I’ve been realy proud of the photography I’ve been doing for Primer Magazine. I’ve taken some really impressive shots that I would have never been motivated to take on my own. At the very least, it keeps me shooting every week.
I have so many shots that are never used for Primer that I’ve decided to take the plunge into selling stock photography. I’ve never wanted to shoot stock photography, but it might be an easy way to have a supplemental (or for now, primary) income. I’ve always felt that stock photography cheapens my work, but why the hell not? For now I’m avoiding microstock photography sites like iStock because the photography is less exclusive and pays less (though more often). I’d rather have one really well-places, well-paying sale than a bunch of cheap sales. From what I read, the best approach is to do both and save the better images for more exclusive distributers. Since I’m not looking to spend a whole lot of time on this, I’m just sticking with one.
So I uploaded my first four trial shots for Alamy Images. They are definitely on the high-end of stock photography, not something you would use for your cheap, generic websites. They have strict quality-control criteria. I have to wait an estimated 25 days before they even look at my four trial shots and determine if I’m good enough for their service. I was initially prevented from even uploading my shots because they were not enough high-resolution. I had to resize them with Photoshop just so Alamy would even accept my photos.
I’m really glad I invested in my macro extension tubes a while ago. Most of the shots for Primer use macro photography, and I’ve learned a great deal about macro photography from these shoots. For one thing, everything works backwards in macro photography. I use the wide-angle lens for extreme close ups, and I use the telephoto lens for wider shots. I’ve only used the medium-length extension tube (20mm), which is actually pretty extreme. I’ve used a technique where I set the lens to infinity focus and I use my body position (thus camera position) to adjust focus.
I’m also glad I purchased my lights. Some shots wouldn’t have even been possible without then, and sometimes they just made it easier. For a large open room with a big window, I used them to fill in the room so that the entire window wouldn’t be blown out. I also took one shot while standing on a ladder in a garage. Without the lights, I wouldn’t have been able to get a steady shot.
I’m also glad to make use of all of my old Nikkormat lenses that have no auto-focus or metering. That’s right, I shoot without metering. I’ve been doing it since my DSLR lens broke around May. It really has refined my skill for playing “the exposure game,” being a human light-reader, seeing a scene and intuitively knowing what the exposure will be. For instance, right now it’s very cloudy outside and it has been raining. 
I’m guessing that I’d have to shoot at 400 ISO with F/2 at a 1/120th shutter, maybe even 1/60th depending on what I’m shooting.
The 50mm f/2 lense I got in December is a godsend for low-light situations. I don’t know how I ever did without it. This was the lens I used for the shots from The Party Pit that were featured on Brightest Young Things. At the show, there was only one 4-foot florescent bulb on the ceiling, and I couldn’t use the flash because of my lens. With good technique, creative use of shadows, and heavy processing, I was able to pull off some great shots.