If you spend as much time on your inner life as you do on your outer life, I think you'll find more peace, focus, and mission in both your life and your career.

I am innermost. That's the way I roll. I wear my heart on my sleeve. And I call it like I see it. My fans, friends and followers also tend to be innermost kind of people. And appreciate discussions of inner life and living as much as the outer.

The outer life consists of an endless discussion stream of how-to's, knobs, controls, camera brands, replicable techniques, shiny gadgets and widgets. All of which, by the way, are easier to identify and discuss rather than matters of the heart.

The photographer with innermost sensibilities and sensitivities revels more in the inward journey of contemplation, meditation, feelings, relationships, motivations, why-to's...and how these all relate to photography.

Some of you reading this may write off this innermost pilgrimage as new age, irrelevant, crystal-wearing hogwash. But it's not. Not by a longshot. And I have 30 years of successful career experience it to prove it. It may be hard for you to get your head and heart around these discussions, but it's important and consequential.

As a side note, I find career shooters (usually older guys and gals) naturally gravitating toward intimate and personal emotional issues...because this group seems to know, from experience, that career survival depends on photographers connecting their heart with their eyes.

Emerging shooters (generally younger and less experienced) usually migrate toward external discussions. The kind that are plentiful on forums, listservers, discussion groups. Primarily because these discussions are easier to engage in. And require less intimacy and subjectivity (less experience, too).

I'm not at all being critical or cynical of up-and-comers. It's just a paternal observation. Over the past 12 months - in various workshop, commercial and personal projects - I've shot with a lot of emerging photographers. And what I'm seeing, and continue to see, especially among these youthful, aspiring career shooters...is a disproportionate dependence and reliance on tools and technology, without the corresponding confidence and conviction of innermost values like vision, mission and passion. Cameras don't take pictures - people do.

You can not and will not survive a commercial career in photography without a full, unconditional, transparent, honest embrace of your innermost life. It won't happen. You may experience the trappings of success without it. But you'll never experience the full monty until you hybrid discussions between your head and heart. The images you take, and elect to share with the world at large...are, in fact, nothing more than what's going on with you inside. The outside life (what you shoot) is a reflection or mirror of your inside life (what you're processing and feeling).

Trust me on this. Connect with your innermost self and you'll find your picture-taking catapulting in new directions. And you'll have a new sense of freedom in doing so.

I make no apologies about spending so much of my time talking about a photographer's innermost life. Because I strongly and heartily believe that is where all of the good stuff is. Connect with this innermost reservoir of creative juice and you'll be creating memorable, long-lasting, remarkable pictures for years to come. (Editorial note: You'll be happier in the process, too.)

If you want to be a great photographer...then be a great person. It's that simple.

Most of my 'I Am' blog posts here are about this innermost journey. Why? The answer is simple. Because there is a drastic shortage of this content in the marketplace among emerging photographers. An imbalance that could easily lead to technically rich, but soulfully bankrupt, imagery. Which, unfortunately, we're starting to see more and more of these days.

I'm not talking about becoming monkish in your outlook. Actually, I'm not even talking about being spiritual (although for many of you, this innermost journey might cross some spiritual boundaries and planes). What I'm talking about here is a planned and deliberate effort to emotionally connect with who you are as a photographer. And why you shoot the things you do. Even how you shoot the things you do. Connect with this stuff and you're one step closer to finding your innermost photographic ego, core, center. Your imagery will become stronger as you find yourself.

I don't know how many times I've asked emerging photographers why they shoot what they do. This simple question is usually met with blank stares. Maybe these 'how-to' shooters have never given a second thought as to 'why' they shoot what they do? That's because these colleagues were not taught that the camera they hold in their hands is no where nearly as important as the image they hold in their hearts. Vision trumps gear. Inner journey trumps outer journey. Always. Always. Always!

You can be the biggest tech geek and guber in the world. You can know every custom setting on your camera. You can know, backwards and forwards, every knob and control. But this knowledge, in and of itself, will not bring your photographs to life. Nor will they reflect soul and heart. Because to get life, soul and heart in your photographs...you must connect the dots between your innermost and outermost life and living. Inward and outward. Head and heart. Attitude and aptitude.

Instead of shooting the same ol' thing, in the same ol' way every time you go out with your camera...slow down. Pay close attention to your innermost thoughts and feelings while you're shooting. Listen to that still, small voice. And listen carefully. Don't allow those rote and mechanical sensibilities to take over and lead you down that predictable path of sameness and mediocrity. Hear and believe the artist within. Let those innermost promptings guide you. They may bring you to a new place in your photography that you never thought you could or would achieve. When the innermost dominates, it will show up in your images. Big time!

When your outward imagery is a balanced display and showcase of your inner life, your pictures will take on a magnetism, attraction and enhancement that is almost unbelievable. 

A career in photography is a career in rejection. You've got to have really tough and thick skin to survive. For every 'yes' you get, there will be myriads of 'no's'. For every acceptance, there will be a plethora of rejections. That's just the way the photography business is. At all levels.

I learned a long time ago, especially in the commercial space, not to take rejections personally. You just can't. It will tear you up. Demoralize you. Even emotionally paralyze you.

I think of 'no's' more like...'not a good fit'. Or at least 'not right now'. And 'no' doesn't mean that someone is rejecting my personhood or professionalism. It simply means that my photography product or service is not the best match for their current need. No hard feelings. Move on.

Photographers, as a whole, are just too melancholy and lugubrious about rejections. To many photographers, a simple 'no' throws them into deep despair, despondency, downheartedness. I don't at all mean to minimize the reality of this sort of dejection and discouragement. But come on folks. Get over it. It's photography. It's not life or death. It's pictures.

When you choose a career of making pictures, you're also choosing a career where you will experience rejection. So you better get used to it now. Or maybe find a career that is less harsh, critical, judgmental about your creative initiatives.

Don't get me wrong. I don't like my imagery, singularly or collectively, being rejected any more than the next guy or gal. After 30 years, it's still painful. It's like an arrow piercing your heart. I know how it feels. But it's a career reality. And the quicker you get used to it, the easier it will be to manage the disappointment that comes with rejection.

Again, think of rejection as inappropriateness, rather than inadequacy. Your imagery may not be right or appropriate for a customer's project. But that doesn't mean it's bad, substandard or inadequate. Know the difference.

When you post your images on photo-sharing sites, don't take someone's silence as rejection. It's most likely not. People are busy. And can't possibly comment constructively on every post you make. Develop a strong photographic ego, from within, so you're not so dependent on the acceptance or rejection of your work by others.

My work may be rejected. But I am not rejected. My work may get a thumb's down, but I am still thumb's up. My work may get declined, spurned, dismissed...but my spirit does not. Because I am bigger than my work. My work stands alone. I am confident and comfortable that I am good. And I have hundreds of happy customers and published credits to publicly validate that.

My photographic self-esteem, self-worth, self-importance, self-appreciation is not built on my rejections...but on the acceptance of my work by me and my worldwide photographic admirers. I am strong because my work is strong. I believe in myself. I believe that rejection is a stepping stone to conviction.

It's easy to get in a photographic rut. It's easy for me. And I'll bet it's easy for you, too. We are all prone to ruts. But if you shoot the same thing, in the same way...then you most likely can expect the same results. Good. But not remarkable.

As photographers, it's only natural that we gravitate toward tools and technologies that we're comfortable with. That we can repeat with precision. And that we get the same results with, over and over again. But is this really what we want and strive for? The same results? Do we want good or great photographs? Standard or extraordinary? Forgettable or incredible? Unremarkable or astounding? The road to being uncommon...begins with becoming versatile.

Do you always grab the same set of lenses? If so, try shooting the same subjects with different glass. Never shoot without a tripod? Try shooting handheld. Always use aperture or shutter-priority mode? Try manual. Lean to the dark side of the exposure spectrum? Go lighter and brighter. Be versatile in your vision, style and technique.

When you go out, do you find yourself looking to shoot the same subjects over and over again instead of looking for new frontiers? Try shooting some subjects that you're not familiar with, or maybe even uncomfortable with. Do you primarily shoot landscapes? Try shooting people. Are you a people shooter? Try shooting scenics or still-lifes. Be versatile. Broaden your repertoire. Expand your visual lexicon. Stretch a bit. Spread your wings. Diversify. Try something brand new.

When I look at portfolios from emerging photographers, the first thing I look for is breadth and depth. Does this photographer have a unique style? Can this same style be translated and applied to multiple genres and subject content? Sadly, a lot of what I see among aspiring photographers is one single style. It's okay to lead with your photographic strength. But don't be led by it.

You've heard me say, countless times here, to 'generalize for the wall and specialize for the wallet'. Don't get me wrong. Every photographer should have a photographic specialty (or two or three). And commercially lead with that specialty. But don't stop there. And surely don't include only that specialty in your portfolio. Think breadth and depth! Be versatile. Apply your unique style and vision to multiple content genres, not just one.

During the '80s, I was the Executive Creative Director of my own production agency. In that role, I looked at literally thousands of commercial portfolios. The photographers that impressed me the most (and usually got jobs from me) were those with versatility. A strong, consistent, branded style that could be applied and executed across various subjects, themes and concepts.

So don't load up that portfolio with only one subject matter. Or one technique. Or one style. Unless, of course, you are ONLY interested in getting those types of gigs. To an art-buying customer, one-trick ponies usually don't get assignments. Most customers today want to see evidence of versatile subject specialties, versatile techniques, versatile styles - all, of course, branded with your own remarkableness and uniqueness.

Here is a simple exercise for you. Take the last 20 shots that you're most proud of. Make quick color prints. Tack those prints on the wall. What do you see (ask others what they see, too)? Rut? Hum-drum? Sameness? Redundancy? Or do you see versatility? Fluidity? Playfulness? Unpredictability?

It's okay to admit that you're in a rut. Just don't stay there. You created the rut by doing the same things in the same way. It's time to change all of that. Put on that fresh set of glasses. Be different. Think different. Be versatile!

Every year, almost without exception, I try to create some sort of self-promotion. It's rarely a herculean effort. Mostly small stuff. Refreshed business cards. Accordion mailers. New portfolio pieces. Self-published book. Set of postcards. Something to remind my fan base of what I'm all about. Ironically, most of these self-promotional efforts end up reminding me, first and foremost, what I'm all about. What makes me tick and click.

I find most photographers generally shy about self-promoting. Many feel it's too braggy, too self-righteous, too self-important. But I think, for photographers, there is more going on here. For those timid of self-promoting, I think the more accurate reason for their insecurity is two-fold. One - lack of confidence in their skill set. And two - lack of confidence in their unique selling propositions (USP).

To be an ardent self-promoter (and I most definitely am), you need to be 100% convinced of what makes you tick and click. Until you know this, you'll never be able to convince others. Whether print or video, online or offline.

Timidity and self-doubt are self-promotion killers. Unassertive marketing efforts, in print or video, result in unassertive projects and customers. Personality attracts personality. Confidence attracts confidence. Belief in yourself attracts belief from others.

You need to know, without a shadow of a doubt, who you are...photographically. What your photographic strengths are. What separates you from your competitors. What you can do and shoot better than anyone else. What your core aptitudes are. And I'm not talking about a casual knowledge. But a deep, abiding, passionate understanding and comprehension of what makes you tick and click. From the depth of your being.

The more persuaded and assured you are, the more convincing your self-promotion will be.

Here is my new self-promotional video demo. It was shot and edited by emerging fusionist, Ben Eckstein. A few links to the backstory about this weekend promo shoot in Cape Cod are right here, here and here.

I don't think there is a greater or more powerful tool on the planet today than video for artist marketing. Every photographer - newbie or veteran, young and old, starting or finishing - should have a promotional video. It is, hand's down, the most commanding, persuading and influential marketing medium of our time. Period.

Think about how photographers have typically and traditionally gone to market. With still images. That's totally understandable since that's the product and service being sold. But what does a still image, or even a series of still images, tell your customers about who you are as a photographer? Or about your personality, your work ethic, your aura, your workflow, your client compatibility? Let me answer this. Nothing. Zippo. Nada. Zilch. Not a bloody thing. Stills capture. But video moves.

In this relationship economy, customers what to connect with you like never before. Before they hire you, they want to look under the hood. They want to see what you look like. How you talk. How you dress. How you come across. How you relate to crew, models, clients. They want to know you're a real person. And what better way to get to know you than through a promotional video?

Video allows photographers to show personality and portfolio together, in the same package. Character and commerce. Process and product. Emotion and work. Video allows you, as a savvy marketer, to create a storytelling narrative around who you are and what you do. An emotional narrative so strong that it leaves little doubt in the hiring process. And actually pre-sells you before the job even begins.

Video is powerful.

Art buyers and art directors used to hire photographers, sight unseen. And I'm sure some still do. But most don't. Most prefer to see a promotional video or blog so they can connect your workflow with your actual work.

I know I keep saying this over and over again, but in a downturned, relationship economy (like we are experiencing now)...it's not just about 'the work'. It's about so much more. It's about you. Your personality. Your integrity. Your work ethic. Your honesty. Your communication skills. Your ability to connect and engage. Your team skills. Your demeanor. Your attitude. It's about you!

How do they see all of this 'you'? Simple. Video. And although a self-promotional video won't solve all your marketing problems, at the very least it will put a face to your folio. Personality to pictures. Humanness and genuineness to your work. And that simple, behind-the-scenes glimpse might be the catalyst a buyer needs to award you that job and sign that purchase order.

I'm quietly working with a couple of commercial video producers to help them develop photographer promotions and packages. At all different price points. With all sorts of varying production values, based on those price points. So stay tuned here. More to come.

For now...find out what makes you tick and click. Write it down. Embrace it. Live with those thoughts for a few days. Then develop your own promotional video outline. What does it look like? How long is it? What strengths will you be showcasing? What does the audio sound like? Is it scripted? Is it you on camera? Others on camera? Both? Answer these questions and you'll be on your way.

Make it your mission before the end of the year to have your own self-promotional video. Trust me on this. Clients will love it. And it could very well be the best marketing investment you've ever made. You will get your money back, guaranteed. Turn up the volume. Self-promote or self destruct!

There are two types of photography pricing that I see photographers discussing online - fixed and flexible. Each has it's own circle of zealots and evangelists.

Fixed pricing:

Fixed-pricing photographers have their own price list, set in stone. They don't change it. It's there for the whole world to see. In glorious black and white. If customers, new or old, don't like their pricing scheme...tough. They can go somewhere else. These fixed-pricers draw a line in the sand. And stand proudly on one side. There is no middle ground. No happy medium. No compromise. No bargaining. No trade-offs. No settlement. No concession. No give and take.

I would argue, from bring in this business for almost three decades, that these fixed-pricers work a lot less than flexible-pricers. Their intentions may be pure, but their tactics may need some refinement.

Flexible pricing:

Flexible-pricing photographers use their price list as a starting point, not an ending point. This group tries to work within the financial constraints of a client. Without demoralizing or devaluing their own photographic importance, standards, ethics. This group is always on the look out for a win/win.

The fixed-pricing group usually gets higher fees, but less work. The flexible-pricing group gets lower fees, but higher volume. Which one are you?

Don't be bullied by your peers into believing that flexible pricing is evil. It's not. Compromises and concessions are the name of the game. Especially in a relationship economy where customers have so much choice.

For me, I've never liked the word 'price list'. It's too rigid, inelastic, unbending. It may have worked when times were good. And discretionary spending was up. But times aren't good. And spending is way down. I prefer the term 'price range', rather than 'price list'.

So rather than being unyielding, unalterable, unchangeable, unvarying...look at your 'price list' as the beginning of a conversation, not the end. Start thinking of a range of pricing that you're comfortable with. And that you think your customers will be comfortable with, as well.

I can't tell you how much to compromise. Only you will know that. What I can tell you, from lots of experience, is that having a strict, hard-and-fast, ironclad fixed-pricing scheme in place is not going to win you a lot of long-term customers, clients and brand advocates. Not in this economy anyway.

Don't get me wrong - I want to be crystal clear here. I am a strong and staunch advocate for photographers getting the highest price possible for their products and services. The higher the better. Really. If you can get those high fees, keep them high. That's great. But for those of us who can't get those same high fees, we have to be realistic. And resolve to cooperate and compromise to keep our doors swinging both ways.

Don't take this advice to the extreme. You can't give away your products and services. That doesn't do anyone any good. You or the customer. Or our industry at large. Low-balling, just to get work, doesn't cultivate long-term customer relationships. It devalues what you do. And worse than that, it demoralizes you and chips away at your selling confidence. It's a lose/lose, not a win/win.

What I'm talking about here is a rational, common sense, prudent, down-to-earth conversation with your client about what flexibility you have to give them what they need. And provide you with the same. What range of pricing you're able to service their needs within.

If you find yourself lowering your price, then lower your scope. Deliver less. But deliver less with the same champion attitude you would have if you were being paid more. Under promise, over deliver. Always. Always. Always.

Practicing flexible pricing strategies with customers is a coordinated partnership. Teamwork. Synergy. Give and take. The exact same sort of cooperation and compromise you make in every single human relationship you enjoy. Family, friends, vendors, joint-venture partners, colleagues, etc.

Be flexible, not fixed. Cooperative, not combative. Compromising, not intransigent. Pliable, not plastic. Be human. Be busy. Be flexible.

I am here, today. I have no other choice but to be here. My choice is to seize the day. Live in the moment. Be content with who I am. And where I am. All good so far. But that's hard for me. Really hard. And i'll bet it's hard for you, too. There is this constant struggle from within, especially among photographers, to balance acceptance and achievement. Living in the now and planning for the future. Contentment with commitment. At times, they seem at odds. Other times, they are companions on the same journey.

I'm content to be where I am. At this point in time, moment, juncture. I really am. But that doesn't mean that if one eye is focused on contentment...the other eye can't be focused on ambitions, achievements, initiatives, purpose. This duality was meant to be.

I'm content about being where I am, but I'm not particularly happy about it. I want more. The economy has temporarily gotten the best of me. At least for right now. But I refuse its strangling embrace for anything longer than a fleeting hold. I want more than this! In fact, I want it all. Good, bad and ugly. Bring it on!

In our careers, as in life, there are things that we can't control. And for these things there is acceptance, acquiescence, compliance. Perhaps even spiritual acknowledgement that we live in a world much bigger than ourselves. And that's it is not always about our singular initiatives that control a collective destiny. And while we surrender to that which we can't control, for those things we can control...there is drive, enterprise, determination, resolve, zeal, purpose.

I'm impatient by nature. I really am. I can only take so much acceptance and surrender. Then it's time to move, gas up, get going, explore, move forward.

Don't feel bad if you want more out of life and career than what you're currently experiencing. I want more, too. I want more business. More revenue. More clients. More equipment. More fans. More followers. More projects. More, more, more. I admit it. Again, it's a balance of acceptance and achievement, contentment and commitment.

Generally speaking, I find a lot of commercial shooters far too accepting of their 'lot in life'. As though these melancholy naysayers have little or no control over their own career destiny. Hogwash! If you don't like your 'lot if life'...change it. Stop feeling sorry for yourself. You have all the drive and intent inside of you, right now, that you need to move out of your downcast existence and bust a move. Wide open. Today. Right now. Get after it!

Be content with where you are right now. But be committed to something much bigger. And better. Inhale. Exhale.

I am here today. I know that. But I hope I'm not going to be here, in this same place, tomorrow. Or the next day. My dad used to tell me that you can't steer a ship unless it's moving. So get going. Keep moving.

You will find me here today. But you won't find me here tomorrow. I will have moved on. Maybe you need to move on, too. I'm sure you've heard of this old proverb (credited to Publius Syrus) - 'A rolling stone gathers no moss'. How much moss are you gathering?

I'm trying so hard to listen intently to what the universe is telling me and teaching me. But to this 56 year old, type A, obsessive-compulsive personality...that's a tall order. I'm all for the zen stuff. You know that. But I'm for the zoom stuff, too. Let's go. Let's move. Let's get on with it. Let's stop whining and start winning. Let's feel less sorry about our circumstances. Let's think big. Really big. So big that we have more dreams, plans and hopes than we have time, energy and resources to fulfill.

Be here today. But gone tomorrow!

I'm seeing lots of emerging photographers, coming up through the ranks, trying to build their whole vision and style around a camera brand, a lens, a photographic technique or technology, a Photoshop action, etc - all of which are highly imitable and replicable.

Let me back up and minute and try to clarify some confusion about three terms that are naively and often used interchangeably - then we'll pick up this discussion on the other side of these definitions...

Vision:

In photography, vision is the ability to see. Plain and simple. It's completely mental and emotional. Inward. Highly unique and subjective. It's the creative faculties you have, by both nature and nurture, to interpret the world through your viewfinder. Your personal vision should be as unique as your thumbprint. It's all that stuff way down deep that burns inside of you and is born in capture. Vision is the heart of your photography. And the foundation for it, too. You need a strong vision for remarkableness and uniqueness.

Style:

While vision is primarily inward, style is the outward manifestation of that vision. Color, angle, cropping, exposure, composition, etc. Style helps vision take a physical form. And allows others to see what your inward vision looks like. Vision is interior, style is exterior. Style brings external validation to your vision. And allows others to digest and appreciate what, until now, has been locked up inside your imagination. It takes time to develop a unique style. Your vision may burn. But it literally may take years for your style to catch up with your vision.

Technique:

A technique is nothing more than a method, a modus operandi, a tactical approach to using tools and technology to further define your style. For example, 'selective focus' is a technique. Creating 'bokeh' is a technique. Applying a Photoshop action or filter to your image, in post, is a technique. Using long glass for 'compression' is a technique. 'Overexposure' is a technique. A lot of today's on and off camera flash usages are techniques. Sometimes techniques further your vision and style. Other times, they simply distract from your true vision and style. Vision needs to drive technique, not the other way around.

Okay, now let's get back to our original discussion. Your goal, as an emerging photographer, is to jealously guard and groom your vision and style. The vision and style is the 'you' in your photographs. It's what you see and feel. It's what separates you from every other photographer.

Some photographers are brilliant at leveraging techniques and technologies to showcase their vision and style. Others are not so brilliant or subtle. The latter group uses technique as a crutch and not a stepping stone.

Again, concentrate first and foremost of your vision. Then your style. Then, and only then, your technique. And in this order. This will insure that your focus is in balance. And that you'll be on your way to uniqueness and remarkableness. And more importantly, your work won't be so imitable.

To a certain extent, a photographer's style can be copied and imitated. And sadly, if it's good or popular...it most likely will be. But vision, because it is inward, can never be copied, emulated, parroted, knocked-off, pirated, ripped-off. Because no one can climb inside of you and feel and see just like you. Technique can be copied. But vision can't!

So the biggest danger of all is...building your uniqueness around a technique or technology. Techniques and technologies are, by far, the easiest to replicate. And are, in fact, the most replicated (which is exactly why we see so many copy-catters in the photography space). Try to get your head around this. Especially if your just starting out. Don't build your career around a technique. Build your career around your vision.

I know this may seem like splitting hairs to many of you, but the differentiation and significance between the two is great. And will consequently have great impact on your understanding of it. Trust me on this. Techniques, in photography, are easily mimicked and imitated. Vision isn't and can't be.

Techniques can and will be ripped-off. Can't you see this every single day? On Flickr? On other photo-sharing sites? And around the web?

Ask yourself...is my distinction based on a camera brand? A specialty lens? A filter? A Photoshop action? A post-production trick? If so, you're in grave danger of being replicated and copied many times over in your career. Make room for lots of copy-catters.

Or is your remarkableness based on your heartfelt vision? How you see and interpret the world? If this is the case, then you're in unrivaled company. And stand the great chance (not only today, but tomorrow, too) of being peerless.

It's so hard to stand out. It will always be hard. But it's absolutely necessary if you want to survive and thrive. Uncommon and unparalleled vision cannot be easily imitated. That's your goal. Don't bet the farm on a passing technique or technology that may or may not be here tomorrow, nor may it stand the test of time. Instead, bet the farm on unmatched, unequalled, unsurpassed vision. That which is solely inward. And all about you. Not your tools and techniques.

Don't get me wrong. Mastering techniques and technology are critical to bringing your vision and style to birth. But don't confuse the techniques you're employing with the vision you're germinating. They're two different animals. Vision drives technique. Technique does not drive vision.

You may never achieve one-of-a-kind greatness. That's okay. It doesn't mean you can't aim for it.

I wish someone had told me this at the beginning of my career. As it would have saved thousands of hours, even days, from being obsessed with fleeting techniques and technologies that had zero to do with my photographic vision, center, soul. If you have career aspirations and hope to be around longer than a few years, then develop your extraordinariness around your vision - which cannot be replicated!

Techniques and technologies will come and go, like the passing of time. Your vision will be around forever. Be peerless. Vision trumps technique. Style trumps technology. Be yourself!

For the first time since signing up over a year ago, I took a break from Twitter. Not really by choice. But because I was out at sea with very spotty and expensive internet coverage. I checked in occasionally, via internet cafes throughout Europe. But shockingly, Twitter wasn't a part of my daily work routine. What I found, not surprisingly, is that I really didn't like the separation. And just how important Twitter has become in my day-to-day workflow.

When I started out on Twitter, I signed up, more or less, to try it out. It was more peer pressure and curiosity than anything else. But a funny thing happened. I got hooked almost immediately. Every single day brought a new level of commitment and duty to the platform, which continues to this day. Now a day without Twitter seems incomplete.

I know this probably sounds a little weird and corny, especially to those of you who aren't Twitter devotees like me. But it's true. A day without Twitter seems partial, half-done, half-completed. Twitter has not only changed my communication and promotion habits, but it has also brought a new level of excitement and enthusiasm to my photography that I've been missing for quite a while.

Twitter hit a nerve. And still hits a nerve for me. I also acknowledge that there are many of you reading this who feel the exact same way. Not just about Twitter, but about all the other social media platforms, as well - Facebook, Flickr, Linkedin, YouTube. Social media is ubiquitous to photographers. And it's changing the way we think, work, play, be.

It's astounding, even astonishing, how ingrained social media has become. Not just in my photographic life, but in the lives of all of the photographers I run with. Twitter is no longer peripheral, it's integral.

Social media generally, and Twitter specifically, keeps me connected, anchored, wired, informed, inspired, linked, attached. And it's not just informational either. It's emotional and relational.

In just a short period of time, I've developed so many new online friendships via Twitter that I would never have had the privilege to form were it not for this platform and podium. Some are casual. Some are deep. And the very cool thing is that it's not just with photographers and customers in my niche. It's with photographers and customers from many niches. From all different walks of life. In all sorts of genres. We're finding commonality. Sharing. Connecting. Mentoring. Helping each other out. Building community. Being a part of something bigger than ourselves. This is Twitter. And it's here to stay!

From day one, I've made no secret whatsoever about my passion for Twitter. And that it's arguably the most powerful and productive of all the social media platforms for photographers to be engaged in. And to grow brand and business with and on. If you're not on Twitter, you're not on. Simple as that.

I love Twitter. The more I give, the more I get. The colleagues and collaborators I've met on Twitter are second to none. Most are genuine, appreciative, supportive, encouraging, sympathetic, enthusiastic, admiring. A true community and village of journeymen and wayferers.

In this market and in this economy, it takes a village to survive. Twitter is that village.

If you're brand new to Twitter and haven't gotten the hang or knack of it yet, hang in there. Be patient. It takes 60-90 days of being active and involved before you start seeing tangible, relational and emotional fruit. Don't quit before you get started. This community is worth being involved in. Trust me. There is help, support, authenticity, validation here like you wouldn't believe. And which I experience every single day.

Over the next 12 months, I have every intention of running a series of webinars (maybe podcasts, too) called 'Photographer140' - where I'm going to enthusiastically and passionately teach why I feel so zealous about Twitter for photographers. But that's a post for another day. Stay tuned.

Hail Twitter. Embrace it. Get involved. Give it your best. Make it an extension of your daily routine and habits. Start reaping not only your 'return-of-investment', but also your 'return-on-influence' (@newmediaphoto phrase :) ).

I'm back. And I'm so happy to be back. Your friendly Twitter monk. :)