’s talk about how much you can make from one single photo.

To figure out how much one photo can bring in, let’s take my part-time ventures in stock photography as an example.

I average just over $1 per image download on iStock. Note that many stock photographers make more than that -- especially if they go “exclusive” with an agency, which allows them to keep a higher percentage of each sale.

Also note that it varies from agency to agency (with some agencies you sell more and make less per download). But let’s stick with iStock, since that’s where I found the sample images below...

Simple beach scenes like this one sell well as stock. So much so that this photo has sold over 1,100 times. If that’s $1 per sale, that’s $1,100 for this simple shot.

Iconic travel scenes of places you go and things you do there sell. This photo has also sold over 1,100 times... which means it’s probably earned the photographer over $1,100.

Detail shots are popular, too. Think colorful textures and patterns from local craft markets, as well as close-ups of food, fruits and vegetables, etc. This shot has sold over 70 times. Pretty modest compared to the two above... but still, $70 for a photo you stop to carefully compose while shopping at the market isn’t bad.

Luxury travel sells. Had a massage, lately? This photo has sold over 200 times. If that’s $1 per sale, that easily covers the cost of the massage... or maybe a night in a luxury resort somewhere like this.

Got sporty friends? Photos of golf and other leisure activities sell well, too. If you have friends or family who are willing to sign a model release, you can sell photos of them as stock. This photo has sold over 2,200 times! At around $1 per sale, that’ll buy you more than a few rounds of golf.

Stock photographer Danny Warren told us last week at the Ultimate Money-Making Photo Workshop in Phoenix, AZ, that for him, quality outsells quantity.

If you take your time and pay attention to what makes a great shot WHILE you shoot, you’re more likely to come out with photos that will sell over and over, instead of spending extra time uploading photos that won’t sell, or trying to fix errors in Photoshop and Lightroom.

[Editor's Note: What makes a great stock photo? It’s not rocket science, but it does take time to figure it out on your own. Skip the trial-and-error stage and get your stock photo portfolio up and running in 30 days or less, guaranteed with The 30-Day Stock Success Program.  Comprised of five easy-to-follow videos, it’ll show you what to send to stock agencies... and exactly how to send it. Plus, you’ll learn how to streamline your submission process so it goes faster each time, how to move on to the bigger agencies for more income, and lots more. To save 50% off the regular price and pick up a FREE copy of a report that will help you earn your first $10,000 in stock photo royalties, go here now]

You’re busy. So how much time does it really take to start making money with stock photography?

Bonnie, here, still filling in for Lori while she’s on maternity leave.

Earlier this year, we ran an article called “The Math of Stock,” which showed how to make it to six figures in three years by uploading 20 photos per week to four online stock agencies.

But 20 new, stock-worthy images per week means you’ve got to be out there shooting pretty consistently (not to mention paying attention to what sells). Depending on how much spare time you have, that may be a lot for you.

So, let’s cut that number in half and see what happens. Let’s assume you are starting from scratch with zero images in your portfolio.

From there, you upload 10 photos per week to four different stock agencies.

Assuming you’ll earn around $1 per image per month (a realistic figure, starting out), you’ll be earning $160 after your first month, $320 after your second month, and $480 after your third month. That’s a total of $960 for your first three months.

Keep submitting 10 new photos each week, and by this time next year, you’ll have made $12,480.

In your second year, you'll make $35,520.

In your third year, you'll make $58,560.

It just keeps going up from there.

Notice how, even though you don’t increase your weekly workload (you’re still only uploading 10 new images a week to four different stock sites), your income keeps growing.

It’s not six figures, but it’s pretty darn good for something you already like to do.

Of course, this is assuming you can upload 10 new photos per week, that they're all accepted, and that you can maintain an average income of $1 per image per month.

To do that, you'll need to consistently take good photos that sell. And you need to reserve some time at night or on weekends to learn how to edit your images before you submit them.

But even if this is something you only do on the side, you can see how quickly it can start to pay off. Pour yourself into it full-time, and who knows how far you’ll go!

P.S. Of course, to earn five... and eventually six figures, you need to take that critical first step, and just get started. With The 30-Day Stock Success Program, you can cut to the chase and start turning your photos into profits by as early as next month. In fact, I’ll guarantee you get accepted into a stock agency in 30 days or less when you sign up today.  Go here now to save 50% -- and get a new bonus report packed with shortcuts to help you earn your first $10,000 in stock royalties.

Here I am on a plane, again, madly scribbling out my shoot list.

I’m headed to Holland right now to run our Photo Expedition with Efrain Padro in and amongst the tulip fields, windmills, and old cobblestone streets of Amsterdam and the surrounding countryside...

THEN it’s off to Paris for our Stock Photo Expedition with Lise Gagne and Shelly Perry. I can’t WAIT to share some of the photos from our model shoots, along with a few stock photo tips I’ll pick up.

In the meantime, here’s my stock photo shoot list for both workshops:

1. Tulips! - I want to recreate my top-selling shot of tulips while I’m in the Keukenhof Gardens in Holland. You’ve probably already seen the original shot (below). I’d like to improve on the composition by not cutting off any edges of flowers this time.

2. Twilight shots - Efrain is great at setting up twilight shoots with a tripod. I’m looking forward to at least one shot where the sky is that deep cobalt blue, and the city lights are reflecting in a canal.

3. Bikes, windmills, and canals - Because they’re all iconic in Holland.

4. Friends “window shopping” in the streets of Paris - This is one of our model shoots that we have planned, and I’ve seen shots like this sell really well, so I’m excited to try it.

5. Parisian café scene - People sitting at a café, enjoying each other’s company (with models), or just a café on its own, with tables and chairs out front.

6. “Tourist” models in front of the Eiffel tower - People out doing the tourist thing, pointing to a map, taking photos of each other, etc. This is another shoot we already have set up.

It’s always a good idea to do a little pre-trip research -- especially if you want to take stock shots while you’re gone.

We’re lucky to have Lise and Shelly, who already recommended a few stock photo themes that will potentially sell (tourists, window shopping, etc.).

But you don’t need to travel with a world-class stock photographer to take photos you can sell for stock. Before you go on your next trip, search for your destination on a stock site and see what comes up.

What are the best-selling photos for that destination, and how can you put your own twist on them?

I’ll fill you in with a few tips I’m learning once the workshops are underway!

P.S. Get on the First-Alert list to get all the details on our next photo expedition in ROME this September, and secure yourself a big discount on admission, here.

Your Weekly Breakfast Dish
The latest from your Breakfast StockClub Facebook Page

From Chari Paulson: Just sold my first editorial photo on Dreamstime, woohoooooo!!!

From Marianne Campolongo: Just found out Alamy sold one of my lighthouse photos for a calendar. Went online to search New England and Lighthouse puzzles and actually found it. Here's the link - it's February.

From Lynn Mccann: Heading to NYC! What a great place to look for images for Earth Day!
Getting ready for this month's Challenge!

This photo of a couple kissing in Paris is where it all started for Cheryl Bigman:

Bonnie here again, coming to you from the back of the room on the last day of the Ultimate Money-Making Photo Workshop in Phoenix, Arizona.

With a brand new MBA in marketing, Cheryl was working as a project manager for a huge corporation. Life looked really good... on paper.

But Cheryl hated marketing. So when her job was transferred to another state, she took the severance package and joined us in Paris on our very first photo workshop.

In Paris, she got lost in the moment shooting photos of people in the park, watching the faces of people in love, seeing families spend time together... which is when she took the photo above.

[Note: Get on the First-Alert list to be among the first to find out about our next European photo expedition in Rome this September 9-13, and grab a big discount.]

She still loves that photo. It represents the moment when she realized that this is what she loves doing.

What I love about meeting all of the professional photographers who join us at these workshops is that, at some point, they all followed their hearts.

Even when it was scary, or uncertain... and even when they never thought they could ever be a professional photographer... which is what Cheryl told us in her session.

Today, Cheryl fills her time doing what she loves -- shooting family portraits for all of life’s stages, from the arrival of newborn babies, to bar and bat mitzvahs, to college graduations, weddings, and beyond.

She doesn't use studio lights -- it’s all outdoors in natural light.

Here are three tips she shared with us on getting started:

** 1. Learn processing on a need-to-know basis. Instead of trying to learn everything all at once, learn what you need, as you need it.

** 2. Find a pro whose work you love, and see if you can mentor with him or her.

** 3. Practice, practice, practice.

But most of all, if you want to be paid for your photos, you just need to get started. You’ve got to believe in yourself and you’ve got to go for it. And there’s no better time or place to start than right here, right now, right where you are.

[Editorial Note: Cheryl shared her entire start-up plan, with tips on selling more prints, how to loosen up your photo subjects to get great portraits, how to price yourself so that you’re making what you need, what you need to know when you’re getting started, and more. Watch the video of her presentation, and virtually “attend” ALL of the sessions from this weekend’s event for nearly 50% off before midnight tomorrow, Monday, April 30.]

At first he just wanted it to pay for his gas.
Then it paid for his camera equipment.

Finally, stock photographer Danny Warren realized that his stock photo sales would pay for most of grad school, too.

Bonnie Caton here, writing to you from our Ultimate Money-Making Photography Workshop in Phoenix, Arizona.

It’s the first day and our brains -- and notepads -- are already filling up with ideas and inspiration to go get our photos published in magazines and sell them as stock.

Attendee Colleen Cowles told me, “Danny's sharing that his success is based on about 400 photos was incredibly helpful, and inspired me to focus on quality as well as quantity in uploads.”

That really struck me, too. Danny said that ONE high-quality stock photo will out-sell 25 mediocre photos.

It just makes sense to me. Why spend extra time taking, editing, and uploading 25 mediocre photos when you could reduce your time and energy down to one really good photo, and make the same amount of sales?

If you want to sell your photos as stock, make sure that you:

** 1. Focus on quality over quantity. Pick out only your very best images to submit.

** 2. Take the time to shoot your photos with care -- making sure you get exactly the photo you want before you walk away.

** 3. Work the shot. Take lots of photos of the same thing, trying different angles and compositions. Who knows - it may be the photo you least expect that you end up liking the most. That’s the one you’ll submit to a stock agency.

I’m presenting on getting started in stock here in a minute, so I’ve got to go, but I’ll keep you updated with more tips tomorrow.

Stay tuned...

P.S. To see some of Danny’s photographs and the photos that are selling best this year for the dozen or so different photographers that have gathered here in Phoenix, check out our Ultimate Money-Making Photo Workshop-at-Home Package.  It includes audio recordings of each presentation, as well as every PowerPoint and handout our instructors will share, it’s the next best thing to being at the live event in person.  And until Monday, April 30, you can get the whole package for almost 50% off .

Remember-- this discount is only good while the conference is taking place.  Once the event is over and we’re back in the office on Monday, April 30, the price will go up.  Get your copy today while you can still save.

P.P.S. We've decided on the destination for our next photography expedition.
We're heading to Rome, Italy in September!  To put your name on the first-alert list and be one of the first to get all the details about this trip (and a big discount) sign up here today.

They say you should do one thing every day that scares you.

Well I’m scared of this thing:

Professional stock photographers will tell you not to use flash. What they mean is: Don’t use the flash that pops up on your camera.

If you have an off-camera flash like the one pictured above, you can bounce the light off of walls and ceilings... you can use it indoors, outdoors, on your camera or off to the side...

And this week at the Ultimate Money-Making Photo Workshop, we have a new guest speaker, professional photographer Mike Hagen, here to show us how.

I asked Mike to give it to me straight: How hard is it, truly, to learn how to use off-camera flash?

Find out in his interview, below...

P.S. We’re learning so much here in Phoenix about taking better pictures for stock and building a portfolio that sells, including hot trends to shoot right now, keywording secrets from the pros, how to fill up your portfolio fast, tips for working with models, and more. I wish you could be here -- but at least you can still listen in to all of the sessions from home. Go here before Monday, April 30, to “virtually” attend from home.

What’s So Great about Off-Camera Flash?
Interview with professional photographer Mike Hagen

Bonnie: Mike, why should we bother with off-camera flash if we can shoot in daylight?

Mike: The best thing about using an off-camera flash is you have full control over the outcome. Many photographers who haven’t used off-camera flash are intimidated by the process because it seems like some kind of black magic to control the output.

However, if you follow a couple of super-simple rules, off-camera flash becomes easy.

Natural lighting is good, but it’s much more difficult to control since you are literally at the whim of the weather or external conditions.

I love natural light and often incorporate it into my photography, but small external flashes give me the control I need. Also, most natural lighting tends to come from overhead, which results in dark shadows under the subject’s eyes.

Off-camera flashes allow you to move the light in front of the subject so you can capture nice catch lights in their eyes.

Bonnie: Why can’t we just use the pop-up flash on our cameras to achieve all of that?

Mike: I affectionately refer to on-camera flash as “flashus horribilis” because it produces very unflattering light for your subject.

Direct, on-camera flash is what we call “flat light.” Off-camera flash produces directional light and allows us to sculpt the subject with soft shadows, while creating a nice modeling effect. Using off-camera flash is an easy and inexpensive way to take your flash photography to the next level.

Removing your flash from your camera and placing that flash into an umbrella or soft box will result in the best looking flash photographs. This simple step alone will take your flash photography from boring to sensational.

Bonnie: What are the very basic essentials that someone needs to get started with off-camera flash?

Mike: At the most basic level, you really need 4 things:

1.    A dedicated flash unit for your camera. For Nikon shooters out there, this would be something like a Nikon SB-700 or SB-910 .

For Canon shooters, something like a 320EX or 580EX will work just fine.

If you use Nikon gear, then you can trigger your flashes wirelessly directly from the camera body. If you shoot Canon, then you need another “master” flash to trigger the remote flash.

2.    A light stand. You can buy these from just about any camera store in the world. Get something that extends to at least six feet tall. A high quality light stand from Manfrotto or Photoflex will cost about $45. More economical stands will only cost $20.

3.    A simple umbrella. I recommend something around 32 to 45 inches. Generally speaking, bigger is better. Larger umbrellas will give you a softer light overall. You can purchase a nice umbrella for $15 to $25.

4.    An umbrella bracket. This is to attach the umbrella to the light stand. These should cost about $12 to $20 depending on quality.

All of the equipment I list here is brand-name equipment. You can buy third party gear that also works just fine. For example, you can easily purchase an inexpensive flash for $75 and the subsequent light stand, umbrella and bracket for another $50, total.

Bonnie: Is it hard to learn how to do this? How should I get started?

Mike: The best recommendation I can give is to just do it. I know that sounds like a cop-out, but experience is a great teacher with respect to flash photography.

Simply buy the equipment and then set it up in your living room. Start taking pictures to see how the umbrella works and to understand how to adjust flash power. The overall investment in equipment is pretty low, so it doesn’t take a lot of capital to produce great results.

Set your camera for ISO 400 and Aperture Priority mode at f5.6. Turn on your flash and set the flash mode to TTL, then begin shooting! The camera’s meter will figure out your flash for you and do all the difficult calculations all by itself.

Bonnie: Thanks, Mike!

[Note: Mike Hagen is a professional photographer, author and workshop leader from Gig Harbor, WA. He operates two photography companies: Out There Images and Nikonians Academy. Virtually attend Mike’s workshop session on off-camera flash here at the Ultimate Money-Making Photo Workshop – and get access to ALL other workshop sessions from home right here before this Monday, April 30.]