Travel – Page 20 – To Travel Hopefully

Revisiting Your Old Friends [Encore Publication]: Take a fresh look at your older images with new postprocessing

In today’s digital photography world, images are made as much in post-processing as they are in the camera. We only get one chance at creating the image in the camera: the choices we make to compose the image, focus, expose, and fire the shutter at just the right moment are behind us the instant the shutter is released. But the choices we make after the fact, using image processing software such as Adobe Lightroom, can be revisited as many times as we wish. Because Lightroom is a non-destructive editor, meaning it keeps the original image file intact and just records the editing choices we make in its catalog, we can return to the image again and again, making slightly or entirely different choices.

When I return from a trip, I try to select the best raw image files and apply some post-processing within a few days. That’s so I don’t agonize endlessly about creative choices, which would severely increase the turnaround time for sharing the images with the world. But increasingly I find it is a good practice to return with a fresh eye to images I made some time ago, applying some different post-processing choices to render the image differently.

There are three scenarios under which I often revisit my older images:

The images are very old and were shot using film in the pre-digitial era. In this scenario, scan the transparency (slide), negative, or print and then apply post-processing to the digital scan.

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Here’s the original scan of a 35mm color slide (transparency) shot during a 1991 trek in Nepal’s Anapurna region. The image is grainy and the background behind the girls’ heads is distracting. I decided to clean it up a bit using Lightroom.

With just a few minutes of tweaking using Lightroom, I was able to crop the image for more dramatic impact, render a true black background, reduce the grainy noise in the shadow areas, and enhance the saturation of the colors. Buy this photo

The images were shot digitally but were made before I started routinely using image-processing software such as Lightroom. In these cases, I like to apply post-processing to see what artistic options I may have missed in the earlier digital years.

This old Scandinavian stave church was shot as a color image in 2005. It is so high-contrast that it appears nearly monochromatic on the display screen. It’s a striking image, but looking at it today I wondered how much more effective it would be as a true black-and-white photo, so I decided to revisit the image using Lightroom.

Here’s the same digital image file, but converted to black-and-white using Lightroom’s color channel processing module. I boosted the contrast even further and then adjusted each color’s saturation in the black-and-white mix to achieve the exquisite texture of the snow on the ancient building’s roof. Buy this photo

The images are more recent, but I want to make some new creative choices. Here the idea is to render the image in a different way to achieve a different end result. For example, an image I initially processed in color may turn out to make a lovely black-and-white photo. Or perhaps I crop a crowd scene to emphasize just one or a few of the people within it. The choices are nearly limitless.

Reviewing my favorite images from a recent trip to New Orleans, I saw this shot of a characteristic French Quarter balcony and realized it would be even more powerful if certain colors were more saturated.

A brief session in Lightroom’s Develop module was all it took to boost the saturation of the blue and red channels and to adjust the shadow and black point tonalities. The resulting image more closely reproduces the emotional experience I recall when viewing this scene live. Buy this photo

Take a look at some of your older images. Which ones would you like to revisit and give a fresh new look? Do you regularly return to work on your library of existing images? Please share your thoughts here.

Want to read more posts about post-processing your images? Find them all here: Posts on Post-Processing.

Photography as a Bridge to Local Culture [Encore Publication]: Your camera is a great tool for meeting local people and learning about culture

I’ve heard certain travelers grumble that photography inhibits deep cultural learning and interaction when we visit new places. Our cameras, this line of reasoning goes, isolate us from the local people we’re trying to get to know. The lens, they believe, acts as a distancing device to turn locals into subjects and travelers into tourists.

I disagree emphatically! Your camera is a great tool for meeting local people and learning about culture, immersing yourself even more deeply in the spirit of the place and the lives of the people who live there. But only if you use it in the right way. Allow me to explain.

While the local customs and even the laws governing whom it is acceptable to photograph, and when or where it is okay to make an image of them, do vary from place to place, there are a few common-sense guidelines that will help us travelers engage in a friendly, curious manner instead of upsetting people and causing social discord. Here are a few key guidelines to keep in mind.

The Golden Rule: If it’s not okay in your home country, it’s probably not okay in other parts of the world. Would you appreciate a stranger running up to you on your front lawn and shoving a lens in your face? I’m guessing, no. So please don’t behave in that way toward people in other places.
Make a portrait, don’t take a portrait: Get to know your subject first as a person, even if just for a brief exchange. While there are occasionally situations where the moment or the expression will be lost by approaching your subject before shooting, I find that most of the time I make better images as well as have more meaningful interactions, when I say hello and ask the person first.

I chatted for a while with these samba dancers as they were celebrating just after San Francisco’s Carnaval parade. Getting to know them first made it easy to ask permission for a portrait. Buy this photo

Approach children with sensitivity: Kids can be amazing photographic subjects! They are often uninhibited in front of the camera and they portray cultural practices and lifestyle in a relatable, endearing way. But it’s especially important to understand when it’s okay to make a portrait with them. While traveling in South Africa, I saw first-hand what can happen when travelers misunderstand social norms. A fellow traveler in my group saw a young boy playing near where we were waiting for a border crossing. She shouted excitedly, “Soooo cute!,” and rushed up to the child, camera extended toward his face, to take his picture. In an instant the boy’s father ran over, irate, and yelled at me (he mistakenly thought I was the fellow traveler’s father), “How would you like it if we came to your country and started taking pictures of your children?” A few minutes later I explained privately to the offending traveler why her actions caused a negative reaction. She had no idea this behavior wasn’t okay. When in doubt, refer to the Golden Rule, above.

We visited the old town in Kashgar just before the Chinese government began demolishing the homes there and relocating the mostly ethnic Uighur people. It was and remains a complicated social situation, but I was fortunate to be able to make this memorable portrait of a young Uighur girl in traditional clothing sitting in front of her soon-to-be-destroyed family house. I approached her mother first to make sure it was okay to photograph the girl. Her expression of pride mixed with apprehension is what I feel makes this image strong. Buy this photo

Getting to know you: It may seem difficult to talk with a stranger from a very different culture who likely speaks a very different language from our own. For us introverts, it seems like even more of a challenge. But I’ve learned a few tricks and tips that make it much easier to get to know a person before photographing them. Learn a few words of the local language. Just saying “hello” or “good day” can be a great icebreaker. It’s a fairly universal gesture to point to your camera and extend your arm gently toward your hopeful subject to inquire, “Is it okay if I take your picture?” Just as happens in our home countries, a subject may say no, but most of the time people are happy to be photographed if you are polite, respectful, and try to interact with them first. A trip leader, guide, or local friend can often be a great help by introducing you to the person you’d like to photograph.

At the start of our trip through Turkey, I asked our trip leader to introduce me to people we felt would be good portrait subjects. With his help I was able to overcome the language and cultural difference and capture this striking portrait of an employee at a carpet weaving cooperative. Buy this photo

How close is too close?: In most situations it is fine to make an image that includes a large group of people, none of whom will be too prominent in the photo. For close-up images, though, in which an individual person or small group of people will be the obvious subject, it is best to ask first.
Money matters: When there is a commercial transaction between you and your subject, it often paves the way to ask to make their portrait. I’ve had good experiences photographing local street vendors, musicians, artisans, and shopkeepers after purchasing their wares or tipping them for their services. And of course it is usually fine to photograph singers, dancers, and musicians in a performance you have paid to attend, as long as local rules about photography are obeyed (sometimes you will have to pay extra for a license to photograph, and frequently flash is not permitted). But it can become a slippery slope when people begin to expect to be paid just for having travelers photograph them. In Peru we had many people, including young children, dress in traditional costumes and approach us to pose in photos for money. In an Argentinian mountain village we were even asked to pay to photograph a gentleman’s Saint Bernard dogs. In these situations, you’ll have to exercise your best judgment.
When can you shoot first and ask questions later?: It’s rare, but on occasion you will encounter situations when the “decisive moment” will be lost if you ask for permission to shoot. This is another judgment call. Just like when shooting street photography at home, I consider several factors when deciding whether to make an image of a stranger in a different part of the world. When I do see an amazing expression, gesture, or moment and decide to capture it before getting to know the subject, I will usually approach them and show them the image on the camera’s display, attempting to query whether it’s okay. A smile and an easygoing, open gesture can help when approaching. If the response is clearly negative, I delete the image on the spot and in front of the subject. Again, see the Golden Rule, above, and keep in mind that courtesy and respect make all the difference.

This was one of those situations when I shot first and asked questions later. The proprietor of Maria’s Cafe in an eco-village in Cuba’s rural Vinales Valley was standing on a balcony above the cafe surveying the activity below. I loved the way her contemplative expression and relaxed gesture were framed by the saturated Caribbean colors of the doorway, so I made this image right from our table. Later, when Maria came down to talk with customers, I showed her the photo and she was pleased with it. Buy this photo

Beyond these general guidelines, there are local variations. Do get to know the customs that prevail in the countries and regions you plan to visit. For example, in some cultures it is acceptable to stand very close to others when conversing, while in other cultures the social boundaries are much more pronounced. Sometimes it is fine to approach a child directly, but in other cases the first contact should be made with the parent or teacher. There’s quite a bit of local variation in the amount of small-talk people engage in before getting down to business. Knowing the local customs not only helps you make better portraits of the people you meet, but will also encourage deeper interactions and mutual respect.

In my experience, the camera is a wonderful bridge that enhances, rather than detracts from, making meaningful cultural connections with people while traveling. Just try to do it the right way!

Want to read other posts about what to shoot during your travels? Find them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

Do you have a good story to share about your experiences, positive or otherwise, in photographing people you met during your travels? What’s your approach to making portraits while abroad? How has photography enhanced your cultural interactions? Please post your thoughts in the comment box.

A “Fixer” for the Rest of Us [Encore Publication]: How you can leverage local resources to shoot like a pro

How do professional travel photographers on assignment create those amazing, make-your-jaw-drop images? You know, the photos we see when browsing the pages of a major travel magazine or website? There are several advantages the pros have, including technique honed over decades of practice, state-of-the-art equipment (with prices to match), and the ability to spend a lot of time at the same location, returning again and again until the time of day, lighting, weather conditions, and subject matter are perfectly aligned for a great shot. But one advantage available to the pros can be borrowed, at least in part, by the rest of us who love travel photography, too. That is the use of a “fixer,” a local expert who knows the region, the language, the culture, and the way to get things done, and whose expertise helps the travel photographer get those incredible shots.

While we were visiting a carpet weaving collective in Goreme, Turkey, our group’s trip leader introduced me to this worker who was enjoying a cup of Turkish coffee during her break. Buy this photo

If you are traveling on a group trip run by a good travel company, you may already may have a fixer working to make your experience (including your photographic experience) as rewarding as possible. The operator will likely have chosen an itinerary that will get you off the beaten path and into the settings where unusual and powerful images can be made. They will have arranged your accommodations and transportation well in advance of your departure. The company should have planned some activities and excursions that will allow you to interact with local people and see how they truly live. And best of all, they have provided you with a local expert, often called a trip leader or program director, who knows the lay of the land, speaks the local language(s), and can facilitate your getting the kinds of shots you want. This is of paramount importance when you want to have lots of interaction within a culture very different from your own, which I believe is the best part of traveling as a photographer.

For example, I made the above portrait after being introduced to the young worker at a carpet weaving collective by our trip leader in Turkey. He translated so that she and I could get to know each other a little bit first, and then asked her if I could make her portrait. It is certainly possible (I’ve done this countless times) to ask for yourself by using sign language, pointing to your camera, and smiling a lot, but having a local person with you can be a great help.

Sometimes, knowing where to go to seek out authentic cultural interactions works magic. I captured this shot of our host family during a home-hosted lunch on an estancia (ranch) in Patagonia.

Our hosts, Chango and his extended family, were happy to pose for a portrait after we enjoyed their hospitality on their Patagonian ranch. A local guide and good travel company can help arrange these kinds of authentic interactions. Buy this photo

Visiting a rural elementary school in Tanzania afforded us the chance to meet kids in the classroom. This type of experience would be hard to arrange while traveling independently, but a good group leader or guide can facilitate meaningful interactions with local people. Buy this photo

When the trip is scheduled specifically to attend a special event, it is especially vital to have a good leader who is adept at working with local professionals to plan all the details. For example, it was quite a major logistical feat to get a large group of scientists and photographers into place to study and view a total solar eclipse in a part of the world as remote and forbidding as Svalbard. Our trip leader partnered with an astrophysicist who is a world authority on eclipses, beginning years in advance of the solar event, to ensure we had the best chance possible of clear weather conditions and the right vantage point from which to study and photograph the eclipse. This is the sort of value that an expert fixer brings when you book a trip with one of the top companies.

Our eclipse expert and one of his students set up their gear on the morning of the total solar eclipse in Svalbard. Buy this photo

To be sure, there are some compromises required for group travel, and having access to a shared program director is not the same as having a dedicated personal fixer to arrange your photo shoots for you. I like to travel independently in places with developed infrastructure and where I can readily bridge the cultural or language gaps myself. That said, I also love to travel in small groups run by excellent travel companies, in large part because their planning, coupled with the knowledge of the local trip leader, helps me make those memorable images.

Want to read other posts about planning your travel photography? Find them all here: http://www.to-travel-hopefully.com/category/travel/plan/

Have you had a situation where you got your shot thanks to the knowledge of a local expert? How do you arrange your travel when you’re visiting remote parts of the world or when you want to have lots of interaction within a culture very different from your own? I’d love to hear your thoughts and experiences! Please respond via the comment box.

Sports Roundup [Encore Publication]: How to get amazing shots at sporting events

Whether we’re traveling afar or close to home, sporting events make for exciting photography. The thrill of victory and the agony of defeat (credit: ABC’s Wide World of Sports), the heroic effort, and the little moments of humor and repose amidst the adrenaline rush of competition: all of these elements can be captured in images of athletic events.

While every sport has its own rhythm and rules, there are certain techniques that apply across a wide range of sports photography situations. Let’s take a look at a few situations and discuss how to get the best images given the inherent challenges. Note that these photos were all made during outdoor sporting events; there are special challenges with many indoor sports, such as basketball or hockey, because the action remains just as fast but there is less light to work with, and the artificial lighting can impart an unnatural color cast. But that’s a topic for a different post.

Whatever the sport, I like to shoot from different perspectives, from wide to very close. The wider views show the environment as well as the athletes, so these make good establishing shots. But often the most compelling and dramatic sports images are the tight compositions, because they portray the athletes in a very personal and relatable way.

Below are two shots of the same rowing crew during the same race at a high school regatta. The first image was composed from slightly farther away and with a less extreme focal length (300mm), so the resulting composition is more environmental. It shows not only all the rowers and the coxswain in the shell, but also the width of the river and the surrounding scenery. This shot establishes the setting and gives the big picture.
Environmental shot of a crew racing at a rowing regatta. Buy this photo

Now here’s the same crew, but captured from a closer vantage point and using a longer focal length lens (750mm). This perspective isolates the athletes from the background and shows their expressions and postures. There’s certainly more drama here, at the expense of some insight into the environment.

A tighter shot of the same crew in the same race. Buy this photo

There are exceptions, such as when you choose to blur the motion to give a sense of the athlete’s grace, but as rule you want to use a fast shutter speed to freeze the action in sports photography. Very often that means shooting at 1/1000 of a second or even faster. Choose the Shutter Priority mode on your camera to gain control over the shutter speed, and be sure to select a high enough ISO setting to allow the shutter speed you require. If your camera has different auto-focus settings, you may find it helpful to choose a single-point focus setting if you know where the action will be, or a dynamic focus setting if the location of the action changes very quickly. For this image of a professional beach volleyball tournament, I chose single-point auto-focus so I could select the exact spot where the players would be jumping. I also find the best way to capture a great image in fast-moving sports (as with wildlife photography) is to set the camera to continuous or burst mode and continue to shoot rapidly through the action. That way, you’ll have several different images to choose from, and with luck at least one will have caught that “decisive moment.”

A fast shutter speed and single-point auto-focus allow the fast action of a beach volleyball competition to be captured precisely. Buy this photo

My favorite sports images portray the human element in a very personal way. This photo from a Spartan Race (an extreme athletic event that combines long-distance running with a supersized obstacle course) captures the strength and the struggle of the athlete as he nears the end of a long race through the 100-degree California desert. Keys to success in making this image were shooting from a vantage point low to the ground, using a medium-length prime telephoto lens with a large aperture to soften the background, and waiting for just the right moment.

An endurance athlete completes an obstacle near the end of a Spartan Race. Buy this photo

The fun of shooting a sporting event doesn’t end when the competition is over. Be sure to capture the dramatic and often humorous moments during award ceremonies and downtime during and after the action.

These athletes have finished their Spartan Race and strike a humorous pose at the finish line. Buy this photo

Want to see more posts on what to shoot at home and while traveling? See them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

What sports do you enjoy shooting? Do you have tips on how to get great sports images? Please leave a comment in the box after this post.

Focus on Shotgun Players [Encore Publication]: Making exciting images from a cold reading of a script requires good timing

Documenting the creative process in the performing arts is one of my favorite photographic subjects. Whether it be with dancers, actors, musicians, or any other artist, I love capturing the progression from beginning to final performance.

Tonight I was fortunate to be invited by a longtime favorite local theater company, Shotgun Players, to shoot their first cold reading of the script for their new production, “Nora.” Based on Ibsen’s masterpiece, “A Doll’s House,” this production is much needed during these troubled times in the US. Tonight’s reading was wonderfully executed. Introduced by a presentation by the director, the actors and stage manager interpreted the entire script with lots of dramatic affect and emotion. I can only imagine how superb the final production will be if the cast could develop this much excitement from a cold reading! I’ve also been invited to shoot the dress rehearsal, so I’ll report back with more images in about six weeks. The production of “Nora” runs from March 16 through April 16 in Berkeley, California.

The problem with photographing an unstaged script reading is that it is not inherently a compelling visual event. As exciting as a good reading can be for the live audience, a group of actors in street clothes sitting at a table reading from sheets of paper, and with no props, set, or lighting, can be a flat subject for images. To handle a situation like this, I suggest paying extremely close attention to the exact timing of your shutter releases so as to catch those telling moments where the actors are interacting vividly. It’s also a good idea to mix it up a little, so that the portfolio of images contains several different vantage points, perspectives, and other compositional tools. In today’s post, we’ll look at some of my images from tonight’s reading and discuss how they were made.

Selective focus can be quite effective in setting off one person or element from the others. Here I used a very wide aperture (f/1.8) to emphasize the stage manager in front against the soft background of the actor and table behind her. Note that while it’s always important to be very conscious of your backgrounds while shooting, in a visually stark situation like a script reading you should work extra hard to keep the background as simple and undistracting as possible. Buy this photo

I try to include all the key people in any event I shoot. It would be easy to capture only the actors reading the script, but I also made several images of the director (shown here), the stage manager, and the event organizer. Buy this photo

Timing is everything when it comes to photographing a visually simple event like a play reading, classical music rehearsal, or lecture. Try to wait for the moment of greatest emotional interaction. Buy this photo

There’s no rule that says all your images have to conform to the aspect ratio of your camera’s sensor. Here I cropped the image to a longer aspect ratio to include more of the actors and their interactions. It has almost a “Last Supper” feel to it. Buy this photo

Series work well to add excitement to your image gallery. This image and the next one together depict the climactic moments of the play, when the husband first shouts at his wife and she screams back at him, finally having gained some power in the relationship. Buy this photo

This final image is the second in the series described above. I love the intensity of both actors’ postures and expressions. If the cold reading can be this dramatic, I can hardly wait for the final run of the show! Buy this photo

What techniques do you use when shooting subjects that have less visual impact than the usual ones? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Baggage Claim [Encore Publication]: A photographer’s guide to how to pack for a trip

Special trips often require specialized gear. To photograph the total solar eclipse in Svalbard in 2015, I had to pack a heavy professional tripod, 500mm super-telephoto lens, a remote release capable of functioning in extreme cold, and a custom-made solar filter. Thankfully, most trips are easier to pack for. Buy this photo

Packing is never the most fun part of a trip, and the special challenges we travel photographers face can be particularly vexing. But with a few guidelines and some common sense, we can easily bring along just what photo gear we’re likely to need and still be able to make room for some socks and underwear. Here is my very opinionated guide to how to pack for any length and type of trip.

What type of trip are you taking?
- If it’s a driving trip directly from your home, you can bring all the gear your heart desires. Just be sure not to leave valuables in plain sight in the car when you step away for more than a moment (thieves love camera gear), and make sure you have a shoulder bag or backpack to carry just what you need for car-free excursions.
- If you’re flying (unless you have your own private jet, in which case you also need to make room for me on your next trip), you’re going to have to reduce the gear you carry to just the essentials. It is possible to customize the foam insert in a hard-sided case to hold your photography gear, and then you can check this bag in the hold of the aircraft, but this requires some effort to prepare the case for your specific gear and then you will likely find the case quite heavy to lug around for the land portion of your trip. And woe to you if your bag is misrouted, lost, or stolen. I recommend packing a carry-on item that meets your carrier’s size requirements and filling it with just the most essential gear you’ll need on your trip. More on that topic in a moment.
- For most purposes, a backpack is a good packing solution. There are many styles available for photo gear, but my favorites are these two:
  1. For those times when you need to bring most or all of your gear on a trip, I like the Tamrac 5586 Expedition 6x Backpack. It carries a lot of gear snugly and flexibly, and it doesn’t look like a camera bag so it’s less likely to invite the wrong kind of attention. It is almost always accepted as carry-on, but it is a bit bulky and heavy for all-day, everyday use while traveling. I’ll often use this bag to get all my gear to my first destination, then pack a day bag for just the gear I’ll need for each day of the trip.
  2. My current favorite bag for day use for nearly any shooting situation near home or while traveling is the Manfrotto MB MA-BP-TRV Advanced Travel Backpack. It can fit a reasonable amount of gear while leaving room for non-photography items like a jacket or a water bottle (yes, even photographers occasionally have to drink or stay warm). It disguises your gear pretty well, has good rain protection, and even sports a special sleeve for carrying the Manfrotto Be-Free Travel Tripod.
What types of shooting will you be doing on the trip?
- Will wildlife or astrophotography be involved? If so, you’re going to have to strain your back, anger the airline staff, and enlist your travel partner to help, because there’s really no substitute for a long and heavy super-telephoto lens in this situation. When I’m on safari or chasing a solar eclipse, I pack my massive 500mm lens into the larger of my two backpacks and accept my fate. You’ll realize it was worth the effort when you get home and are able to share your amazing photos of a leopard in a tree or the sun’s corona on full display during a total solar eclipse.
- For most other types of trips, you won’t need to pack a really long lens. My general rule is to pack a range of zoom lenses that covers from fairly wide (about 16mm) through fairly long (about 300mm), including a couple of fast prime lenses for when the light is low and/or the very best optical quality is required.
How much redundancy do you need on the trip?
- Always bring a backup battery (or several) and a backup battery charger. Murphy’s Rule as applied to travel photography guarantees that batteries will die just as you frame the shot of a lifetime. Bring at least one extra. And chargers are left in hotel rooms or in tented camps on the Serengeti with some regularity, and they tend to get fried when plugged into unusual power grids, so bring an extra one with you.
- Don’t forget the little things. Pack several power adapters of the type used in the countries where you’ll be traveling. These get lost easily and can be hard to replace while traveling. Bring twice as many memory cards as you think you’ll require; it’s easy to fill them up when you get to shooting a mountain gorilla or carnaval dancers. If you plan to back up to a laptop or external hard drive, bring extra connecting cables. While traveling, I back up to a second type of memory card using my camera’s second card slot, so I bring quite a few memory cards of both types with me.
- Lenses are heavy and expensive, but they sometimes stop working, so if you’re on a particularly important trip you may want to bring several lenses in overlapping focal lengths. That is, you could bring a wide-angle zoom lens and a wide-angle prime lens, plus a walkaround zoom lens and a “normal” prime lens (about 50mm for a full size sensor or about 35mm for a crop sensor), plus a telephoto zoom lens and a telephoto prime lens or two telephoto zooms with overlapping ranges.
- If it’s a once-in-a-lifetime chance to build your portfolio with very special and irreplaceable images, I recommend bringing a backup camera in addition to your primary camera. For a recent safari trip in East Africa, I brought two DSLR bodies as well as quite a few lenses so that I’d have a backup solution to any single point of failure. The more exotic your destination, the more likely that dust, wind, salt, extreme heat or cold, and heavy shocks or drops will damage your gear, so for those amazing one-of-a-kind trips I suggest biting the bullet and carrying backups for any gear that could fail. For more on shooting in extreme conditions, read this post: Post on Extreme Conditions
What accessories do you need to accompany the rest of your gear?
- Attach a UV filter to each of your lenses before you leave and keep it on to protect the front element of the lens throughout your trip.
- Carry a polarizing filter and a range of neutral density filters in the correct diameters to fit at least your wide-angle lens and your walkaround lens.
- For more on filters, read this post: Post on Filters
- A flash unit is helpful to have on most trips, unless you’re sure there will be ample natural light or you’re willing to use your camera’s built-in flash.
- A good lightweight travel tripod with a head and mounting plate that suit your needs is essential gear on many trips.
- Don’t forget any special-purpose gear that you need for just this type of trip. When I travel to see a solar eclipse, for example, I need to be sure I bring my solar filter that attaches to my super-telephoto lens. I also need to bring my heavy-duty professional tripod instead of the lightweight one I typically carry on trips.
How will you be shooting from day to day during the trip?
- If you’ll have constant vehicle support or won’t be going far from your hotel, you may be able to make do with just the bag you brought on the plane. Or you can bring along a small shoulder bag to carry just a few items for the day’s shoot.
- Most of my trips involve considerable hiking and public transportation from day to day, so I either carry everything in my smaller backpack or bring it along in checked baggage during the flight. Then I can transfer just the gear I need for each day’s shoot into the smaller pack, which makes life easier when hiking 10 or so miles per day.

For a safari you will need a long lens to capture small or distant wildlife. I recommend bringing a beanbag for camera support instead of a tripod, as the latter cannot be used in a safari vehicle. Be sure to bring an extra camera and lenses, and carry more batteries and memory cards than you think you’ll need. Buy this photo

Of course, if you use a mirrorless camera with only a couple of compact lenses or an advanced point-and-shoot camera, you do not have to worry about many of these items, but still be sure to review the list above to ensure you bring all required accessories.

With an overall strategy tailored to your itinerary and shooting style, and careful attention to execution to ensure you don’t forget anything, it’s really not that difficult to pack just what gear you’ll need in a way that will allow you to enjoy your trip when you’re not shooting. After all, travel is about gaining experiences, and not all of those experiences can or should be photographed. Pack for your photography, but also for your overall travel enjoyment.

What are your hacks for packing your photo gear for a trip? Please share your tips and tricks in the comments box here.

Want to read more posts about how to plan for your travel photography? Find them all here: Posts on Planning.

Luck Favors the Prepared [Encore Publication]: Tools for planning your shot

It was Louis Pasteur who said, “Fortune favors the prepared mind.” We usually hear the quote paraphrased as, “Luck favors the prepared.” For travel photographers, there is often a great deal of luck involved in capturing a truly great image, but there are some very useful tools that we can use to help us plan to be in the right place at the right time with the right gear. Let’s look at just a few of my favorites.

I’ll start with a quick review of the most obvious resources. I would never plan an hour-long photo shoot, let alone a month-long trip to a far-flung travel destination, without doing some research. What are the must-see locations, and what dates and times of day are perfect for each one? What are the events or activities that most authentically represent the locations I am visiting? Is there a livestock market, a street festival, or a religious celebration taking place while I’m in the region? How can I build an itinerary that best incorporates all of these locations? Great resources for this type of research include guidebooks (online and hardcopy), online review sites such as Trip Advisor and Yelp, mapping and navigation apps (Google Maps is still my all-around favorite, but several others have their own advantages), and local weather sites. I like to build my itinerary by customizing an online map to show all of the locations I’d like to visit, then creating a routing that links the locations in the proper order. If travel by air, rail, bus, or boat is involved, I research those schedules and fares to determine the best way to get from one place to the next. Airline consolidation sites such as Orbitz can be quite helpful for finding the best flights at the best prices. If the itinerary has been pre-planned by a travel company, then I will still do most of this background research to better understand the locations we’ll be visiting.

Once I know where I’ll be going and what events I plan to shoot, I develop a shot list. Some photographers craft very detailed and specific shot lists, but I like to keep it quite flexible and informal, often simply jotting down my ideas in the calendar event on my phone that is associated with each planned shoot. After all, if I adhere too closely to a shot list, I will just end up with the same images that hundreds or thousands of other visitors have captured after doing the same research. Serendipity and the artist’s eye have their place in travel photography, too. The research phase can also inform me as to what clothing, gear, and other essentials I should bring to each location.

Now I’d like to introduce three smartphone apps that I consider indispensable for travel photography. First, there’s Photo Pills, an app that incorporates several essential tools into one package. I use Photo Pills for planning shots where I need to know how to get all the elements, including location, date, and time of day, to come together. For example, during the Perseid Meteor Shower, I wanted to find a dark sky location with a nice foreground and a view toward the galactic core of our Milky Way. This way, I could capture images including the meteor shower, the Milky Way, and the pretty landscape in the foreground. I had a location in mind, a beautiful spot where there isn’t too much light pollution and with a gorgeous view over a reservoir and the Santa Cruz Mountains. The Planner tool in Photo Pills allowed me to visualize the foreground as viewed by my phone’s camera, superimposed against the Milky Way as it would appear on different days and times of day. I planned the shot for a certain time on each of several consecutive days, confirmed that the Milky Way would be rising in the desired direction and that the nearly full moon would have already set, and then waited for clear weather. The first night of the meteor shower was cloudy, but the second night was the charm, and I was able to capture this striking image.
Using the Photo Pills app on my smartphone, I was able to plan in advance for a location, date, and time that would maximize the chances of capturing the Perseid Meteor Shower and Milky Way over the lovely Crystal Springs Reservoir. Buy this photo

Here’s a screenshot of the Planner tool in Photo Pills that I used to prepare for this shoot.

The Photo Pills app has a number of tools to help plan and execute your shots.

Another useful app for planning the best locations, dates, and times for your shoots is TPE (The Photographer’s Ephemeris). I find this tool to be especially helpful for visualizing the path of the sun and moon across the field of view for any location I select. This app is very powerful, and I have only scratched the surface of what it can do to predict and prepare for photo opportunities.

The Photographer’s Ephemeris (TPE) is a powerful tool for planning any outdoor photo shoots.

A final app I will mention here is called Easy Release. Sometimes (read this post for details about model releases), we need a model release when a person or several people are clearly identifiable in a photo. I know some photographers who carry hardcopy model releases with them wherever they travel, but I find this to be cumbersome and impractical when on the road shooting. Instead, I use Easy Release on my phone, so I’m always ready to quickly prepare a release for a new friend to sign when they appear in my images. Even though the app has the ability to translate the text of the release into several languages, there are situations in which it isn’t reasonable to try to explain to a local person what’s in the release and why it’s required. Furthermore, I consider it to be exploitative if the person can’t reasonably be expected to understand what’s in the document or why they should be signing it. But there are times when having immediate access to a model release that can be prepared, signed, and stored right on my phone is a big advantage.

Easy Release is a convenient tool for creating, signing, sharing, and storing model releases when a person is clearly identifiable in photos.

With proper planning using readily available resources and various apps including the ones I’ve presented here, we can be better prepared to maximize our chances of capturing memorable images. Happy shooting, and remember that luck favors the prepared!

Do you have a favorite tool you use to plan for your photo adventures? How have you used this tool to get your shot? Please share your experiences here.

Want to read more posts about tools for planning your travel photography? Find them all here: Posts on Planning.

Focus on Mardi Gras SF: New Orleans and Latin American colors and sounds in San Francisco

Anyone who reads “To Travel Hopefully” at least occasionally knows that I’m a major lover of street fairs and festivals. Nowhere else can you capture the colors, sounds, flavors, and feel of a city’s local culture as readily. I’m fortunate to live in the San Francisco Bay Area, where there are literally hundreds of diverse and fascinating festivals each year. Probably my favorite of all is the annual Carnaval celebration, a pan-Latin outpouring of samba dancing, music, color, culture, and even cars. Anyone in San Francisco can tell you that Carnaval here takes place in late May, thanks to the rather chilly weather that prevails during the more traditional carnival season around Mardi Gras in February. But Carnaval SF has a lesser-known cousin, Mardi Gras SF, that does indeed take place at the same time Mardi Gras is celebrated in New Orleans, Rio de Janeiro, Martinique, and other places around the world. Today’s post focuses on yesterday’s Mardi Gras celebrations all around the city of San Francisco, during which the music, traditions, costumes, and dancing of the world’s more famous carnivals comes to California for one crazy night.

New Orleans style mummers dance along with the dixieland music in a parade in San Francisco’s Hayes Valley neighborhood. I wanted to capture a sense of the chaos even while making a portrait of just these two revelers, so I used a shallow depth-of-field to throw the closer woman into slightly softer focus. Buy this photo

At this time of day there was enough natural light remaining to make this portrait without any fill flash. During post-processing in the Lightroom application, I adjusted the contrast and exposure, enhanced the vibrance, and used just a touch of post-crop vignetting to bring out the main subject. Buy this photo

The classic Victorian townhouses known as “painted ladies” attest that this scene is taking place in San Francisco, but the foreground subject is pure French Quarter. To gain this perspective on the scene, I climbed on top of a bench and used a wide-angle lens. I was careful to keep the camera level so as not to distort the image, and I further corrected the perspective during post-processing. Buy this photo

I rushed across town to the Mission District, an historically Latino neighborhood, where a different sort of parade was beginning. This parade is styled as much on the Latin American carnival traditions as on the New Orleans creole traditions. This portrait documenting the preparations of one of my favorite Carnaval groups, Viva la Diva, was made as the parade was forming. I used an off-camera fill flash with its power dialed down by one stop to saturate the colors and set off the main subject from the background. Buy this photo

I loved this reveler’s carnival mask, so I asked her if I could make a portrait. I used a classic 85mm portrait lens and got in close to minimize clutter in the background, using a bit of off-camera fill flash. Buy this photo

Another example of a portrait shot close to the subject using a touch of fill flash. I use an effective and inexpensive cord to tether my speedlight to the camera’s hot-shoe, while I hand-hold the flash off to the side and away from the camera. To learn more about this gear and technique, read this earlier post: Post on Off-Camera Flash. Buy this photo

I have been working with the group Viva la Diva for several weeks already to document their preparations for San Francisco’s big Carnaval parade in late May, so I made certain to capture these lovely ladies during the smaller Mardi Gras celebrations. Once again, the secrets to making a stunning portrait are to establish rapport with your subject, use a moderate and fast portrait lens, get in close, use a wide aperture to throw the background into soft focus, throw in a touch of fill flash to isolate your subject even more, and shoot several frames to ensure you capture just the right moment. It takes practice, but it really isn’t that difficult, and the results are truly eye-catching. Buy this photo

Kids are great fun to photograph. This group of youngsters from a nearby school wanted to dance with the Viva la Diva samba dancers. I got down low so as to shoot them from their eye level, and I held the flash up high so as to light them evenly and without harsh shadows. Buy this photo

Viva la Diva! Even though by this time of the evening there was effectively no ambient light, I was still able to capture a portrait of the Divas without the glaring artificial color cast that is typical with images lit mostly by flash. The keys to success here are to use a diffuser on the flash head, get the flash off-camera, hold it very close to your subject to soften the lighting further, and adjust in post-processing. Buy this photo

Do you have favorite local events you love to shoot? Which ones, and what techniques do you use? Please share your stories here.

Want to read more posts about what to shoot while traveling or close to home? Find them all here: Posts on What to Shoot.

Focus on SAFEhouse Resident Artist Workshop [Encore Publication]: Documenting three very different and exciting new dance pieces

Recently I had the privilege of shooting both the tech rehearsal and first performances of three new dance pieces by very different, wonderfully talented, resident artists at San Francisco’s SAFEhouse for the Performing Arts. SAFEhouse is a unique program that incubates emerging artists by giving them studio space, expert guidance, and public performances so they can grow and develop new work. I thoroughly enjoyed getting to know each of the resident artists and having the opportunity to experience and document their pieces.

Each artist and work created a very different emotional affect, so I worked hard to shape my images according to how the performances made me feel. As photographers we have the capability, like a painter or poet or dancer, to create our art in accordance with our emotions. This is a point that is too easily forgotten when we’re out in the field shooting. Today’s post shares a few of my favorite images of the tech rehearsal and performance for each of the artists, along with some brief discussion of how the images were made.

Dancer mia simonovic rehearses her highly improvisational new piece, “residue1”. I loved her brave and fluid expression through motion of the feelings and sensations that were passing through her in the moment. This work requires not only real-time improvisation but also the courage to be completely vulnerable on stage. To capture the spirit of her piece, I made a series of images (one of which is shown here) of mia dancing with her own shadow. I felt this image would be expressed most authentically in black-and-white, so I made the conversion to monochrome during post-processing. Buy this photo

Seeking another method to capture the elusive and transient spirit of mia’s piece in a still image, I decided to try a series of images using a slower ISO and shutter speed to create some motion blur. To enhance this effect, during post-processing I increased the contrast and vibrance until the visual impact came close to matching the emotional impact I felt during her piece. Buy this photo

The next artist was Arina Hunter. Her piece, “Dyspnea,” was unusual in that, instead of using a prerecorded sound score, she accompanied her motion entirely with sounds made by her own body. Because these vocalizations and body percussion sounds were very soft compared to amplified music, I was able to make only a few images during her performance so as not to disturb the audience members. Fortunately, I was able to capture many nice images during Arina’s tech rehearsal. This one nicely captures her lovely expressive hand motions and facial gestures. Buy this photo

Arina’s piece was very physical and covered a wide range of moves, poses, and expressions. Here I captured her floor work by getting lying down on the floor of the stage myself so that I was shooting at the same level as her face. Buy this photo

The final piece was presented by Maligrad Contemporary Dance Company, directed and choreographed by Molly Fletcher Lynch-Seaver. This powerful performance spoke to me of violence and our complicity in standing by while it happens. I wanted to capture this scene the way I felt it, which was like a gang rumble out of the movie “West Side Story,” so I shot straight into the action, allowing the brick walls and girders to frame the image, and converted to black-and-white during post-processing. Buy this photo

This image was made near the end of Maligrad’s tech rehearsal. When composing an image in which there’s a lot going on, I find it helps to think like a painter, specifically asking myself, “what elements do I want in the image vs. not in the image, and how do I want to arrange them?” Buy this photo

During Arina’s live performance, I was only able to capture a handful of images due to the quiet sound score. This was a favorite, as it reflects her expressive gestures in face, hands, and body. Buy this photo

Because mia’s piece is so improvisational, it unfolded very differently in the live performance than in the tech rehearsal. Knowing this in advance, and also knowing I could not move around during the performance like I could during the rehearsal, I just let myself be moved by her work, capturing the moments that spoke most strongly to me. This image was made by shooting straight on but has a nice, soft visual appeal that matches her contemplative motion. Buy this photo

This image, made during Maligrad’s live performance, is another example of the choices we photographers must make when framing a scene that includes multiple elements at different distances to the camera. I chose to emphasize the dancer in the foreground by using a very narrow depth-of-field (low F-stop number), because I felt the story here was her pain at observing the warlike behavior of the background dancers. Buy this photo

The final performance of the new works by these three artists-in-residence was Feb. 9, but if you live in the S.F. Bay Area you can follow their work and also look for other upcoming events at SAFEhouse for the Performing Arts. I hope you’ve enjoyed my images and that I was able to provide a sense of how to shape our images to match the emotional feelings evoked by a performance.

How do you transform your emotions into images? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

When You Get Back Home [Encore Publication]: An introduction to the essentials of postprocessing

You may want to share some of your favorite images with friends and family right out of the camera while you’re still traveling, and as long as you’re not sharing so broadly that potential thieves may be alerted to your absence from home, that’s a fine thing to do. To enable immediate and easy sharing, you can choose the setting available on many cameras to shoot both RAW and JPG files; the JPG images will often look pretty decent for sharing when they come straight from the camera, and you still have your much more detailed image data saved in the RAW files.

But when you get home from your trip, it’s worth making the effort to catalog and post-process the RAW files of your favorite images so that they will look their very best and so you will be organized for finding them in the future. I’ll cover how to organize your catalog of images in a later post, but for now let’s take a look at the essentials of post-processing.

There are many software applications available to perform these tasks, but I strongly encourage you to check out Adobe Lightroom. I use this tool, and nearly all professional and enthusiast photographers I know also use it. You can license it along with other Adobe software on a pay-per-month basis as part of Adobe’s Creative Cloud, but it can also be purchased with a perpetual license (i.e., you purchase the software once and can use it forever), which is how I acquired it.

Once you have Lightroom installed on your PC, it’s easy to import your images from your camera’s memory card or from your PC’s hard drive and to organize your catalog of images using the software’s Library module. When your images are in your Lightroom catalog, the software allows you to perform all post-processing you desire using its Develop module. After shooting the image, my second-favorite part of the digital photography process is enhancing the the image in the Develop module. The software package even gets its name, Lightroom, as the new digital equivalent of the work we older photographers formerly had to do in the darkroom, such as dodging, burning, and cropping our film negatives to get the images looking their best.

As an example of how a little post-processing can dramatically enhance an image, let’s take a look at a night shot I made of Copenhagen’s Christiansborg Palace, the seat of the Danish Parliament. Here’s the “Before” picture:

Lightroom’s Develop module

The beauty of Lightroom’s method is that it doesn’t actually change your original image files as you edit them. Instead Lightroom saves a roadmap of the various edits you make and stores this list of adjustments along with a pointer to the original file. This is called “non-destructive editing”, and it allows you to edit your images to your heart’s content without overwriting or changing the originals at all. You can go back as many times as you want later to revisit your edits and change them again and again.

Let’s look at this process in more detail. Here is the basic Lightroom Develop module screen:

lightroom develop module

The left bar shows a thumbnail of the image you’re working on and a list of the most recent edits you have made. The central part of the screen shows a larger version of your image and this can be zoomed in and out to work on details or the whole image. The right bar has a histogram (a graph showing how many pixels in the image are at each brightness level from totally black to totally white) at the top, then a toolbar from which you can choose some of the editing tools quickly, and then a large area with sliders (only some of which are shown in this screenshot) that you move left or right to adjust various elements of your image. The editing tools in Lightroom are comprehensive enough that I find I very rarely need to import an image into Adobe Photoshop to make really sophisticated edits; nearly all of the time, I can perform all of my post-processing using only Lightroom.

Some photographers spend a lot of time making major enhancements to their images, but I like to try to adjust my camera’s settings precisely enough that the image is made in the camera the way I envisioned it when shooting, so that I need to make only minor adjustments in post-processing. While the exact steps of post-processing will be different for every image, here is my basic workflow (note that for the most part, I work from the top to the bottom of the adjustment tools found in the right bar):

Adjust the white balance as needed. Remember my advice to always shoot in RAW mode. One of the advantages of RAW files is that you can adjust the white balance in post-processing, regardless of what your camera’s white balance controls were set for while you were shooting the image. In JPG files you have much less control over the white balance after the fact. Just choose a different preset white balance type (such as Daylight, Shade, or Flash) from Lightroom’s menu, or create a custom white balance yourself.
Adjust the exposure as needed. Use the histogram and the image preview pane to lighten or darken the whole image until it looks best.
Adjust the contrast as needed. Increasing contrast gives more separation between the darkest and lightest portions of the image, while decreasing contrast does the opposite. I find that most images require the contrast to be increased slightly to moderately.
Adjust the highlights and shadows as needed. Highlights are the brighter parts of the image, and I find that often these need to be reduced in brightness to regain some detail that may have been lost in the camera. Shadows are the darker parts of the image, and often these need to be made brighter to bring out lost shadow detail. After the highlights and shadows have been adjusted, you may need to adjust the whites and blacks (very brightest and very darkest points in your image) if there are extremes of contrast present. Most of the time I do not need to change the white and black points.
Adjust the clarity as needed. The clarity slider changes the contrast of the middle tones (neither the darker nor the lighter parts) of the image. Usually images need a subtle increase in clarity to bring out the details in the texture. Don’t overuse this tool or the image can become unnatural looking.
Adjust the vibrance and/or saturation as needed. Both of these sliders will change the concentration of the colors in your image, but vibrance tries to avoid changing the color of skin tones so images with people will often look more natural after increasing the vibrance than after increasing saturation. Occasionally you might need to make adjustments to both vibrance and saturation, but usually I find a subtle increase in vibrance is sufficient. Again, don’t overuse these tools or your image will start to look exaggerated and surreal (unless you’re going for those effects).
Adjust the concentration of individual colors as needed. Each color channel has its own slider to increase or decrease its saturation. I don’t use these sliders often, but occasionally you may want to increase or decrease the saturation of just a single color. For example, when shooting a landscape with sky or water, you may want to increase the blue saturation to bring out those parts of the image.
If you want to work on your image in black-and-white, the color channels area is the tool I use to do the conversion from color to monochrome. Click on the “B&W” tab above the individual color channel sliders, and then adjust the mix of how the colors are blended by increasing or decreasing each color’s slider to see how the black-and-white image looks. I find that I often have to readjust the contrast slider at this point to get the image looking its best in black-and-white.
There is some sharpening already applied to your image file by default, but if it looks too soft in the important areas, you can dial in some additional sharpening.
When the image you’re editing was shot at a high ISO (sensitivity) and/or a very long shutter speed, there will likely be some noise in the image. This can be managed somewhat in Lightroom’s noise reduction tool.
Under basic lens corrections I will usually select all three of the check box items. Lightroom knows how most camera and lens combinations work and can eliminate many of the optical glitches that would otherwise show up in the image. Under manual lens corrections, I may need to rotate the image if the horizon wasn’t level when it was shot.
All of the above adjustments affect the entire image. After completing these adjustments, it’s time to make any selective adjustments that affect only a selected part of the image. These selective adjustment tools can be found in the toolbar just below the histogram.
Of these selective adjustment tools, the most generally useful is the cropping tool, which of course allows you to remove unwanted portions of the image on the sides, top, or bottom. It’s always best to try to compose the image correctly in the camera, but cropping is often still needed in post-processing.
The spot removal, filters, and adjustment brush are more complicated selective adjustment tools that can easily be subjects of additional posts in their own right.

These steps usually won’t all be needed for any one image. If you have several images that were shot under similar conditions, you can select them all in the Library module and turn on Auto Sync, which then allows you to make the adjustments only once and apply them to all the selected images. Another big time saver is creating your own presets, which are saved routines that you can call at the click of a button to automate tasks that would otherwise have taken multiple steps. Unlike Photoshop, Lightroom was designed by Adobe specifically for photographers to use, so it is set up in such a way as to make life much easier for us to organize, edit, and share our images.

Here is the “After” version of our sample image of Copenhagen by night. You can see how a few simple edits during post-processing can really make an image pop.

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I hope you’ve found this very basic introduction to the essentials of post-processing to be helpful. Now it’s your turn. What are your go-to techniques in editing your images? Do you have tips and tricks that you’ve found make your life easier after you return from a trip? Please share your thoughts in the comment box at the end of this post.

Want to read more posts about post-processing your images? Find them all here: Posts on Post-Processing.

Focus on Naatak “Airport Insecurity”: America’s premier Indian theater company launches a very timely show

Last night I had the privilege of shooting the tech rehearsal for Naatak’s new production, “Airport Insecurity.” This is a vibrant and engaging show that is also very timely given what’s been going on in the news lately regarding immigration and several nations’ misguided attempts to secure their borders. Naatak is America’s largest Indian theater company and I’ve been a fan for many years. If you live in the San Francisco Bay Area, do try to catch a performance of the show, which runs through March 4 at Cubberley Theatre in Palo Alto. You can learn more at Naatak’s website: Naatak “Airport Insecurity”.

Today’s post shares some of my favorite images from the tech rehearsal, including some behind-the-scenes shots of the actors preparing and the crew finishing the sets. Although the play is based on a true story about an Indian-American techie stranded in a German airport, I will refrain from providing commentary on the action in each image, so as not to spoil the narrative. I will, however, provide a few technical tips regarding how the images were made.

Often the most compelling images of a theater production are not the ones made on-stage. I always try to capture the backstory and behind-the-scenes activities, like this impromptu moment during make-up. Buy this photo

It would be distracting and even potentially dangerous to use flash when construction is under way, so I used a fast prime lens and a high ISO setting to capture this image using available light. Buy this photo

When possible, such as during a tech or dress rehearsal, I like to get down onto the floor of the stage to capture the action from a unique viewpoint. Buy this photo

Sometimes a medium telephoto lens provides just the right perspective, in this case intimate without being intrusive. Buy this photo

Careful attention to timing and to composition can elevate still images of theater. Buy this photo

To capture this emotion-packed scene, I got in close using a medium telephoto lens and shot from the perspective of someone witnessing the interaction in the same room. Buy this photo

I’ve said it before and will doubtless say it again: Shoot plenty of images in a continuous sequence to increase the odds of capturing just the right moment. Buy this photo

To portray the couple’s sadness over their physical separation, I shot from the apron of the stage near the husband and chose a wide aperture so as to render the far-away wife in soft focus. Buy this photo

A moment of celebration captured using a fast shutter speed. To execute images with fast shutter speeds using available light only, I needed to use a fast lens nearly wide-open and a high ISO setting. Buy this photo

The play’s final scene provides a sense of closure, so I wanted the image to be warm and reassuring. The most pleasing perspective when making full-body images is frequently obtained by shooting parallel to the middle of the subject’s body. Buy this photo

Curtain call! I don’t like the distortion introduced when shooting a cast with a wide-angle lens, so to fit the entire cast in the frame using a normal lens, I moved to the back of the auditorium. Buy this photo

How do you translate dramatic performances into still images? Please share your thoughts here.

Want to read more posts about what to shoot while traveling and near home? Find them all here: Posts on What to Shoot.

Amazing Landscapes [Encore Publication]: How to make images that capture the spirit of the place

I love landscape photography. To create a really successful landscape image, several elements have to converge: the lighting must have a pleasing quality, objects in the foreground and/or middle ground should be intriguing, leading lines should take the viewer on a journey through the image, and (usually) the sky must be dramatic and compelling. I shoot a lot more mediocre landscapes than great ones, but when all the stars align (sometimes literally, during astrophotography shoots) and all those compositional elements are in place, the results can be amazing.

Let’s take a look at some of my favorite landscape images and talk about how they were made.
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While traveling in Svalbard to view the total solar eclipse of March 2015, my wife and I booked a safari via snowmobile to search for polar bears. We covered 80 miles by snowmobile, much of that after dark. The temperature averaged -5 degrees, with wind chill about 25 below zero Fahrenheit. We rode out to an area now used as a campground, where an early settler and his wife lived a century ago. This was glorious, otherworldly scenery encompassing ice fields, mountains, and the icy Barents Sea. Svalbard is located so far north (closer to the North Pole than to mainland Norway) that the sunsets last for hours, so I set up my gear at the edge of the Barents Sea, composed the frame so that the eye is led out to the horizon by the slabs of ice and the range of mountains, and waited for the best light. A polarizing filter added some drama to the sky. A very long exposure was not necessary because there was no point to trying in blur the frozen water. I shot several frames before the light became too dim and the temperature too bitter to continue. This shot was the keeper!

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This landscape was shot during a recent trip through Turkey and is a good example of how sometimes we photographers just get lucky. On arriving in the Cappadocian village of Üçhisar, we were thrilled to learn our hotel room was inside an ancient cave dwelling. We awoke at 5:30 AM the next morning to the sight out our cave-hotel’s window of hundreds of hot air balloons launching above the “fairy chimneys” that dominate the Cappadocian landscape. I got (mostly) dressed and rushed out onto our balcony, set up the camera on the lightweight travel tripod I carried on the trip, put on a wide-angle zoom lens, and started shooting as the sun rose. I bracketed the exposure but because the light was perfect in this one shot, I did not end up combining multiple exposures into an HDR (high dynamic range) image. Instead, this shot, one of the first of the morning’s session, was the clear choice.

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Chile’s Torres del Paine National Park is catnip for landscape photographers. There are so many glorious subjects here that you can go crazy trying to photograph everything. But Patagonian weather is notoriously changeable, and group travel doesn’t always afford photographers the chance to shoot at the right place at the right time of day with the right weather. Fortunately, on our second night at the lodge on Lago Gray, I could see all the conditions were lining up for an epic image. I skipped most of an excellent dinner so that I could set up my gear on the deck: camera with wide-angle lens, polarizing filter, steady tripod, and remote release. I framed the image with a nice balance between sky, mountains, glaciers, lake, and foreground foliage. And I started shooting. I bracketed the exposure with 7-shot bursts, each one stop apart. Later, in postprocessing, I combined a few of the shots from one burst into an HDR (high dynamic range) image using Lightroom’s photomerge feature.

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Closer to home, Yosemite is another photographer’s dream location. While hiking to Dog Lake in Yosemite’s Tuolumne Meadows area, a freak hailstorm hit. Suddenly the sky was hurling hailstones in biblical style and the formerly placid surface of the lake turned black with the force of the pelting ice. What’s a photographer to do? Start shooting, of course! A tripod was impractical under these conditions, so I used a relatively fast shutter speed and shot handheld. I took a series of bracketed exposures and combined them later using Lightroom into an HDR (high dynamic range) image. For me, this image works because of the tension between the peaceful foreground of tree trunk and reeds, contrasted with the ominous sky and turbulent water. The fallen tree and edge of the grasses provide nice leading lines from the peaceful to the violent portions of the frame.

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Another California landscape, this image was shot in the gorgeous Point Lobos reserve on California’s Central Coast. As sunset neared, I set up camera and tripod right on the beach, shooting down onto the rocks and Pacific Ocean. I used a neutral density filter to allow a very long exposure so that the water would blur. I also attached a polarizing filter in an attempt to darken the sky and add drama to the image, but having two filters on the wide-angle lens did lead to some vignetting (the blocking of light at the edges of the photo), which I had to crop out in postprocessing. This image was made from a single exposure with only minor adjustments to bring out the shadow details and saturate the colors.

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This year’s Perseid Meteor Shower was more active than we’ve seen in many years. At the peak night of the shower, I headed out to a spot where a break in the trees allows a view over Crystal Springs Reservoir and the Santa Cruz Mountains. We waited until about 2 AM so that the meteor activity was at a peak and the lights of the nearby towns were no longer bright. Shooting with a wide-angle lens and a heavy professional tripod, I framed the image to include a pleasing foreground with trees, reservoir, and mountains, with most of the frame covering the dark sky. I used a star finder app to shoot toward the galactic core of the Milky Way. I set the camera to make 25-second exposures at f/4 and ISO 1600. At this focal length, exposures longer than 25 seconds will cause the stars to appear blurry due to the motion of the earth. And then I just kept shooting, one exposure after another, for nearly two hours. Four meteors passed through the part of the sky in my image area during this time, and I combined the images that included them into one merged image using a software application called StarStaX. While I like this image a lot, it could have been improved by finding a darker sky area (the lights from a nearby city caused the orange glow at the top of the mountains) and by bringing out the Milky Way a bit more prominently. Now I know what to do during next year’s Perseid Shower!

A good wide-angle zoom lens is a must for landscape photography. Many of the images featured in this post were shot with my Nikon 16-35mm f/4 lens. It’s got great image quality and is well built, and I find it’s a great alternative (except perhaps for astrophotography where the extra speed is required) to the popular but very expensive Nikon 14-24mm f/2.8.

Want to see more articles on how to shoot travel images? Find them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

Now I’d love to hear from you! What are your favorite landscape images, and why? To what lengths have you gone to capture landscape photos? Please share your thoughts in the comment box at the end of this post.

Focus on Naatak Mela ’16 [Encore Publication]: Five short plays in five different Indian languages

Note: Naatak’s next production, “Airport Insecurity,” runs from Feb. 24 through Mar. 4, 2017. You can find more information here: Naatak “Airport Insecurity”.

Last December I was privileged to be invited by Naatak, America’s preeminent Indian theater company, to shoot their annual festival of short plays, Mela ’16. I’m a loyal follower of Naatak, so I was thrilled to have the opportunity to photograph this exciting production.

The program is comprised of five short plays, each performed by a different cast and in a different Indian language. I found all five plays to be powerful and vibrant, and truly enjoyed their diversity. It was also a treat to get to know some of the cast, directors, and staff at Naatak. In this post, I share a few images from the event along with some tips about photographing live indoor performances.

The lighting at Mela ’16 is first-rate, probably the best I’ve ever encountered when shooting live indoor performances. This aids photography in two ways: 1) The color balance appears quite natural, and 2) The lighting is bright enough that you can shoot using a fast shutter speed and still keep noise to a minimum by choosing a reasonable ISO setting.

The first play, “Immortal,” is presented in Bengali and is based on a short story by Satyajit Ray. It’s a mystery involving the unexpected death of a prominent scientist and treats themes of intellectual property rights, scientific ethics, and of course a love triangle.

With good continuous tungsten lighting handled by a talented tech staff, live indoor performances are a joy to shoot. I used a fast normal lens and a fast portrait lens, both of them primes, so I could select a fast enough shutter speed to freeze action and still choose a slow enough ISO setting to minimize noise. Buy this photo

The second play, “The Goat Slaughter Game,” is presented in Tamil and based on a short story by well known children’s author Roald Dahl. It reminded me of an Agatha Christie mystery, but I won’t divulge which one so as not to give anything away.

During action scenes, try to anticipate the “decisive moment” when the drama unfolds. When something key is happening, shoot liberally so as to maximize chances of capturing just the right instant. This image is powerful because it captures the instant around which the whole play hinges, and because the fast shutter speed freezes that moment and the shallow depth-of-field isolates each of the two characters. Buy this photo

The third play, “Look How Artfully I protected You,” is presented in Gujarati and based on a work by George Bernard Shaw. This little farce is packed with drama and action, Bollywood-style. The costumes and set provide vibrant colors and contrasts. I loved shooting this piece.

Once again, the key to making memorable images of performances is to capture just the right instant where the dramatic tension is high. In this image, the woman is trying to defuse a fight between her husband and her lover. In post-processing, I cropped the image slightly so as to increase the tension and maximize the storytelling potential. Buy this photo

The fourth play, “Logging Out,” is presented in Marathi and written by Dharmakiri Sumant. It tells the story of a boy and girl falling in love, but with the twist that the girl wants to keep their relationship online and not meet in real life. This piece was the most challenging to shoot because the two actors are physically separated within different areas of the stage and because the lighting was often very dim.

In low-light situations, shoot with a large aperture (small f-stop number) and a high ISO setting, and wait for moments when the action slows down to prevent motion blurring. I like the moody atmosphere of this image, which reflects the loneliness of life online. Buy this photo

The final play, “The Mud Wall,” is presented in Hindi and written by Narendra Kohli. This was my favorite piece of the evening because it deals with many themes of modern Indian life, including wealth, class, bureaucracy, family dynamics, and treatment of women. It was also a joy to photograph because it had so much dramatic action and tension.

This may be my favorite image from the whole event. I love the dramatic tension and the irony of the slogan on the sign above the terrified family. The usual tips apply here: use a fast lens, a fast shutter speed, and a reasonable ISO setting; frame the shot in advance on the area where the action will occur; and shoot many images. In post-processing, I cropped a bit for dramatic effect and lowered the black point so that the backdrop appears completely black for more contrast with the actors. Buy this photo

Mela ’16 is an exciting event and also very educational for those of us not intimately familiar with the varied cultures of India. Since I can’t travel all the time, I try to seek out global learning experiences in my own backyard, and Naatak delivers on this promise. If you live in the SF Bay Area, I encourage you to attend the final performance today. And not to worry, each play is presented with easy-to-read supertitles in English, just in case your Bengali, Tamil, Gujarati, Marathi, or Hindi are not up to snuff.

What performances excite you? Have you attended, or photographed, events that informed you about diverse cultural experiences? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on Vietnamese Tet Festival [Encore Publication]: A vibrant lunar new year celebration in America’s largest Vietnamese community

Most Americans are familiar with the Chinese New Year festivities that usher in the lunar new year in late January or early February, but most are not as aware of the Vietnamese cultural celebration of the start of the lunar year. Called Tet, the Vietnamese new year’s festival has its own distinctive, bright, and colorful symbols and traditions. By far the biggest Vietnamese community in the USA is in San Jose, California, which not coincidentally also hosts the largest Tet Festival each year in the US. I’m fortunate to live quite near San Jose, and yesterday I was already collaborating with a favorite model in a studio one city north of there, so I decided to drop by and shoot the Tet Festival. I’m very glad I did. Today’s post presents some of my favorite images from the festival in the form of a simple photo essay. I’ve included some discussion about how the images were made.

Welcome to the Tet Festival! When shooting symbolic items, always check your background and find a point-of-view that is clean and compelling. Buy this photo

An unusual cultural juxtaposition: Vietnamese belly dancing. Here I used a fast shutter speed to freeze the motion and a relatively wide aperture to soften the background. Capturing the right moment in the dance pattern is important, but it’s equally essential to capture the right facial gesture and eye contact. Buy this photo

What’s scarier than a clown? A drunken clown. This fellow came out on stage with a bottle of beer and a bottle of whiskey, both of which he proceeded to drink onstage. My wife and I suspect that this was an object lesson for the children in the audience, but we’re not certain. Buy this photo

The fashion show of people watching the fashion show on stage. Whether shooting landscapes, people, wildlife, or urban scenes, always remember to look in all directions. Sometimes the most interesting subject lies in the opposite direction from the one you thought you were shooting. Buy this photo

To capture this candid moment of young kids trying out the Vietnamese drums, I used a medium telephoto lens. Most of the time I prefer to approach subjects before photographing them, but occasionally it’s preferable to shoot first and ask questions later, so as to capture the subject without self-awareness. Buy this photo

Wearing many hats! Buy this photo

This traditional Vietnamese dance troupe performed a series of dances, each representing one of the seasons of the year. This was their Spring Dance. The vibrant colors of the costumes and props contribute greatly to this portrait. It’s also important to compose and crop the image carefully to achieve a pleasing result. Buy this photo

Summer dance. Buy this photo

I love this portrait thanks to the dancer’s look of contemplation and concentration. To make an effective portrait in spite of the cluttered background, I used a medium telephoto lens set to a wide aperture to set the subject off from the background. I also cropped the image in post-processing to remove extraneous background objects. Buy this photo

Parting shot: A favorite portrait of a traditional Vietnamese dancer. Buy this photo

What are your favorite cultural events and celebrations? Please share your thoughts on how to successfully photograph them.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Stripped Down to the Bare Essentials: Cupid’s Undie Run supports Children’s Tumor Foundation

I’m fortunate to live in the San Francisco Bay Area, where fun, crazy, photogenic events–planned and spontaneous–occur nearly continuously. But the zany and colorful annual event known as Cupid’s Undie Run, for which participants strip down to their underwear and run through the city’s streets to raise money for Children’s Tumor Foundation, is actually held in dozens of cities around the world. The San Francisco version was quite small this year, in spite of 60-degree mostly sunny weather, but it was as energetic, irreverent, and just plain fun as ever. Today’s post features a few of my favorite images from this Valentine’s Day inspired event. This time, it’s just for fun; I’m not going to annotate the images with a lot of detailed information about how they were made. Enjoy, and consider supporting this valuable charitable cause: Children’s Tumor Foundation.

In between round of margaritas, a quick run along San Francisco’s waterfront. Buy this photo

Happily, the weather was unseasonably warm and dry. Buy this photo

The “finish line” is the front door of the pub. Buy this photo

It wouldn’t be Cupid’s Undie Run without Cupid. Buy this photo

Speaks for itself. Buy this photo

A quick reminder about how to make a stunning portrait: 1) find soft and appealing lighting, 2) get in close with a medium portrait lens, 3) select a wide aperture for shallow depth-of-field. Buy this photo

I love this town! Buy this photo

Look for this fun event in your town next year around Valentine’s Day. And, whether you’re traveling around the world or right in your home town, seek out those fun and quirky happenings that yield eye-catching images.

What are some of your favorite events to shoot, and why?

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on SAFEhouse Resident Artist Workshop: Documenting three very different and emotionally moving new dance pieces

Last night I had the privilege of shooting both the tech rehearsal and first performances of three new dance pieces by very different, wonderfully talented, resident artists at San Francisco’s SAFEhouse for the Performing Arts. SAFEhouse is a unique program that incubates emerging artists by giving them studio space, expert guidance, and public performances so they can grow and develop new work. I thoroughly enjoyed getting to know each of the resident artists and having the opportunity to experience and document their pieces.

How do you transform your emotions into images? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on Dance Brigade’s “Gracias a la Vida: Love in a Bitter Time” [Encore Publication]: Creative approaches to shooting inspiring performances

This weekend, I had the privilege of shooting the dress rehearsal for a new show highlighting 40 years of activism through the arts, presented by San Francisco feminist and multi-cultural dance company, Dance Brigade. Their work was extremely powerful and moving. Not only was it artistically and technically astonishing, but the show was truly inspiring as a testament to the power of artists fighting for social justice. In the current era we need this power to be wielded widely and wisely to balance the widespread injustice all around us.

When shooting work as inspiring as this, I often choose less traditional and more creative approaches to presenting my images. In short, the medium should match the message, so when the message is as powerful as Dance Brigade’s performance, I believe the medium should rise to the occasion. So, in addition to making some traditional documentary images shot looking directly toward the performers with an eye toward capturing the obvious, I also strove to capture some different and unusual perspectives on the performance. I present some of them in the post with short descriptions of my intent for each image.

The usual rules for shooting a live indoor performance still apply. Gain permission to shoot in advance directly from the show’s producer. Use a fast lens and high ISO setting so as to be able to preserve a fast shutter speed to freeze action while still avoiding use of flash, which distracts performers and crew. Turn off your LCD display and check your images only when there’s a break in the action. Use the quietest shutter mode your camera supports. And never use a tripod or monopod unless you have explicit permission from the producer.

Wait for the telling moment: There are instants during live performances that distill the overall message down to its essence. Seek those moments. Buy this photo

Tell a story: Just as a good performance is designed to reveal key messages to the audience at the appropriate time, so should the photographer capture images that disclose the underlying narrative. This image of the climax from a piece on the plight of refugees captures the essence of the story. Buy this photo

Find an unusual perspective: When shooting behind-the-scenes such as at a dress rehearsal, you have the opportunity to find just the right combination of vantage point and lens to make your images really pop. This image was made from the lip of the stage. I had to lean forward across the front of the stage and shoot upward. I love this shot because it captures the artist from her eye level just at a decisive moment in the drama. Buy this photo

Document the power of the performance: This piece started quietly and worked up slowly to a frenzy of pent-up anger and activism. I found the best vantage point and waited for the perfect moment. Buy this photo

Know when to break the basic rules of composition: Sure, most of the time you want to avoid cutting a performer’s head off. But I saw the latent energy inherent in the unorthodox framing of this image. By shooting from the static artist’s level and capturing only part of the jumping artist’s body, I transformed the image into a bolder statement that supported the message of the piece. Buy this photo

Gain perspective: Not every image needs to include the whole environment. Sometimes it’s more powerful to capture just the salient part. Buy this photo

Capture a moment of pure joy: Shoot lots of images so that you can choose the ones that really make an impact. The bold colors, shallow depth-of-field, and simple composition of this image work to emphasize the dancer’s aura of joyful triumph. Buy this photo

Use black-and-white: This image cried out for me to convert it to monochrome. Its raw documentary power and gritty, graphic nature are more compelling in black-and-white. Buy this photo

Don’t be afraid to use selective focus: It’s okay for certain elements of your subject not to be in sharp focus. I chose a narrow depth-of-field in order to obtain selective focus on just the performers in the middle of this triumphant circle. The soft focus on the dancers in the foreground and far background only serve to enhance the dramatic power of the image. Buy this photo

I hope this essay provides some ideas for how to shoot creative images that amplify the power of your message. Modern digital photography provides us with so many tools for making images that go beyond the pure documentary function to also enchant our viewers with imagination. A performance as moving as Dance Brigade’s “Gracias a la Vida: Love in a Bitter Time” deserves more than a straightforward narrative capture. I tried to make some images that supported their messaging with a creative visual style. Continue to capture the obvious message in your images, but keep shooting to go beyond the documentary. Go wild, and see what you can achieve!

How do you go beyond the obvious to capture images that pop? Please share your ideas here?

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Approach with Care [Encore Publication]: Sensitive photographic practices help keep wildlife wild and healthy

Photographing wildlife in its natural habitat is one of the most exciting and rewarding activities I can imagine. From researching the species’ behavior to seeking it (sometimes for days) in the field, to that wonderful moment its image is captured on our memory card and to the thrill of viewing that image when we return from the field, there’s something truly magical about this genre of photography.

Observing and photographing animals in the wild, such as this rare wildcat along Turkey’s Turquoise Coast, is thrilling. Strive to put the animal’s welfare ahead of your image-making. Buy this photo

Done properly, wildlife photography can have zero to very modest negative impact on the creatures whose images we capture. In fact, photographers have done a great deal over the decades to help preserve wildlife through sharing images that inspire local people, governments, and the public to protect endangered species.

But by stalking and encroaching on a species’ territory, we photographers also put wildlife at risk of harm. Improperly engaging with animals with the intent of photographing them can cause a predator to starve by allowing its prey to escape, cause another creature to become prey by distracting it from its natural wariness, stress the animal to harmful levels, or acclimatize them to being around humans.

Here are some important guidelines for photographing wildlife in as safe a manner as possible:

Do your homework: The more you know before you set out to encounter a creature, the less likely you are to cause it harm inadvertently. If you will be going with a safari or tour, research the outfit first to make sure they follow the highest ethical standards. Get to know the behavior of the species you are seeking. What is their daily and seasonal routine? Where is their habitat? What do they eat and what eats them? What is a safe distance from which to view them?
Keep a respectful distance: As kids we were told to keep away from wildlife for our safety, but as photographers we also need to consider how far away we must stay in order not to cause the animals undue stress. Knowing where their meal ticket comes from, some safari and tour operators are willing to break park or preserve rules and approach the animals very closely so their clients can get great photos. Do not encourage this. Aside from the harm this stress can cause the animal, a stressed animal will look stressed in your photo and is more likely to bolt and leave you with no photo at all. So, use a long telephoto lens, keep your distance, and both your subject and your images will be the better for it.
Show special respect for the young: Baby animals are extremely vulnerable and should be treated with special care. If you are traveling with a tour, defer to your guide’s knowledge. If you’re on your own, be sure you’ve done your homework first, and err on the side of caution.Young animals, such as this baby baboon in Tanzania’s Serengeti National Park, should be photographed with special care. I made this image using a long telephoto lens and shot from a safari vehicle parked at a respectful distance. Buy this photo
No kidding–don’t feed the animals: It seems almost too obvious to have to state, and yet nearly every day I encounter humans attempting to feed wildlife. In Yosemite National Park, a number of bears must be killed each year because they have become dependent on humans for food. At your local city park, you’ll probably observe people trying to feed the birds or squirrels. And of course there are the big news stories (the recent major one was about the killing of the beloved Cecil the Lion) about hunters baiting animals with food. A well placed and properly maintained bird feeder in the backyard may be okay, but no other attempts should be made to feel wildlife.
Come back another time: In today’s networked world, word about rare animal sightings travels quickly. If you hear about a sighting while traveling or near home, chances are many other photographers and watchers have also heard about it. Multitudes of humans crowding around an animal will put it under undue stress and will also ensure you won’t make a great portrait of it. Come back another time when there are fewer other people. No photo opportunity is so irreplaceable that we should put the wildlife at risk.

With a little knowledge and courtesy, photographers can make great wildlife images while helping preserve and protect their subjects and keeping the wildlife wild. Conversely, without respect or information about the local fauna, we run the risk of putting them at grave risk. As the saying goes, make good choices!

The world’s smallest species of reindeer, the Svalbard reindeer is at risk due to global climate change. Cautious and respectful photographers can use their images to help protect and preserve at-risk species. Buy this photo

Do you have best practices about shooting (with a camera, that is) wildlife in the field? Have you observed human behavior–positive or negative–that serves as an example? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

New Year’s Resolutions [Encore Publication]: My opinionated list of the top 5 promises all travel photographers should make and keep

Personally, I’m not a big fan of new year’s resolutions. Common sense dictates that if we really want to make change in our lives, we should resolve to take specific steps toward that change every day. Promises we make on December 31 each year will most likely be broken by January 15. That’s certainly what I’ve observed over many years on the running trails and gyms where I’ve run or worked out daily. A huge surge in attendance begins on January 1 and dissipates within about two weeks.

So I waited a couple of weeks to share my thoughts on what we travel photographers should resolve to do differently. Since these aren’t technically “new year’s resolutions,” it’s my hope that these practices will stick.

Book that once-in-a-lifetime trip now:
Visit that exotic destination you’ve always wanted to see! Buy this photo
That travel photography “bucket list” needs to be emptied before you kick the proverbial bucket. I know too many people who always found excuses to put off taking the trips they most desired, until it became too late for them. The kids are too young, my job is too demanding right now, I can’t afford the cost. I’ve made these excuses, too. But the one thing we can’t live a full life without and can’t ever lose once we’ve attained it is experience. Every trip I’ve taken helped me grow as a person and as a photographer, and also helped me grow closer to my family and other travel companions. So book that trip today and go this year. You won’t regret it.
Just get out there and shoot:
There are countless exciting subjects for your photography within a few miles of your home. Buy this photo
Even professional travel photographers can’t be on a lengthy shoot in an exotic part of the globe all the time. So, book those once (or a few times) in a lifetime trips as soon as feasible, but in the meantime find some wonderful local attractions where you can hone your craft by making compelling images. I love to shoot little-known local cultural events such as street fairs and performances of dance, theater, and music. It’s also a great pleasure to find scenic spots near home where we can make some striking landscape images that haven’t been shot thousands of times before. Remember, you’re the local expert near your home, so seek out frequent opportunities to shoot in your own community.
Learn to use your camera as a tool to bridge the gap between your culture and the culture of the land you’re visiting:
Photography can bring us closer to the people we meet on our journeys. Buy this photo
Instead of letting your photography separate you from the people you’ve come to learn from, resolve to turn your image-making into an opportunity to meet more people and get to know them more deeply. Check out my pillar post on how to do this: Post on Photography as a Cultural Bridging Tool.
Approach wildlife with respect:
The more we learn about and respect the fauna we encounter during our travels, the healthier they will emerge from the experience (and the better our images will turn out). Buy this photo
A photo safari is a life-changing experience and should be on every travel photographer’s list. But just as our cameras can be used either to alienate local people or to bond with them, so can photographing animals be used to harm them or to respect and help preserve them. Read this post for more detailed tips (Post on Wildlife Photography), but in the meantime I will summarize by emphasizing the importance of prioritizing the animal’s welfare ahead of our desire to get an amazing shot of it. Getting too close to wildlife will stress the animal and could even cause it to become lunch (or cause a predator to starve by losing its meal). The more we get to know a species’ behavior before encountering it in the wild, the better our images will be and the healthier the animal will emerge from the encounter.
Continually improve technique:
I strive to hone my technique with every shoot. Buy this photo
There are more important elements in photography than technique, but a mastery of technique does help us make the images we want, so I always work to improve mine. If you haven’t already gained the confidence to shoot in manual mode, start learning now. Remember that while cameras have become very smart, they aren’t artists and they can’t know what the photographer is trying to achieve, so learn to take control of your camera’s settings today. Here’s a short post listing five key techniques that will help your images stand out: Post on Top Five photography “hacks”.

So, resolve to take that trip of a lifetime, shoot locally while you’re waiting for it, learn to use your camera as a tool to interact beneficially with the people and the wildlife you meet during your travels, and work to hone your technique. I’ll be doing the same! Happy trails in 2017.

What do you resolve to do in 2017? Please share your thoughts here.

Focus on Tourettes without Regrets: Adventures shooting a long-running underground performance event in Oakland

When I’m not traveling, I am fortunate to live in the San Francisco Bay Area, where there is never any shortage of amazing photographic subjects. In a typical week I conduct about 3-4 shoots and I’m always on the lookout for new experiences that will enhance the diversity of my portfolio. Recently I was invited to shoot the latest monthly show of Tourettes without Regrets, a long-running underground performance held in Oakland, California. Attracting an extremely diverse and hip young audience, Tourettes presents a completely different variety show each month that can be described as equal parts comedy, poetry slam, circus, battle rap, and burlesque. While the show is remarkably edgy and raucous (this is a PG-13 rated blog, so you’ll have to visit my main portfolio website to see many of the edgier images), in true Bay Area style it never puts anyone down and instead celebrates all of our differences. A hot, smoke-filled, jam-packed warehouse, entirely dark save for a few bizarrely colored LED spotlights, is not an environment that is particularly photography-friendly, but I was able to make some nice images through perseverance and creative post-processing. In this post, I share some of my favorite images along with a bit of discussion about how they were made.

Emcee and Tourettes without Regrets curator, Jamie, introduces the show. The warehouse was so packed with young spectators that I had to shoot around them with a moderate, fast telephoto lens. In post-processing, I cropped the image to remove unwanted elements and adjusted the shadow tones to darken the background. Buy this photo

This month, the show’s theme was “F*** Valentine’s Day”, so each act consisted of a pair of performers. These two ladies presented an aerial act that was mesmerizing but challenging to shoot due to the long distance to the subject, low light conditions, and strangely colored LED spotlights. I cropped the image in post-processing and converted it to black-and-white to avoid the strange color cast. Buy this photo

This skit depicts a woman breaking up with her boyfriend, who then tries to win her back with tears, money, and even a marriage proposal. Nothing works, until he begins to treat her poorly, at which point she decides she wants him, after all. The image captures an apt moment in the drama. Buy this photo

A Crocodile Dundee-style knife thrower and his lovely assistant prepare to terrify a volunteer from the audience. To capture this act I had to use a high ISO setting and fast lens due to the low lighting and the requirement for a fast shutter speed. During post-processing, I converted to black-and-white, increased the contrast and adjusted the color channels to enhance the dramatic feel, applied noise reduction to reduce problems associated with the high ISO setting, and cropped to remove extraneous elements. Buy this photo

A hip hop dancer amazes the crowd. A fast shutter speed was essential to freeze the motion. Obviously, to achieve a fast shutter speed, I needed to use a fast lens and high ISO setting. Shoot lots of frames in situations like this one, because you can never be sure when the best exact instant will present itself. Buy this photo

This scene from a battle rap, where two freestyle rappers trade insults, captures the essence of their interaction. Note the shallow depth-of-field places the emphasis on the performer not rapping at the time, with only the outstretched left arm of the other rapper in focus. I then converted to black-and-white to remove the color cast and cropped tightly using a square aspect ration to achieve an edgy Instagram-style image. Buy this photo

What are some of your favorite subjects to shoot in your neck of the woods? What events epitomize for you the area in which you live? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on Shotgun Players: Making exciting images from a cold reading of a script requires good timing

What techniques do you use when shooting subjects that have less visual impact than the usual ones? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on Vietnamese Tet Festival: A vibrant lunar new year celebration in America’s largest Vietnamese community

Welcome to the Tet Festival! When shooting symbolic items, always check your background and find a point-of-view that is clean and compelling. Buy this photo

Wearing many hats! Buy this photo

Summer dance. Buy this photo

Parting shot: A favorite portrait of a traditional Vietnamese dancer. Buy this photo

What are your favorite cultural events and celebrations? Please share your thoughts on how to successfully photograph them.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Focus on Naatak Mela ’16 [Encore Publication]: Five short plays in five different Indian languages

Note: Naatak’s next production, “Airport Insecurity,” runs from Feb. 24 through Mar. 4, 2017. You can find more information here: Naatak “Airport Insecurity”.

Last month I was privileged to be invited by Naatak, America’s preeminent Indian theater company, to shoot their annual festival of short plays, Mela ’16. I’m a loyal follower of Naatak, so I was thrilled to have the opportunity to photograph this exciting production.

What performances excite you? Have you attended, or photographed, events that informed you about diverse cultural experiences? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or near home? Find them all here: Posts on What to Shoot.

Signed, Sealed, Delivered [Encore Publication]: The PhotoLogo service delivers a signature watermark for your images

When we share our images via the web, as nearly all photographers must do these days, there is a very real risk that some images will be downloaded and used by others without our permission. This has happened to me and to many of my friends who are photographers. For those of us who make a living selling our images, this theft is more than an annoyance. So, it’s important to attach a watermark to our image files before sharing in cyberspace. A watermark is an identifying image or pattern included as part of the photo. While putting your name and/or copyright logo on a watermark does not offer any special legal protection under US law, it does tend to discourage theft of your work. And if someone does borrow or share your watermarked images, the watermark will identify them as yours and can even make good advertising.

Like most photographers, I have been using a watermark that simply states my company’s name (Kyle Adler Photography) and the year the image was taken or most recently shared. The photo below, taken in Chile’s Torres del Paine National Park, shows an example.

Photo with traditional text-only watermark. It does the job but is unattractive and distracting.

The problem with this style of watermarking is that is isn’t very attractive and it can distract the viewer’s attention from the image itself.

This week a friend and fellow photographer told me about a company called PhotoLogo (https://www.photologo.co). For about US$40, they will create a watermark logo consisting of a stylized calligraphy signature of your name along with whatever other identifying information you would like included. My custom watermark was sent in less than the 48 hours they promise. The photo below, also made in Torres del Paine National Park, shows the signature logo they made for me.

A similar photo with PhotoLogo signature watermark. The stylized logo is both appealing and relatively unobtrusive.

PhotoLogo delivers your signature logo in the form of PNG files, which means they are usable by nearly any image processing or image sharing application or site, and because PNG files are transparent, you can make them as prominent or as unobtrusive as you wish. They are also fully scalable, so you can make them larger or smaller relative to the size of the images to which they’ll be attached. PhotoLogo delivers the watermark in both high-resolution and low-resolution versions, each provided in both black and white, for a total of four files.

In the next photo, made in Svalbard high in the Arctic, the white version of the watermark would be invisible against the white snowy background, so here I used the black version, instead.

For light-colored backgrounds, the black version of the watermark works best.

I’m quite pleased with the PhotoLogo service. For a reasonable price and in a short period of time, they created a stylish customized watermark that works for most of my purposes. I’ve used it in my direct publishing from the Adobe Photoshop Lightroom application and also on my website and (obviously) in this blog. The feedback has been very favorable so far.

Note that the PhotoLogo team never sees your actual signature, so the logo they create is an artistic rendering of your name but not your true signature. That’s a good thing, both because some of us have dreadful signatures and also because providing the world with your actual signature can invite identity theft.

What watermark do you use for your images? Do you have tips and tricks you can share with this forum? Please leave your comment here.

Want to read more posts about sharing your images? Find them all here: Posts on Sharing.

Focus on CounterPulse Performing Diaspora [Encore Publication]: Performances that speak to cultural tradition and transformation

Recently I was privileged to be invited by CounterPulse to shoot their annual artist residency program, Performing Diaspora. Located in San Francisco’s Tenderloin neighborhood, CounterPulse is an essential local arts organization that gives a voice to performing artists whose message would otherwise not be heard. I’ve been a fan for a while, and this was my first opportunity to photograph one of their performances.

The program is comprised of two pieces, each designed and choreographed by an artist-in-residence and each presenting a theme related to the links between cultural tradition and transformation, between keeping tradition alive and assimilating. I found both pieces to be very powerful and moving. In this post, I share a few images from the event along with a few words describing the main themes I gleaned from the evening. And of course there are some tips about how to make good images under these challenging shooting conditions.

The first piece, “silbihan,” was conceived, directed, and danced by Filipino-American artist Samantha “SAMMAY” Penaflor Dizon. Layering dance with voiceover, music, and projected video, this piece traces a journey from the traditional culture of the Philippines to life today in the USA. The key message I took away is that our cultural underpinnings are within each of us, and when the time is right we will discover how they inform and inspire us.

Artist SAMMAY dances in front of a projected video depicting traditional life in the Philippines. To make this image, I used a fast portrait lens and high ISO setting to allow a reasonably fast shutter speed in the low light conditions of the theater. Care needs to be taken in these situations to render the color balance acceptably in the mixed lighting conditions. Buy this photo

Later in her piece, SAMMAY, now resplendent in bright traditional dance attire with cape, resolves the tension from the earlier segments in a whirl of color and motion. Here it was important to find a suitable shutter speed that would freeze most of her motion but still allow some of her gestures to be captured as a blur. Buy this photo

The second and final piece in the program is entitled “unending.” Choreographed, danced, and directed by dana e. fitchett, the work also incorporates three additional dancers and music in a wide range of styles. I enjoyed this piece for its sheer physicality and also for the message of tension giving rise to hope that we all can support each other regardless of our backgrounds.

Director dana e. fitchett expresses her themes through patterns of movement. The mixed LED lighting was especially challenging in this piece, so in post-processing of my RAW image files I paid careful attention to color balance in an attempt to render colors as naturally as I could. Buy this photo

The patterns established by artist dana early in her piece progress into larger patterns with the addition of several more dancers. Themes I took away include tension resolving into acceptance and support. Here I capture a particular moment when the performers are moving from opposition to synchronicity. Buy this photo

To me, CounterPulse holds a special place in the vibrant and varied San Francisco Bay Area arts scene because they encourage experimentation and interpretation of cultural diversity. Performing Diaspora 2016 is a terrific program featuring talented artists who deserve to be seen and heard. As a photographer, I feel privileged when my work can further valuable causes such as theirs. If you live in the SF Bay Area, please try to attend one of CounterPulse’s upcoming shows.

What performances move you? Have you attended, or photographed, events that inspired you to open your mind to new ways of thinking? Please share your thoughts here.

Want to read more posts about what to shoot while traveling or at home? Find them all here: Posts on What to Shoot.

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