Photographing architectural interiors poses a number of challenges, including cramped rooms, low light and cluttered subjects. Lighting-related challenges are often handled by using artificial lights, but most can be tackled with simple techniques that require no specialized equipment or knowledge. Following are 7 simple tips that will improve your interior photographs.

One of the most common questions I get from aspiring photographers is “How much should I charge for my pictures?” The question usually comes up after they have been approached by a photo editor, art director or other photo buyer. Although there are no set rules when it comes to pricing photography, here are some tips, suggestions and resources that will help you arrive at a fair price for your images:

As a travel photographer, educator and writer, one of the questions I’m most often asked is How do you get your articles published? Most people probably don’t think much about how a specific article or topic is selected for publication, let alone how those articles are brought to the attention of a magazine in the first place. But once you decide to become a travel photographer and writer, you realize you have no idea how articles get published. To give you an idea of how the magazine world works, following is the story of how my Istanbul piece was selected by Shutterbug Magazine.

Most photographers, myself included, will extol the virtues of photographing early and late in the day, when the light is soft and warm and beautiful. And most photographers, myself included, will wrinkle their noses and look with disdain at those who dare break this rule. But as with everything else in life, there are exceptions, and those who photograph midday, when the light is harsh and unflattering, might be on to something. The fact is, there is no such a thing as “bad” light. Just like even a broken clock is right twice a day, bright light works well with certain subjects.

During my 11 years as a full time travel photographer, I have heard countless photographers, some of them successful, extol the virtues of carrying a camera at all times, lest you miss the shot of a lifetime. Like a hunting lion lying in the weeds, serious photographers are always on the lookout for their next shot, eyes constantly flitting about, not blinking just in case.

ears ago I was in the Dallas airport making a connecting flight when I saw an ad for American Airlines depicting a couple watching a dance performance. The ad did not say where the dancers were, but they looked exotic; if I had to guess I would say they were in Asia somewhere. Underneath the picture was a simple caption: “You Can’t Download This.”

A few weeks ago I had the opportunity to photograph the historic Union Station in Denver, which is being rebuilt as a mixed-use, transit-oriented hub that currently hosts bus service and Amtrak. Eventually the station will also provide light rail city-wide service and a commuter train to the airport (DIA). The main station itself will house shops, restaurants and a hotel.

About two years ago, a print by photographer Andreas Gursky, Rhein II, sold at auction for $4.3 million, making it the world’s most expensive photographic print. If I were reviewing the image I would say it was static, the subject (river) bland, it lacked depth, and the sky was uninteresting, without drama. I don’t like the picture.

Nothing is more fun and exciting than visiting a beautiful location and taking lots of pictures. And nothing is more unexciting than sitting in front of the computer and organizing the thousands of pictures you took. By “organizing” I mean the process of editing, numbering, captioning, keywording and perhaps rating and labeling images. It is as boring and time-consuming as it sounds.