Photo Asylum 101: Five Types Of Weather. If You Don't Like The Shooting Conditions In Florida, Just Wait A Few Minutes...

"If you don't like the weather in New England, just wait a few minutes..."  

~Mark Twain

 

Obviously, my post title today playfully paraphrases the famous humorist, as I believe his quote most definitely applies to the Sunshine State as well.

I have never believed that there is a single perfect type of weather for outdoor photography. That's a myth that tends to be passed around more by beginners and hobbyists than professionals. I love all kinds of weather, have shot in all kinds of weather, and have learned that all kinds of weather have their advantages and challenges, and all can be "perfect" for what I shoot most: fashion and portrait.

From an artistic standpoint, I break down the weather for my outdoor shoots into five basic types:

 

full sun - partly cloudy - partly sunny - overcast - rain

 
Yeah, I know, it doesn't take a genius to figure this out. In fact, I seriously doubt I'm telling you anything you do not already know. Still, sometimes one needs to explain useful things by first being a master of the obvious. I like starting points that everyone can relate to.

My real message is this: to better your craft, you need to try to understand how photographic elements such as light, shadows, contrast, brightness range, color, tonality, and detail are determined and affected by the various types of weather.

As far as I'm concerned, there are two major factors when dealing with the weather. One is in the previsualization, or planning stage of a shoot. I have many different photo ideas that are particularly suited to specific types of weather and outdoor lighting. Even when I use a flash on location, I still consider the general scene illumination from the sun and sky when I figure out how to set up a shot.

The second factor, and this is probably a much more needed skill for a shooter, is to understand how to change set ups and technique at the drop of a hat when weather conditions are different or change quickly from what you had originally planned. You shouldn't just have a Plan B, but also a C, D, and E, depending on what you encounter and how it evolves.

Not only can you learn to use this to your advantage when you plan the looks and style of your shots, often pairing image ideas to the existing weather conditions on location, but more importantly, you eventually realize you can adapt to weather that is volatile and quickly changing without having a nervous breakdown on the set.  Those of you (like me) who shoot outside in Florida know exactly what I mean.

This confidence of handling whatever big momma nature throws at you becomes much more important if your goal is to shoot commercial work, where budget or time constraints often mean scheduling a reshoot is not an option.

Don't be fooled by those who only define professional based on the style or quality of someone's work. Sometimes, especially in the eyes of a client, the only factor that makes someone "professional" is that they come through with the goods: they deliver a promised product on time without making excuses.

My mantra has always been this: the more bad habits and mistakes you can remove from your shooting, the higher the quality of your work will be. Knowing how to recognize and work in various types of weather almost automatically improves your shooting. It will certainly make you more professional and reliable.

What follows is a mix of images, some of which I planned and waited for a specific type of sky and light, some of which I simply looked at what I was getting at the time, and set up and shot accordingly.

full sun
I actually don't encounter this too often in my neck of the woods. I'm a cloud guy at heart, and very thankful that Florida usually offers a dazzling array of fluffy white in all shapes, sizes, and colors, especially in the summer. Still, from time to time, whoops...there it is. Nothing but clear blue sky. So, I use it, and by that I mean I try to darken my skies a bit to give them a decent level of color saturation. This may mean underexposing a tad, or shooting multiple exposures to do an HDR effect, or burning the image in post. For me, plain blue skies are bad enough, but plain white skies are far worse.

Unless you live in an area with a lot of air pollution, you will always get bright directional light with stark shadows. This graphic style can be used to great effect, with shadow play pretty much determined by the time of day and the angle of the sun.

Plain, cloudless skies may seem boring, but sometimes they add to a scene. In this shot, I intentionally centered the horizon against conventional wisdom to create an almost mirror effect between the sky and the water. The SeaRey aircraft breaks up the symmetry nicely. it also hints at the stunning view a pilot must get flying around on a clear day. Photo for Lake & Sumter Style Magazine.

partly cloudy
Partly cloudy is what most of us will get a lot of the time, depending of course, on the time of year and the time of day. In Florida, I can often do a 360° and find different cloud coverage in different parts of the sky. It's usually not too hard to find a patch of blue that is mostly sunny. Partly cloudy skies have a normal or average feel to them for obvious reasons: not as empty as cloudless, not nearly as exciting as dramatic storm clouds.

I like partly cloudy skies when I'm shooting lifestyle or traditional environmental/outdoor portraits where I don't want the sky to distract too much from the subject in the shot. As you can see from these examples, sometimes pleasant is just right.

Sometimes it's good to be lucky, especially if reshooting is a pain. For this story on Central Florida cowboys, I spent most of the afternoon riding around on a jeep with no real game plan, just taking spontaneous shots of life on a working ranch. Both I and magazine Creative Director Steve Codraro were thrilled that at the end of the day, I captured this "Marlboro Man" portrait of cowboy Coy Mueller that ended up as a cover. Nearly any kind of sky would have sufficed, but I really preferred a late afternoon sun with just a hint of clouds in the background. For once, nature cooperated. Location: Oxford, Florida.

Another good example of the photo gods smiling on me. This cover shot for Lake & Sumter Style Magazine was done far enough ahead of my deadline that I could have reshot if needed. I treated it as a full-blown fashion shoot and I had the luxury of including a rain date if the weather/lighting wasn't right. Fortunately, it was. Everything was exactly as I had visualized it when I first planned the shot. A few small wisps of colorful clouds was all I wanted to break up the lazy sky. A ton of large, highly dramatic, ginormous storm clouds in the background would have distracted visually from our beautiful model.  Model: Gloriann Brogden. Hair: Ryan Bogard. MUA: Kristin Moulton. Creative Director: Steve Codraro. Location: Mount Dora, Florida.

partly sunny
Partly sunny, or mostly cloudy (if you like to play with semantics) is also very typical in Florida in the summer. In my book, that doesn't mean there is no direct sunlight or brightness in the sky, it simply means there are a lot of clouds out there. And depending on the wind, they might be moving all over the place, including covering all or part of the sun, just not for very long. So a lot of times this becomes a game. I meter often, and prepare to change my camera settings to match the light. I'm speaking, of course, about shooting on manual, which I almost always do. If you use a priority mode, your life may be a bit easier.

Still, quickness has its virtues (as does patience) to get the shot to look the way you want or planned. I tend to be stubborn that way. If I picture specular light in my mind, I want direct illumination. If I'm thinking diffused, I'll wait for the light to get softer. Hopefully, we all find a way of working that suits our style and partly sunny skies has a little something for everyone.

Partly sunny mean a lot of clouds, which are often unpredictable. As the sun peeks in and out, your exposure changes, and that can be a challenge. Frequent metering is a must. Here I simply go with the flow, shooting model Robert Pate in business attire using the emerging sun as a giant key light. I take advantage of the multiple clouds and add them as elements in the window reflection. Fashion test. Location: downtown Orlando.

overcast

Overcast can mean a lot of things. Again, semantics. What I mean are flat gray cloudy skies that remove the blue sky and direct sunlight from the equation. This is not the same as a white sky caused by overexposing the scene on a bright, sunny day. On overcast days, your subjects will be bathed in a beautiful soft light, contrast will also be soft, colors can actually be vivid, and most importantly, image details will be at a maximum, as the brightness range will be compressed.

Where I live, you cannot depend on this type of sky. Some days it is just there. With that in mind, I always have a plan or idea to setup and shoot when I know there will be no hard shadows. Often it doesn't matter, but there are times when that style is much more emotional, melancholy, or even romantic. I may use very weather-specific wardrobe or props to take advantage of the low contrast and increase in image detail.

Completely overcast skies make it a whole new ball game. Think of the sky as a huge soft box overhead adding a massive diffused light to your scene. That can be amazing if it's what you want. Now, I was going to shoot this idea no matter what the weather, as it was our only chance to work with a monstrous Chinese dragon, but when I realized there would be no direct sun, I decided on a colder and more moody vibe to the photo. The low shooting angle gave it scale, and the soft shadows meant the composition and muted colors would dominate the image. Fashion test. Model: Lindsey Palmer, Elite Atlanta. Hair: Lori Jurgensen. MUA: Sophie Loock. Location: Splendid China, Florida.

rain

I'm going to lump rain and heavy dramatic clouds together as they are often both there at the same time. As many of you have discovered, it only takes the blink of an eye to go from a majestic backdrop for your scene to a torrential downpour that threatens to ruin everything, including expensive equipment.

I won't address actually shooting in heavy rain, as up to this point in my career, I can't really remember ever doing that. For anything that involves a lot of time and work on styling, hair, and makeup, when the rains come, I call timeout and we wait. Or move indoors to shoot. Or reschedule. 

Don't get me wrong. I love the rain. As a person. Love rainy days, especially when I lived by the ocean. Love being out in the rain. It just doesn't seem to mix with my photography, though. Maybe as I get further into filmmaking, I'll decide to shoot rain scenes, you know, for the drama and emotion. Until then...

Still, a few drops never killed anyone, and many times (again depending on the wind) a light sprinkle will come and go as you shoot. And come and go. And...well, you get the idea. 

If you find yourself in these kinds of conditions and situations, you should really develop a sort of fire drill that gets your crew (and model and wardrobe) in and out of the moisture as quickly as possible. You also should have a game plan if you decide you want to work in a light rain, making sure everyone knows how to keep the gear and talent as dry as possible. Time is money, and wasted time is a photographer's enemy. A little forethought and talking to those working with you on a shoot ahead of time goes a long way. It may make the difference between a complete washout (pun intended) where nothing is accomplished, or ultimately being productive.

Don't be fooled by the glint of sunshine sneaking through in this behind-the-scenes photo. This late afternoon in Central Florida was almost completely cloudy. So, not only were we running out of daylight, but guess what? It started raining as we tried to work! A photographer's nightmare. Harpist Nici Haerter was not only extremely professional, but actually refused to take her expensive, beautifully carved wooden instrument out of the light rain because she knew we needed to get the shot! As you can see, she decided to cover it with a towel until I was ready to shoot. Photo for Pulse Magazine. Hair: Ryan Bogard. Location: Eustis, Florida.

So, you see what I did? I started off with a handful of mundane comments you all figured you knew all about. Then, as I added details and situations and all kinds of good stuff you need to consider to create really strong photos, hopefully I made you realize things are often not as simply as they seem, and circumstances can change in an instant. You need to learn to be ready, and adapt.

Trust me, all it takes is screwing up even one commercial or personal shoot because of a weather condition you didn't even consider, and you'll find you'll start taking something the average person takes for granted much more seriously. I hope I helped...

Then One Day The Smithsonian Called: Why You Should Always Save And Archive Your Work!

Well, it took a while, but one of my photos is finally in the Smithsonian.

It's true. I tell you no lie...

Now, it is not in the permanent collection and on display in a museum in Washington, DC for all the world to see. I wish. Rather, it's a portrait I shot of painter Carlos Alfonzo in December, 1990, originally appearing in the publication Miami New Times Newspaper. And it will be used as part of a printed catalog to coincide with the exhibit:

 Our America: The Latino Presence in American Art.

My photo of artist Carlos Alfonso (Cuban, 1950-1991) in his Miami studio, 1990.

Now, I am not the most organized guy in the world, and when it comes to my photography, I have a whole mish-mash of storage systems. Most of my digital work is, of course, logically filed on hard drives and on discs. Oh, and for the most part, key worded. Finding things in the computer age is not usually a problem.

It's my film originals that I probably need to work on a bit. Fortunately, many of my older negatives are neatly stored in chronological order in binders with their labeled proof sheets, and yes, the bulk of my color film slides are in boxes or pages, generally safe, in one searchable place.

Good thing, too.

Because one fine day, I was minding my own business, when out-of-the-blue came an email from an Emma Stratton, Permissions Coordinator, Smithsonian American Art Museum. Now when Ms. Stratton comes a calling on behalf of the Smithsonian, you pay attention.

And so, I paid attention...

And what she asked me oh-so-politely was if she could use my image of Alfonso for the upcoming Smithsonian exhibition catalog. Luckily, she had seen it used before in another catalog for another exhibition at the Miami Art Museum in 1997.

Obviously, I said yes. That was the easy part...

So, after agreeing to the deal, and excitedly shouting to anyone within earshot, I actually had to get down to business. I needed to track down the original negative, make a quality scan, create a digital file in photoshop, edit and retouch that file, then output it in a size and format that met their specifications for the printed catalog. Oh, and get it to them.

All on deadline...

In the end, it was not all that difficult, but without finding that original negative fairly quickly, I most likely would have been screwed.

Which brings me to my point: you need to develop a system of organizing and cataloging your images as you go along. Something that makes sense when you're trying to find an individual photo many many years after it's been shot.

Now, I had no way of knowing that Carlos Alfonso would sadly die not long after he sat for my camera. Nor could I ever imagine what his place and fame would be in the context of Hispanic and American art, or what the demand would be for a picture of him many years later.

But, because I was disciplined enough over the years to keep most of the rolls of film I shot together in pages with their proof sheets in books chronologically in a protected cabinet, I immediately and confidently told Emma Stratton I could send her artwork. I knew it would not take me long to find the negatives from our 1990 portrait session, even in the year 2013, and it didn't.

In this digital age, it is very tempting to simply live for the moment, shoot what we want when we want, and assume the computer will keep it all organized. In a perfect world, maybe, but if you value your work, you really owe it to yourself to pay much more attention to organizing and archiving your images in a way that makes sense.

After all, you never know when someone from the Smithsonian will come knocking on your door...

Get Ready For PHOTO ASYLUM 101...

Now, I know for many of you, school is out for the summer, but here at The Photo Asylum, the learning process never stops. Never...

And so, I'll soon be starting a series of blog posts under the common heading of Photo Asylum 101.

The subject matter of these posts will vary widely. Any and all things relating to photography including lighting, shooting, pre and post-production, composition, studio and location gear, presentation, you name it.

Also, various aspects of the fashion business, specifically as they relate to organizing and producing fashion shoots. Styling, casting, location scouting, video, etc.

Sometimes these posts will start with a particular criticism. Something I see being done wrong or poorly. The emphasis will never be on the negativity of the mistakes or the bad habits, but rather my suggestions for perhaps ways of doing things a bit better. Persuade rather than admonish.

Other times these will just be straight-forward, short tutorials, simply explaining a rule, technique, or way I've learned to do something that I want to pass along. Again, a suggestion. Just something for you to consider.

My intention will always be to improve your way of working, and as with most things in life, you are free to embrace or ignore my advice.

So, get ready. There will be a test at the end of the semester...

An 'Image Creator' No More: My New Photography Business Plan - Part 2

PLEASE NOTE: this is Part 2 of a two-part post (eh, hence the name). I strongly recommend you read Part 1 first.

Let me resume my discourse on the demise of the "image creating" business by first admitting I pulled a Jedi Blog Trick in that first post. I painted a dire, dramatic sky is falling picture of the photography business that may have startled some. While fairly accurate, it only gave you a tiny piece of the big picture, and represents just part of a much larger industry.

The ASMP Director Eugene Mopsik commentary column I quoted from is aimed (as is ASMP itself) primarily at commercial editorial and advertising photographers whose main income comes from licensing their published work.

These are the professionals who are most in need of re-inventing themselves. The group that is seeing their older, traditional business plans crumble as a result of the digital imaging revolution. Over the years, much of my work has fallen under this category.

There are many other types of photography-related businesses and careers. For those of you moving along a slightly different path, you may find that opportunities abound, and the health of your niche in the imaging world may indeed be robust. It is, after all, a very complicated and fluid business.

To reiterate the main point of Mopsik's column, for this specific group of photographers:

Survival is contingent on the establishment of multiple income streams...

Now, this advice fits me to a T, and it is exactly where my head has been "at" for quite a few years now. It is just reassuring to see it spelled out by a respected industry professional. Makes me feel I'm not alone in this battle.

So, with that in mind, here is my New Photography Business Plan, which as I just said, is not really new, but as we enter the second half of 2011, is worth re-focusing on.

FASHION - This is one of my biggest gambles. I have not shot a serious editorial fashion project in over five years. That's an eternity in the business, and it's due in part to the poor market (and attitude) here in Central Florida.

Still, I think enough progress has been made here recently that, with all the great shoot ideas I have rattling around in my head, the time has come to have another go at it. The plan is to test, shoot for Style Bedlam Magazine (see below), and hopefully that will lead to editorial and advertising print work. I feel my renewed effort will either open up the floodgates to an exciting new chapter in my career, or end up just being another lesson in futility.

VIDEO - This what really has me psyched, and it ties in nicely to my return to fashion. Still shooters have been making the transition to video for quite some time now, and if they haven't already, many will need to eventually in order to survive.

I am not freaked out or intimidated by this in the least, for reasons I will cover thoroughly in a future blog. Let's just say that my years of storytelling and thinking cinematically with my still work gives me many of the skills needed to direct and produce motion. I don't see this replacing my still shooting, but rather supplementing it.

STYLE BEDLAM MAGAZINE - An enormous web project for the fall of 2011. It ties in directly to the two things listed above. Starting my own online publication, however humble, is the ultimate self-assignment experience. I am trying to make this a complete magazine with fashion editorials, music and art features, and whatever the hell else I can throw in there that's slightly off-kilter. It will hopefully provide the perfect vehicle for me to network and collaborate with creatives from many different fields and markets. And, it will serve as my premiere marketing tool.

STOCK PHOTOGRAPHY - I hate stock photography. I have always hated stock photography. It is the polar opposite of everything I have learned to shoot over my career. Most stock is generic and anonymous. And in this micro stock market, it pays pennies. That being said, in today's WWW world, and considering the vast amount of archive images I have, plus the fact that most micro stock web sites allow you to join for free, it makes no sense for me not to offer an assortment of my photography as stock. A modest amount of effort to set everything up, and the web makes the work available to potential clients 24/7/365.

ZAZZLE - DEVIANT ART - FINE ART AMERICA - ETSY - Despite the lack of success of my gallery work since I've relocated (another strike against Central Florida), it fuels my soul too much for me to give up on it. And so I continually go in search of other, more worthy markets. The web has made that much, much easier. The names you see listed here are all art & design online stores, and they all allow me to easily market and sell my work in one form or another. All over the world. All free (or for a nominal listing fee). Persistence with these sites produces results. Wish I could say the same thing for where I live.

PHOTOGRAPHY WORKSHOPS - I have taught photography on and off in the past, and currently give away a tremendous amount of free advice and information on web forums, my Facebook Page, and now this blog. But there is a part of me that feels I can market myself a bit better and in a more structured environment by offering actual professional workshops. Again, I would tie this in to my fashion and portrait work, with the emphasis on studio lighting. It is very tempting, as I get a lot of satisfaction from teaching, but will require a lot of work on my part as well.

Well, that's the gist of it. I have an assortment of other art or photo-related projects designed to produce income, but these are the major categories that I'm concentrating on. A shotgun approach to be sure, and one that will require a lot of juggling, but one that I am confident will work. And the irony of it all is that I will remain an image creator, and that sure is a relief...

All photos ©Steven Paul Hlavac.

'The Mouth That Roared' Is Here To Stay...

In this New Digital Dawn, everyone and their cousin thinks they're an expert on social media and how to use it effectively. Especially when it comes to business.

And, as much as I enjoy hearing a wide variety of opinions and views on most anything, I rarely take someone's advice on such important matters at face value. Rather, I kinda soak it all in, repeat my mantra of "consider the source" a few times, then try to decide if it makes any sense for my situation.

Many of us have very different business and career goals, so a blanket or one-size-fits-all policy on how to harness the vast array of social media resources out there is rarely going to be the best one to latch on to.

Yet, every so often a precious nugget of wisdom that would appear to be universal rises to the surface, so I greedily grab it with both hands, and simply wonder why anyone would not want to add it to their toolbox.

What am I talking about? A quote from a true social media expert (at least IMO) that basically gives me the green light to do what I do best, and tells me I will very likely be more successful for doing it.

Now, I must apologize, as I cannot remember where I read this or who even said it. I know that's bad, and I would love to give them the credit they deserve, but truth is, for the sake of this post, it doesn't really matter.

And so I will paraphrase heavily...

This person basically said that the key to effective use of social media is to have an impact: project your knowledge and personality in a fun and large way that sets you apart, gets people's attention, and makes them want to participate in what you have to offer.

Fun and large way. Makes them want to participate. Interact. Establish a dialogue...

I know what you're thinking. How is that profound? Everyone offers that advice. It's just common sense. True, but I haven't gotten to the profound part yet.

This person goes on to say that the single biggest mistake someone can make using social media is to abandon that boisterous voice and softly water down their message in an attempt to be all things to all people.

Water down their message in an attempt to be all things to all people.

As someone who has been guilty of doing that very thing on my Facebook Page, this pronouncement quickly got my attention.

The worlds of commercial and fine art photography are truly wonderful, with great rewards for those that have the talent and the work ethic to stay the course. But they are also highly competitive, often superficial and petty, and absolutely cutthroat at times.

I believe in a strong sense of self and purpose, the art of defending and persuading, sticking to my guns, and most importantly, fighting the good fight when its called for. It's called debate, and I think we are all the better for it when done properly and with respect.

Still, not everyone has the stomach for these sorts of battles, which is why overly defensive and soft and fuzzy I'm OK! You're OK! personalities abound on the web, at least when it comes to photography, with the message that no one should dare say anything the least bit critical, lest we hurt someone's feelings.

My mistaken reaction to this "everyone's photography is awesome" mentality has been to soften my stance, in effect lower my standards so as not to ruffle anyone's feathers, in some misguided attempt to get as many people to like me as possible.

While this game plan did in fact win me many new fans, it also effectively muffled much of my personality and voice, effectively blending me back into the crowd with all the other "nice" people. And in some ways I was miserable because of it.

The world of mediocrity was being shoved down my throat, and I was suppose to muzzle myself and not speak up.

So, you can only imagine how liberating my social media friend's magnificent words were to read and ponder. It was literally a glorious validation of my very heart and soul.

Don't get me wrong. I don't take this as a license to be mean-spirited or hurtful. I have never been, nor never will be those things. It is possible to be critical in a constructive way and still remain nurturing and positive. Trust me on this one...

But what it does is give me permission, better yet, tell me it's my sworn duty to stir things up!

You heard me. STIR THINGS UP...

In my book, yeah that means maybe smacking people around verbally on occasion, but always in a thoughtful or maybe humorous way, the goal being to help those that truly seek it and want to grow in this business. It is absolutely acceptable to point out someone's mistakes in an attempt to help them learn from them.

And so, with all due pomp and fanfare, I hearby declare that I WALK ON EGGSHELLS NO MORE!

Some of you will thank me for this later...

An 'Image Creator' No More: My New Photography Business Plan - Part 1

I was pouring through the latest issue of the ASMP Bulletin (American Society of Media Photographers), and there in Director Eugene Mopsik's commentary column, it hit me. Square in the face. The "inconvenient truth", one I have tried desperately to avoid facing for so long, reared its ugly head and looked me straight in the eye.

According to Mopsik,

"Recent changes in the industry, economy, and society have created a perfect storm — the transition to digital capture, digital distribution, the explosion of digital media outlets, the rise of the talented amateur, all coupled with a dilution of effective copyright protection have made it virtually impossible for a commercial photographer to sustain a career solely as an image creator."

Please read that last part carefully.

Virtually impossible...to sustain a career solely as an image creator.

If true, that, my friends, is a bit of dream-killer. A snuffer, if you will, of one's long-time career goals and lifelong passion. Including mine.

In layman's terms - simply the end. Game over. Give it up. Time to get a real job...

Now, normally someone in my position - a longtime freelancer, struggling but determined to get my career rolling again - would read this "doomsday prophecy" from a knowledgeable industry insider, and immediately get nauseous, light-headed, and quite possibly faint. Or maybe cry a little. After all, who would blame me for taking this news badly?

I had become The Little Engine That Couldn't...

Fortunately, I am a "glass is half full" kinda guy. Not only that, but I can actually see the waiter coming over to fill it the rest of the way. Let's just say I try to stay extremely positive, even under the most stressful and challenging circumstances that life throws at me.

I continued reading...

Mopsik goes on to say,

"While the photography community is working diligently to navigate this new world and take advantage of the enormous new opportunities it presents, the print-to-pixel revolution has been as disruptive to professional photographers as it has been to publishing and electronic media. For many, survival is contingent on the establishment of multiple income streams."

Well, there you have it! Mopsik's dire observation is quickly tempered with a logical and hopeful solution!

I'm saved! We are all saved! Huzzah!

Seriously, it is worth repeating:

Survival is contingent on the establishment of multiple income streams.

And with that declaration nestled firmly in my brain, the "real" truth finally emerged, and I realized it was not inconvenient at all.

Nothing Mopsik disclosed was a surprise to me, let alone a shock. Deep inside, I knew his words were true, and had known for quite some time. In fact, the writing on the wall had taken place literally years ago. At least if you were paying attention...

So, to salvage my sagging career, it is not a question of suddenly taking his advice to heart and coming up with a new plan to "establish multiple income streams", but rather just keep working on the plan that I already have in place. A plan that I'm pretty damn sure will work.

And what exactly is that plan? Well, to learn that, you'll just have to wait for Part 2...