photography – Page 25 – To Travel Hopefully

When Someone Shows You Who They Are [Encore Publication]: How to make great portraits while traveling or near home

“When someone shows you who they are, believe them the first time.” ~Maya Angelou

I have long believed that travel equates to growth; that we cannot know our place in the world until we have experienced the lives of people in many different places. Of all the joys of travel photography, to me the greatest is having the chance to meet people from very different backgrounds, to get to know them for a few minutes or for much longer, and to collaborate with them to make memorable images.

A recurring theme in this forum will be how to use our cameras as a bridge to learn about and to share insights into other cultures. But the emphasis of this particular post is on the technical elements of creating portraits. These techniques apply as well to shooting portraits across the street from our home as to making great people images halfway around the world.

Most portraits that we see published in magazines or photography books were made in the studio, where the photographer has complete control over the lighting and background, and often is working with a professional model. But when we’re traveling, there’s often only a moment after getting to know a person and receiving their permission to photograph them, during which to set up our gear and shoot. We have to live with whatever lighting is available and often must make do with a cluttered background. To make this portrait of a woman enjoying a coffee break at a carpet-weaving collective in Turkey, I wanted to give the image a soft, flattering look and to bring out the rich, saturated colors of her clothing. I chose a smaller than usual aperture to provide greater depth-of-field, so that the old house itself became part of the environment. To accommodate the soft and dim natural indoor lighting, I used a higher ISO setting and a slower shutter speed.

This portrait set in a weaving collective in Turkey evokes a sense of place and a mood of quiet repose. Buy this photo

While trekking in Nepal, we stopped to rest at a teahouse where these two sisters were also taking a break along their journey. I wished them “Namaste,” or well wishes, and they responded with a traditional hand gesture of greeting. This image was made long before the digital era on a film camera with a normal lens and natural lighting only (had I had a flash unit handy, it would have helped to bring out the girls’ hair against the dark background). I love the warmth of the girls’ expressions and the simple but bright colors of their dresses set off against the black background of the teahouse’s interior.

A friendly welcome from these two young sisters at a rural teahouse in Nepal. Buy this photo

Sometimes we want to tell the viewer more about our subject than what is possible in a simple close-up portrait. An environmental portrait allows us to include more than just the subject by zooming out and bringing in other elements. I photographed this maker of traditional Turkish instruments in his workshop while he tested a nearly-completed Bağlama, surrounded by other partially made instruments. To my eye, the resulting portrait is more compelling than a close-up because it shows the subject in his environment. To make this portrait, I used a wider focal-length and a narrower aperture so as to have more of the environmental elements in the frame and in focus.

An environmental portrait of a maker of traditional Turkish musical instruments. Buy this photo

A portrait doesn’t have to portray a stock-still person posing for the camera. Some of my favorite portraits evoke a strong sense of motion. I made this portrait of a samba dancer during the Carnaval San Francisco annual parade by getting in close and shooting with a medium-length telephoto lens set to a small aperture to soften the background. I used a fast shutter speed to freeze the action (although sometimes a slower shutter speed can be used to create a nice blurred effect). In post-processing, I cropped the image to further isolate the dancer and emphasize the grace of the motion.

This dancer in a Brazilian Samba krewe was captured in a tight composition that was further cropped in post-processing to give a strong sense of motion. Buy this photo

Keep an eye on the total composition when framing a portrait. It’s more than just a matter of framing the subject within the image: other considerations include the background and the overall flow of the viewer’s eye across the image. In this portrait of the proprietor of Maria’s Cafe in rural Cuba, I composed the image to use the brightly colored door, balcony, staircase, and tree to frame the subject herself.

Composing a portrait involves thinking about the background and the viewer’s overall experience in looking across the image. Buy this photo

A really good portrait should tell a story about the subject. Here, Cuban tobacco farmer Benito relaxes in his drying barn with a cigar he just rolled from his tobacco harvest. I got in close and used the natural light of his cigar lighter and the diffused sunlight within the barn, with no flash added.

This portrait of a Cuban tobacco farmer tells a story about who he is and what he does. Buy this photo

Consider the angle from which you shoot a portrait, as it has a strong influence on the emotional response of the viewer. Most of the time we want to shoot a head shot or head-and-shoulders shot from a height midway between the top and bottom of the image, but to make this portrait of sisters on the outskirts of Arusha, Tanzania, I chose to shoot from slightly above. It’s a fine line between giving a sense of vulnerability and causing the image to seem condescending, but I like this photo in part because I feel the unusual vantage point evokes a strong sense of emotion.

An unusual shooting angle can enhance a portrait, but be careful not to overdo this effect. Buy this photo

Another rule meant to be broken is freezing the action of a portrait’s subject. During a fitness photoshoot with my friend Crystal, I shot mostly with a fast shutter speed to freeze her while she worked out. But for this image, we wanted a blurred effect to create a sense of her forward motion while running, so I used a slower shutter speed.

A slower shutter speed can be used to give more sense of motion to a rapidly moving subject. Buy this photo

Sometimes a perspective change can work wonders for a portrait. In this image of the chief of a remote village in Swaziland, I got down low and shot with a wide-angle lens to portray her in the context of the hut behind her and the gourds she holds in her hands. A wide view in a portrait can lead to less-flattering likenesses, so this effect should be used sparingly.

A wide-angle lens and unusual perspective shooting from low to the ground lend this portrait of a Swaziland village leader a sense of connection to the place. Buy this photo

A note on gear: My go-to portrait lens is the Nikon 85mm f/1.8G lens. This is a classic portrait lens and provides a flattering perspective and great image quality when your subject is a human. I use it for nearly all of my portrait work these days. But this lens also shines for nature and action photography where you don’t need a really long focal length. It renders really lovely “bokeh,” or the soft quality of the out-of-focus parts of the image.

Which of your portraits do you find most memorable, and why? How did you create them? Please share your thoughts here.

Please read this post for my essential tips on how to photograph people while traveling: Post on Travel Portraiture.

Focus on Edinburgh: Ancient and modern, Scotland’s capital city offers great architecture, museums, and more

At the end of our two-week hiking adventure in Ireland, we added a stop in Edinburgh for a family visit. Ancient and modern at the same time, Scotland’s capital offers a wide range of experiences for the traveler, and a wide array of subjects for the travel photographer. From architecture to museums, castles to palaces, glorious views and creative contemporary cuisine, this city has become a world-class destination. Here is a brief photo essay capturing some of our experiences there.

The main attraction, dominating the city from its high central vantage point, is the ancient Edinburgh Castle. It’s an easy walk from the center of town up the hill to tour the castle. On the way up, a variety of interesting views of the castle unfold. Try different lenses and compositions to take advantage of the many moods of this place.

Edinburgh Castle towers above the city center and offers a variety of different perspectives for the photographer. Here I’ve shot from halfway up the hill using a telephoto lens and polarizing filter to isolate this one portion of the edifice and to enhance the stonework and the sky. Buy this photo

Edinburgh’s Royal Mile stretches from the Castle down to the Palace at Holyrood House. It’s easy to see this street as a shopping mall jammed with tourists, but it would be a shame to overlook the stately old architecture and the little closes (alleyways) off the main street.

To make this image along the Royal Mile, I chose an unusual perspective and used a medium telephoto lens to align the different colors, textures, and angles of the statue with the cathedral. Buy this photo

Edinburgh is changing. During several visits over the decades, I’ve heard many a bagpiper playing in the center of the city, but this is the first time I’ve met a female piper. She was happy to pose for a portrait. Buy this photo

Brightly painted façades lend a splash of color to the old stone architecture in this lovely neighborhood. Buy this photo

Scottish food has also evolved a great deal in recent years, with several restaurants serving contemporary takes on traditional Scottish dishes. Nowhere is the ambiance nicer than at the Witchery by the Castle, along the Royal Mile.

To capture the lovely interior of the Witchery, I used a fast normal lens and a high ISO setting. This scene was lit entirely by candlelight and a few sconce lights in the ceiling. Buy this photo

Revisiting Edinburgh Castle on our second day, I wanted to shoot it from a different perspective at a different time of day. During post-processing I decided that a black-and-white rendering of the image would highlight the austere tone of the castle. Buy this photo

Edinburgh has a proud literary tradition, from Burns to Scott to Stevenson. The city’s literature museum, while small, is worth a visit.

I couldn’t resist capturing this display sign in the Writers’ Museum highlighting the Stevenson quote that graces the name of this website. For more on the importance of this quote to the development of my passion for travel and photography, please see this page: About To Travel Hopefully.

At the other end of the Royal Mile from the Castle lies the Palace of Holyroodhouse. This is the Queen’s official residence when she’s in Scotland, and its tour is first-rate. While photography is not allowed inside the lovely palace, it is okay to photograph the stately and much older abbey adjacent to the palace.

Again here, I tried to seek out an unusual perspective in this shot of the abbey at Holyroodhouse. I shot upward with a wide-angle lens, using spot metering to expose for the stonework and a small aperture to provide broader depth-of-field. Buy this photo

I made this portrait of our daughter with two of her friends from university by stepping back and framing them using a medium portrait lens. I chose a medium aperture to ensure sharp focus on the subjects while also keeping the façade of the abbey reasonably sharp. Buy this photo

Behind Holyroodhouse is a hill towering above the city. A short but fairly strenuous hike leads to Arthur’s Seat at the summit. From the summit there are glorious views over the whole of the Edinburgh area. This image of the Palace at Holyroodhouse was shot from partway up the hill.

A view of Holyroodhouse from partway up the hike to Arthur’s Seat. A polarizer helped bring out the drama in the sky and the saturated green of the lawns. Buy this photo

On our final evening in Edinburgh, we dined on exquisite contemporary Scottish cuisine at the Tower Restaurant. Sitting atop the Scottish National Museum, this spot has marvelous views over the city to the castle. The view shown in this image was just as marvelous.

To photograph the beautifully plated trio of smoked Scottish salmon accompanied by a glass of old single malt whisky, I shot from above using a touch of off-camera flash to balance the ambient light of the restaurant. I used a diffuser on the flash and bounced the flash off the wall to soften its light. To learn more about food photography, check out this post: Post on Food Photography Buy this photo

Scottish traditional music is alive and well and performed almost every night at Sandy Bell’s Pub. This portrait was made using my favorite portrait lens set to a wide aperture, with a high ISO setting on the camera. The shallow depth of field throws the whistle player into soft focus, so the emphasis in the image is placed on the fiddler. Buy this photo

Have you visited Edinburgh? What are your favorite spots there? What experiences should a photographer be sure to seek out? Please leave your comments here.

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.

Portraits from Irish Pubs: Ireland’s trad music scene is a visual as well as an aural treat

The Republic of Ireland has undergone tremendous social and financial changes over the last 20 years. It’s now indisputably a modern global society with a strong diversified economic engine. Yet it’s also a happy truth that today, as in days of old, the pub remains at the center of Irish social life. Far more than a simple watering hole, the local Irish pub, whether in the center of cosmopolitan Dublin or in a tiny coastal fishing village, is a gathering place where stories are shared, traditional music is played, old friends catch up, and new friends are made. Oh, and a pint or two might just be downed.

Many pubs feature live traditional, or “trad,” music on a nightly basis. The casual informality of Ireland’s pub scene allows local amateur musicians to sit in with seasoned pros and pass down the songs from old to young. Members of the “audience” (it’s hard to distinguish between performers and audience when the sessions are so participatory) are invited to step up to the “stage” (usually just a table covered with pints of beer) to sing a song at any time. This informality allows the travel photographer to get to know these wonderful musicians over a few pints and to make authentic portraits without feeling like we’re intruding.

Today’s post is a simple photo essay featuring portraits I made of musicians and fellow customers at a variety of pubs across Ireland (plus one in Scotland). I will forgo the usual technical details except to remind you that when shooting portraits in low-light settings where the use of flash is impossible, that a good fast portrait lens should be used along with a high ISO setting.

My current favorite lens of all is my Nikon 85mm f/1.8G lens. This is a classic portrait lens and provides a flattering perspective and great image quality when your subject is a human being. I use it for nearly all of my portrait work these days. But this lens also shines for nature and action photography where you don’t need a really long focal length. It renders really lovely “bokeh,” or the soft quality of the out-of-focus parts of the image.

This young singer and fiddler who we met at Dublin’s famous O’Donoghue’s Pub was already a seasoned pro. In this portrait I sought to capture her expressiveness with hand gestures. Even without hearing her sing, the viewer can tell that she is expert at weaving stories. Buy this photo

O’Donoghue’s is widely known as the spot where bands such as the Dubliners sparked the Irish folk music revival in the 1960s. This band carries on the tradition, sharing songs old and new. With a wide aperture comes shallow depth-of-field, so when photographing several people at one time you may have to choose which part of the image will be in focus. Here I wanted to place the emphasis on the guitarist, so the other players are in softer focus. Buy this photo

Another of Dublin’s great spots for trad music is the Cobblestone Pub. On this night they were holding a very casual session, where all musicians were invited to come and play some tunes together. The informality gave me a chance to get to know most of the players over the course of the evening and to make portraits without feeling like an intruder. Again, the shallow depth-of-field required artistic choices about which subject would be in sharp focus and which would be in softer focus. Buy this photo

In lively Kenmare, we wandered into a pub where a fabulous folksinger was performing many of the Irish songs I remember from childhood in Boston. I chatted with Pat during his set breaks and bought a couple of his CDs. He was a great subject for some expressive portraits, too. Buy this photo

We didn’t have to leave our hotel on our first night in Killarney to hear some wonderful trad music. This trio played many of our favorite songs right in the hotel’s pub, and they got most of the audience up to sing and dance along. Buy this photo

Surprisingly, we heard only one rendition of Cockles and Mussels (aka “Sweet Molly Malone”) during our whole stay in Ireland. This brave soul stood up in front of the crowd to sing that old standard. Buy this photo

There’s nothing like watching an Irish crowd respond to the playing and singing of “The Wild Rover” to get one’s blood pumping. Be ready to capture action in the “audience” as well as on the “stage.” Buy this photo

Our second night in Killarney brought us into the center of town to an old and lively pub. The table next to ours had four generations of a local family in attendance, each enjoying the musical set in their own way. The oldest generation was my favorite. Buy this photo

I got to know this fiddler over the course of the evening in Killarney. During the break between sets she was kind enough to let me make her portrait. It can be difficult in these crowded settings to avoid a cluttered background, but using a wide aperture for a shallow depth-of-field can help, as can careful post-processing. Buy this photo

Elements I look for when making a portrait are faces with character and colorful details. I found both with this accordion player and his beautiful instrument. Buy this photo

The tiny fishing hamlet of Dingle has a population of just 1900 people, yet it somehow supports 52 lively pubs. My kind of town! Over pints of ale and shots of local whiskey in this colorful old pub, we made new friends from across the street and from as far away as Newfoundland. This portrait of a musician was made almost entirely with light from the fireplace. Buy this photo

The Scottish traditional music scene is as vibrant as Ireland’s, as evidenced by this band we heard at Edinburgh’s Sandy Bell’s Pub. This place was bustling and extremely crowded. The cluttered background somehow doesn’t detract too much from the power of this portrait. Buy this photo

Have you traveled in Ireland or Scotland? Do you have favorite portraits of the generous and friendly people you encountered there? Please share your thoughts in the comment box.

Focus on Ireland: The Emerald Isle offers unique landscapes and culture

We’re just back from a two-week adventure in Ireland and Scotland. Our itinerary sandwiched a week of hiking in the glorious southwestern regions of Ireland (Counties Kerry and Cork) in between brief stays in the major cities of Dublin and Edinburgh. The photographic opportunities in these regions are remarkable, with lovely landscapes, historic architecture, and a generous friendly culture evident everywhere. I provide an overview in the form of a photo essay in today’s post, and upcoming posts will feature more details on specific places or types of subjects from the trip.

The Irish pub remains a central focus of life on the Emerald Isle. In cities and tiny rural villages, the pubs are places for people to come together and catch up with old friends, make new friends, listen to live traditional music, and of course drink a pint or two. This image was made in Dublin’s famed O’Donoghue’s Pub, where in the 1960s bands such as the Dubliners sparked the Irish folk music revival.
To make portraits in pubs, where the lighting is dim and the use of flash is out of the question, use a fast lens and a high ISO setting. You need a shutter speed of at least 1/80 of a second to get a reasonably sharp image of musicians at work. Buy this photo

It may come as a surprise (or not) to learn that Ireland’s most popular attraction is the Guinness Storehouse tour in Dublin. Here my wife pulls a perfect pint of the “black stuff,” which we then enjoyed in the Gravity Bar atop the storehouse with views overlooking all of Dublin.

Another low-light shot, this image was made with ambient light only, using a fast lens and relatively high ISO. Remember to capture some shots of your traveling companions. Buy this photo

I highly recommend a visit to the very remote Gougane Barra peninsula. There’s only one hotel, which offers outstanding food and views over a tiny island with a picturesque church and the ruins of a Sixth Century monastery. A photographer’s paradise!

St. Finbarr’s Church stands on a tiny island on the Gougane Barra Peninsula. To make this image, I shot in the early morning when the quality of light was compelling, got down low to include the rushes in the lake, and used a polarizing filter to bring out the textures in the water and sky. Buy this photo

Don’t put away your gear when the sun sets! On a rare clear night in rural Ireland, the photography is stunning. Here’s an image of the Milky Way sprawling above the ruins of St. Finbarr’s Abbey, a Sixth Century monastery.

To capture the Milky Way, use a sturdy tripod and a relatively fast lens with a high ISO setting. In most cases, a shutter speed of 20-25 seconds is best, but here I used a somewhat shorter exposure to avoid having the cross appear washed out in the site’s artificial light. Buy this photo

We then hiked a portion of the long-distance Sheep’s Head Way. You’ll rarely encounter completely clear skies while walking in Ireland, but the changeable conditions can create opportunities for glorious landscapes. This lovely image was made just as the rain let up and the sun poked out, generating a vivid rainbow that spanned over the green fields and ancient walls.

Here I used my go-to landscape lens, the Nikon 16-35mm f/4 lens, fitted with a good circular polarizing filter. I adjusted the angle of the polarizer carefully to enhance the sky without weakening the refraction of the rainbow. I got down low to the ground to include the leading line from the old wall. Other compositional elements include the sheep in the field and the dramatic clouds in the sky. Buy this photo

At the end of the Sheep’s Head Way sits the lovely Bantry House, owned by the family since 1750. Climb the hill behind the house to capture the house and its gardens with the harbor behind. Buy this photo

On our way to the start of our next day’s hike in Killarney National Park, we stopped at a viewpoint called Priest’s Leap for this lovely view. I’ve said it before and I’ll say it again: remember to include yourself and your travel companions in some of your images. Set up the camera and either mount it on a tripod or show another person how to release the shutter. For more on how to make images including yourself, read this post: Post on Including Yourself

This image at Priest’s Leap was made using a normal lens with polarizing filter, stopped down to maximize depth-of-field. Buy this photo

Ireland is filled with forests that exude a sense of mystery and magic. Look for the little things as you walk: a flower or shamrock, a moss-covered tree, a tiny stream. All that rain has the happy side-effect of making Ireland the greenest place I’ve ever seen.

Slow down and seek out the little natural details around you, like this moss-covered tree in Killarney National Park. Buy this photo

The legendary Gap of Dunloe outside of Killarney stretches for eight miles through mountains and valleys, along streams and by ancient farmhouses. It can be traversed by horse-drawn carriages called “jaunting cars,” but the intrepid photographer will want to hike it instead.

The Gap of Dunloe offers compelling photographic subjects like this stream flowing in a valley surrounded by mountains. A good wide-angle lens with a polarizing filter brings out the color and texture in such a landscape, even on a “soft day” like this one. Buy this photo

We spent every evening in Ireland visiting a pub or two. These pubs differ in character, but all reflect the generous and friendly local culture, and many offer live music.

At a pub in Killarney, I was chatting with this fiddler during a break between sets, and made this portrait using natural light with a fast portrait lens, a wide aperture, and a high ISO. Buy this photo

My essential portrait lens:

We were fortunate to stay two nights in Killarney at the wonderful Lake Hotel. The hotel grounds include the ruins of an ancient castle situated on a lake with mountains behind. During breakfast on our second morning, I noticed the cloud cover had lifted but there was still mist hanging on the side of the hills around the lake. I ran up to our room, grabbed my thirty pounds of camera gear, and rushed outside to capture the ruins with the mist enshrouding the lake and mountains.

There was no time to set up a tripod as the warming sun was burning away the magical mist on the lake, so I shot this image handheld. Buy this photo

Our final day’s hike was the beautiful Wild Atlantic Way from Ventry to Dunquin. The lovely views of the Atlantic are punctuated with green fields dotted with odd “beehive huts,” some dating back to the Neolithic Period.
To make this landscape incorporating ancient stone beehive huts and walls, I shot down across the fields to the sea, being sure to keep the horizon level. Buy this photo

The picturesque Blasket Islands were home to a community of Irish-speaking farmer-fishermen until they were forced to evacuate in 1953. This is one of Ireland’s most gorgeous stretches of coastline, captured here using a wide-angle lens with polarizer. Rotate the filter until the sky is dark and dramatic. Buy this photo

After Ireland, we spent a few days in Edinburgh, Scotland. This image was shot along the Royal Mile.

Be on the lookout for unusual perspectives. This image juxtaposes the different colors and textures of the statue in the foreground with the cathedral in the background. Buy this photo

Dining is an essential part of any trip, and Edinburgh offers many opportunities to savor the new Scottish cuisine. This lovely smoked salmon plate (with accompanying wee dram of whisky) was captured at the Tower Restaurant atop the Scottish National Museum.

For more about how to shoot food images, read this post: Post on Food Photography. Buy this photo

I hope this post inspires you to visit Ireland and Scotland. Look for posts over the next few days with more details about the trip and images.

If you’d like to read more posts about photographic destinations, you can find them all here: http://www.to-travel-hopefully.com/category/destinations/

Have you visited Ireland? What did you find most memorable? Any tips on photographing this enchanted place? Please share your thoughts in the comment box after this post.

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.

I See a Red Door and I Want to Paint It Black [Encore Publication]: When a black-and-white image is better than color, and how to convert to B&W

Back in the day, a photographer had to choose in advance whether to shoot with color film or black-and-white film. Conversions from color to B&W were cumbersome and expensive, and conversions from B&W to color were essentially impossible. During the film era, I typically shot exclusively using color transparency film while traveling, and reserved B&W photography for particularly artistic shoots near home.

Thankfully, in today’s digital world, we no longer have to commit ourselves in advance to monochrome vs. color images. It’s now a simple procedure to convert our color images to B&W during post-processing. And that’s a great blessing, because there are plenty of times when a black-and-white photo is better than a color photo.

Consider the image of the alligator at the start of this post. One of my favorite photos, this one works just fine in color, too. But the real power of the image is revealed in B&W through the striking textures of the alligator’s skin as seen above the water and as reflected off the water’s surface. The background above the water fades to a deep, nearly true, black, with the background of the water itself rendered slightly less darkly and showing some nice ripples of motion. Black-and-white photography is especially powerful when there are contrasts of pattern, texture, and background as in this image. Buy this photo

When else might we want to render an image in B&W?

Portraits made in monochrome have a timeless look that evokes the earlier years of photography, and this rendering can also bring out the true nature of the subject. There’s a lovely look to the skin tones and hair when displayed in B&W, and there are fewer distracting elements from the color of clothing or background objects.

This portrait takes on a vintage, timeless look when shown in B&W. Our eye can focus on the model’s face and hair without the distractions of the colors in her sweater or the building. There’s almost a street photography kind of documentary quality to this image in monochrome that is lost when viewed in color. Buy this photo

Color can be distracting in an image where we want to emphasize the essence of a person or place. In this portrait I made recently for a couple who are fellow musicians and friends of mine, we had beautiful “golden hour” light to work with, and the background and clothing worked well in color. But converted to B&W, this image really places the emphasis on the couple without the distractions of the color cast in the reflections off the eyeglasses or of the mixed lighting in the background.

In this portrait, black-and-white presentation places the viewer’s attention squarely on the the couple and their instruments, without distractions from the multiple colors of the clothing and background components. (Client photo not available for purchase.)

When you’re shooting under “mixed lighting”, which means there are multiple light sources with different color temperatures (i.e., some light sources are warmer and others are cooler), converting the image to B&W can be a real problem solver. Consider the image below, made in Bruges at night. The light from the street lamps was warmer than the light coming from the spotlights on various buildings, and there was also a bright moon that night, so when seen in color the photo would look less appealing due to the contrasting of the color temperatures in the different parts of the image. But viewed in B&W, it brings out the grandeur of the old buildings and the beauty of the reflections in the waters of the canal, without the distractions of the color casts.

This image of Bruges at night, when processed in B&W, removes the contrasting color temperatures of the multiple different light sources and allows the viewer to enjoy the stately old buildings with consistent tone and texture. Buy this photo

Now that we’ve covered a few of the many situations in which a black-and-white image is preferable over a color image, let’s look at how to convert from color to B&W. There are many ways to perform this conversion, but I recommend it be done using the Color Adjustments settings in the Develop module of Adobe Lightroom. Here’s how:

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.

For more on using Lightroom to post-process your images, check out my previous post: Previous post on using Lightroom to post-process images.

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I do not recommend using your camera’s built-in black-and-white mode, as you will then lose the color information in the image file. I also do not suggest using the settings some cameras have to make a copy of the image in B&W, because in most cases the camera’s built-in software will not do a very good job of rendering the image in monochrome. For the best results, either use Lightroom or a dedicated black-and-white conversion application such as Silver Efex Pro 2 from Nik Software, which is available as a plug-in for Lightroom or Photoshop.

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

What do you love about a black-and-white image? When do you convert an image to B&W rather than share it in color? Any tips or tricks for how to make great B&W photos? Please share your thoughts in the comment box!

A “Fixer” for the Rest of Us [Encore Publication]: How to 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.

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.

Beyond the Auto Mode: Take control of your images by learning to manually set exposure, focus, and more [Encore Publication]

Travel photography is so exciting and satisfying in part because it requires us to capture every kind of image in all kinds of shooting environments. You could be heading out to shoot landscapes when suddenly a rare sighting of an animal transforms your activity into a wildlife shoot. Or you may be on the road for your next destination when you stumble upon a colorful local festival, and now you’re shooting portraits of the revelers. This rich diversity of subjects also creates one of the biggest challenges for travel photographers: how to be prepared for anything that comes our way. For beginning photographers there is some comfort in using the Auto mode that nearly every camera offers. After all, we’re more likely to get an acceptable shot this way, when the subject turns quickly from fast action to landscapes to the low light of evening, or to an indoor performance. But in most cases, your camera’s Auto mode, which attempts to make its best guesses as to what settings to use given existing conditions, will yield only acceptable photos and not the striking and memorable images we’re after.

There is a better way. Take control of your images by learning how to manually set your exposure, focus, and other aspects of your photo. All advanced point-and-shoot cameras and all mirrorless and DSLR cameras allow you to set most functions manually. Even some basic point-and-shoot models have a way to go manual, but often this will involve options buried deep in a menu somewhere. And there are apps available for both iOS and Android smart phones that allow you to take manual control over your phone’s camera. I use an iPhone 6S, and I’ve found the “Manual” app to work very nicely for providing control over the phone’s camera setting for exposure, focus, and flash. You can find it for less than $2 on the Apple App Store: https://itunes.apple.com/us/app/manual-custom-exposure-camera/id917146276?mt=8. Even without using an app, most smart phone cameras do allow you to override the automatic settings by clicking on the part of the image you want to be in focus and used for the exposure setting; usually you can also set the exposure based on a different area of the image from the area that you want to be in focus. But the dedicated apps will give you greater control, as they allow you to choose the shutter speed, aperture, and ISO for each shot.

For this image of a whirling dervish in Goreme, Turkey, I wanted to blur the dancer so as to give a sense of the continual turning motion in the ceremony, so I used my camera’s shutter-priority exposure mode and selected a slower shutter speed. Buy this photo

The key to successfully using your camera’s manual settings is to learn how they work and to practice at home, long before you actually take a trip. Like anything else, selecting the settings we want on a camera takes practice. In this digital era, it’s easier to learn because you can see the results of each setting immediately on your camera’s screen. So dig out that camera user guide, or find it online, or search for a good tutorial. But do learn how to adjust the key settings manually.

The first manual setting every photographer should learn is how to turn off your camera’s flash. This sounds very basic, but I’m always amazed to see so many flashes going off in inappropriate places: museums that don’t allow flash photography, cultural performances, sports stadiums where the subject is thousands of feet away from the camera (the flash will only provide acceptable lighting for a few dozen feet, at most), and even the shy octopus exhibit at our local aquarium. Believe me, you do not want to flash the octopus. So learn how to turn your flash off, and be sure you actually do turn it off when you’re in a venue where flash is inappropriate or won’t help your image be better exposed. Remember that glass reflects light, so you don’t want your flash on when shooting through windows of a vehicle or the glass windows of animal enclosures at zoos or aquariums.

Next, learn how to set your camera’s exposure manually. The light meters built into today’s cameras are very smart, but they are also easily fooled by tricky lighting conditions. The most common problem is backlighting. If your subject is lit from behind, as many outdoor subjects are, your camera’s auto mode will likely expose for the brighter background and will leave your main subject underexposed. You can adjust for this is several ways. It may be good enough to just use your camera’s exposure compensation button to dial in, say, one extra stop of exposure. Use your camera’s LCD screen and (if it has one) the histogram, to see how the subject is exposed with varying levels of compensation. In some cases, you can use fill flash to fix backlighting problems. To do so, manually turn on your camera’s flash, or attach a separate flash unit, and choose the setting for “fill flash” or “balanced TTL” (through the lens) flash mode. Again, check exposure using your camera’s screen and histogram. I find I usually get good results in tricky lighting conditions by using my camera’s spot metering mode, which tells the camera’s meter to use only the very center (or whatever area I select) of the image when choosing the exposure.

Other than allowing you to properly expose your main subject, manually setting the exposure also gives you control over what combination of shutter speed (how long the exposure lasts), aperture (how wide the lens is open), and ISO (how sensitive the camera is to light) you want for each shot. If you’re shooting fast moving action like sports or wildlife, you will likely want to choose a fast shutter speed to freeze the motion (unless you want a blur effect as an artistic choice). If you’re photographing a waterfall or sky and want to get some nice blurring of the water and/or clouds, you will probably want to choose a slower shutter speed. Many times you want only certain parts of the image to be in focus. A wide aperture (low F-stop number such as f/1.8) will give you a shallow depth-of-field, allowing only one part of the image to be in focus and blurring the other parts. Conversely, a narrow aperture (high F-stop number such as f/16) will allow all parts of the photo to be in focus. The final element determining exposure is the sensitivity of the camera’s sensor, measured by an ISO number. Select a higher ISO (such as 1600 or above) only when you really need the extra sensitivity for very low-light subjects when a longer shutter speed or wider aperture is not suitable. When you use very high ISO settings, the image will tend to have a lot of noise. Today’s cameras are getting better at limiting noise at high ISO settings, and there are ways to reduce some of the effects of the noise using post-processing software, so my approach is to use as high an ISO as is required after considering the range of available shutter speeds and apertures.

To capture these professional beach volleyball players in sharp focus and to freeze the moment, I selected single-focus-point focus mode and chose the exact spot in the viewfinder where the players would be positioned, and also used my camera’s shutter-priority exposure mode to select a very fast shutter speed. Buy this photo

The other major type of manual setting that you need to know how to use is focus. Most cameras today do a pretty good job of choosing the right part of the image to focus on, but they often need some help from the photographer. From simple smart phone cameras through professional DSLRs, the autofocus function almost always lets the photographer select what part of the image they want to be in focus. If you keep your camera in fully autofocus mode and don’t help by selecting where your main subject is, it may very well guess incorrectly and put another part of the image as the center of focus. So, learn how to select the focus point even while letting your camera’s autofocus mechanism actually choose the focus distance. Sometimes a camera’s autofocus capability may not work for the conditions under which you’re shooting, and in these cases you need to turn off autofocus completely, and focus in manual mode. Some instances when this is necessary are when shooting in very low light conditions, or when shooting in poor contrast environments (for example, your subject’s texture looks a lot like that of its background, or you’re shooting into the bright sun). In these cases, turn off the autofocus function and adjust focus manually until the subject looks sharp.

It’s still fine to walk around during your travels with your camera set in fully Auto mode, just in case something very unexpected comes up. But do know how to set the main functions manually so you’ll get the best possible images in the 95% of the shooting situations when you do have time to set up first.

Want to read other posts about photographic techniques? Find them all here: http://www.to-travel-hopefully.com/category/techniques/

Do you have tips and tricks you can share on manually adjusting the camera’s settings to get great shots? How about a time you kept the camera on Auto mode and got disappointing results? Please share your thoughts using the comment box at the end of this post.

The Sharpest Tack in the Box: How to achieve sharp focus in tricky shooting situations

One of the most important elements of an image is focus, and even an untrained viewer can tell immediately when a key part of the image is not in sharp focus. The stakes are even higher when we consider that poor focus is nearly impossible to correct in post-processing. Most of us rely on our camera’s autofocus functionality to help us achieve tack-sharp focus while shooting, but as with every other automated system in a camera, even very sophisticated autofocus mechanisms can go awry, especially when we’re faced with tricky shooting situations. Here’s a quick guide to minimizing focus problems and achieving sharp focus in nearly every shot.

Scenes with low contrast, such as in this image of ice floes on the Barents Sea in Svalbard after sunset, can fool even sophisticated autofocus systems. Override your camera’s autofocus system and instead shoot manually in these conditions. Buy this photo

Make sure to select the part of your image that you want to be in sharp focus. It sounds like a no-brainer, but surprisingly frequently the reason an image’s main subject is not in focus is because the photographer never told the camera’s autofocus system what to focus on. Remember that as with any assistive technology, a camera’s autofocus system is just a collection of hardware and software designed to make a best guess about what the user wants. If you leave your camera set to full autofocus mode, it does its best to identify what its software determines is likely to be your intended subject. A human face, for example, is likely to be what you want to have in sharp focus, so the camera focuses on that. But often the camera does not guess correctly. Nearly every camera, including the one in your smartphone, allows you to manually select your desired focus point, often by simply touching the desired part of the image on the screen. Be sure to check what your camera is doing and correct it by manually selecting the focus point if it guesses wrong.
Recognize that your camera’s autofocus system will likely not work in certain tricky conditions. Most autofocus systems work by looking for areas of the image where the contrast is changing, such as at the outlines of a person or a building. But in very dim lighting, or when the main subject is badly backlit, or in scenes with very low contrast (think of a stormy sky or the waves of an ocean), the autofocus does not work. Recognize these deficiencies and be prepared when shooting in these conditions to take manual control. Every camera has a mechanism to manually select focus, and you need to know how to use that feature.
Choose the autofocus method best suited to your shooting needs. Most advanced or professional cameras allow you to choose among several different types of autofocus methods. Often, the first choice is between single-focus mode or continuous-focus mode. Choose single-focus mode when your subject is relatively stationary and you must have precise focus achieved before releasing the shutter. For subjects that are moving quickly or where you need to time your shot exactly, even at the expense of not yet having perfect focus, you should choose continuous-focus mode. Within each of these modes, your camera may offer sub-choices, such as letting you manually choose the exact focus point you want or choosing a range of points from which the camera selects focus based on the motion of the subject. This is rocket-science technology, but fortunately it is pretty straightforward to choose the desired method once you understand what each one does. Read your camera’s manual and always practice in the different focus modes before going on any important shoots, especially on a major trip.
Circumvent the whole problem by choosing a wide depth of field. Sometimes the best artistic choice requires a narrow depth of field so that only the main subject is in sharp focus, and sometimes the light is too dim to choose a narrow aperture, but if you can make the shot work with a wide depth of field (in other words, using a small aperture, represented by a high f-stop number), then you don’t have to worry about focus at all. In most situations, universal focus from several feet away from your lens through infinity is achieved at apertures of about f/16 or smaller.

Capturing tack-sharp images of fast-moving wildlife like the cheetah requires selection of an autofocus mode capable of dynamically refocusing on the moving subject. For this shot of a cheetah in Serengeti National Park in Tanzania, there was the added challenge of having low contrast between the animal and the background. I chose my camera’s continuous-focus mode with predictive focus so the camera would anticipate where the cheetah was moving and focus ahead of the shutter. Buy this photo

By using these tips, you can achieve tack-sharp focus where you want it in nearly all of your images, whether you’re shooting with a simple point-and-shoot or phone camera, or the most advanced professional camera. Any camera frequently makes the wrong guess about where the focus point should be, so do not rely blindly on autofocus. It’s worth investing some time to learn how to configure autofocus appropriately for any shooting situation, and how to turn it off and instead focus manually when required. Happy shooting!

How do you achieve sharp focus in tricky conditions? Please share your thoughts in the comment box at the end of this post.

Want to see more articles about techniques? Find them all here: http://www.to-travel-hopefully.com/category/techniques/.

Total Eclipse of the Heart: Techniques for photographing solar eclipses

Prof. Jay Pasachoff and his student set up scientific gear for observing the total solar eclipse in Svalbard in 2015. Buy this photo

If there’s a more thrilling experience anywhere on our planet than observing a total solar eclipse, I’ve not yet found it. The experience of observing the moon slowly move in front of the sun, obscuring our view of the sun one nibble at a time until day turns into night, the temperature drops, the stars come out in the middle of the day, and the delicate corona of the sun is exposed, is like nothing else we earthlings can feel. An eclipse is a singular event, each a bit different from any other that has ever occurred, and an exclusive event that often can be observed only from a narrow swatch of land and in very remote corners of the planet. I’ve stood in the umbra (shadow) of the moon during three total solar eclipses thus far in my life: first in Virginia Beach in the USA when I was 7 years old, then in the mountains above Anji in China in 2009, and most recently in 2015 in Svalbard well above the Arctic Circle. I plan to be in Salem, Oregon in the USA in 2017 when the next total solar eclipse occurs. These events are truly life-changing, and once you’ve experienced an eclipse you will want to seek out others.

Photographing an eclipse takes all of the normal challenges of travel photography and throws a few special ones into the mix. To start with, an eclipse can take place anywhere on the planet, and often the best location from which to view one is very remote with little or no travel infrastructure. The eclipse I experienced last year in Longyearbyen, high in the Arctic on the island of Svalbard, was a transformative event, but the extreme cold coupled with the lack of infrastructure made getting there and photographing the eclipse a special challenge. And of course, during an eclipse the already challenging conditions are stressed even further due to the tremendous crush of visitors who rush in from all over the world to try to view the solar event.

I recommend you travel with an expert in managing the complicated logistics required to stage a successful eclipse trip. I always go with A Classic Tours Collection (http://aclassictour.com/travel-company/solar-eclipse-tours-expeditions-total-eclipse/). Run by travel logistics guru Mark Sood and with scientific consulting from Professor Jay Pasachoff, a world expert in eclipses and the human being who has stood in the shadow of the moon more times than any other, this company has delivered an unprecedented track record of successful eclipse trips since 1980.

Special challenges in photographing a total solar eclipse, like this one in Svalbard in 2015, include remoteness, lack of infrastructure, extreme conditions, the risk of poor weather, and the need for specialized photographic gear. Go with an expert or risk missing the action. Buy this photo

Assuming you are able to get all the right gear to the best possible location to observe the eclipse, and then the weather cooperates, the actual technique required to capture remarkable images of this phenomenal event is fairly straightforward. Here’s what you need to do:

Gather the right gear. You will need at least one (and I prefer to have two) DSLR or ILC camera bodies with a long telephoto lens or two. I use a Nikon D810 with a Sigma 150-500mm super-telephoto zoom lens. For each lens you will need a specialized solar filter to block 99.999% of the sun’s light to enable you to shoot the sun safely during the partial stages of the eclipse. The solar filter blocks much more of the sun’s light than a standard photographer’s neutral density filter, so don’t try to find this item at your local camera shop. Instead, you will need to order it from a specialized astronomy company such as Thousand Oaks Optical (http://www.thousandoaksoptical.com/solar.html). Be sure to order a black polymer threaded camera filter in the proper diameter for your specific lens. Without a properly fitted solar filter on each lens you plan to shoot with, it is not safe for your eyes or for your camera’s sensor to attempt to photograph a solar eclipse. You will also need a heavy-duty professional tripod with a good ball head and mounting plate to hold your camera and lens steady during the eclipse. Also be sure to pack a remote shutter release with extra batteries, the tripod collar that came with your lens (if included), a mini flashlight for checking your camera’s settings, extra memory cards, and extra batteries and chargers for your camera.

Super-telephoto zoom lens with tripod mounting collar. Don’t forget to order a solar filter to fit your lens(es).

Heavy-duty professional tripod.

Remote shutter release.

Test your gear. Before the trip, test your full setup at home by shooting the sun with your solar filter on the lens, and by shooting the full moon without the solar filter. These two scenarios will allow you to test your gear in conditions similar to the partial stages of the eclipse and to totality, respectively.

Prepare your gear the evening before the eclipse. Charge all batteries, format all memory cards, make all camera and lens settings (per my instructions below), and check all your equipment. Remove the UV filter you ordinarily keep on your lens(es), because they will interfere with the solar filter you will use during the partial stages. On eclipse day, have in your pocket your flashlight, extra camera batteries, extra remote batteries, and extra memory cards. It will be dark during totality and you will be excited, so best to have everything well planned in advance and within easy reach on eclipse day.

Configure your camera’s and lenses’ settings in advance of the eclipse. Shoot in RAW + JPEG mode using the highest quality setting available on your camera. I recommend using an ISO setting of 400, and be sure to turn your camera’s Auto ISO setting off. The exposure changes constantly throughout the eclipse, so I do not recommend manual exposure mode; instead, choose aperture priority mode with the aperture set at f/11. You may want to choose highlight-weighted metering if your camera has this option; otherwise, select center-weighted metering. Choose single-frame shooting mode. I like to turn on exposure bracketing to shoot bursts of 3 frames, each 1 stop different from the previous one, so as to have higher likelihood of getting proper exposure on each series of shots. Turn your focus mode to manual, because autofocus will not work during or near totality. Tape your lens’s focus ring to infinity to be sure it won’t move during the eclipse. Take a deep breath. You’re almost ready for the eclipse.

Set everything up at the eclipse viewing site. Place your camera on the heavy-duty tripod and install your remote control. Remove your regular UV filter and attach your special solar filter. As the first contact between sun and moon occurs, start to shoot. Remember to shoot in bursts of 3 (or 5 or 7) if you have turned on exposure bracketing. Due to the rotation of the earth, you will have to recenter the sun in your viewfinder periodically (unless you are shooting through a telescope with an equatorial mount).

This image shows the early partial stages of the Svalbard total solar eclipse. Shoot periodically during all the partial stages, and remember to reposition your shooting angle so the sun remains in the center of your field of view. Buy this photo

Remove your solar filter only during the period of totality. When the diamond ring effect signals the start of totality, and the world around you is suddenly plunged into darkness, quickly take off your lens’s solar filter. You won’t need it during totality. The brightness of the sun during totality is similar to that of the full moon, so viewing and photographing the sun during totality will not be dangerous. This is the most exciting time, and it will last for only about 1-4 minutes, so enjoy the spectacle of the sun’s corona revealed! Remember to spend some of the time just looking and not shooting. This is an experience you will want to remember not only through your camera!

For the brief but exhilarating period of totality, remove your solar filter. This image captures the diamond ring effect that ushers in the period of totality. The sun’s delicate corona can be seen around the edge of the photosphere. Buy this photo

Put your solar filter back on after totality. The partial stages that follow the period of totality, just like the partial stages that came before totality, are not safe to view or photograph without the special solar filter. Keep shooting those later partial stages because you will want a complete record of the eclipse to show a compelling narrative and to create montages of the images.

Shoot some landscapes and people images, too. Don’t forget to use a second camera–either a second DSLR or ILC body you brought for the occasion or your smartphone’s camera–for landscape and people shots during the eclipse. You don’t want all of your images to be close-up portraits of the sun and moon only. You will need a solar filter on the second camera, too, if you plan to include the sun itself in these shots.

Remember to shoot some images, with a second camera, of yourself and your travel companions during the eclipse. Here’s a shot of my family standing in the umbra during totality at the China eclipse of 2009. Buy this photo

Return all settings to normal after the eclipse. You will have made quite a few special adjustments in order to capture the eclipse properly. Don’t forget to restore your usual settings after the eclipse has ended.

Get creative with your eclipse images once you return home. There are many ways to compile and share your images to give the world a sense of the thrill you experienced while in the shadow of the moon.

Once home from the eclipse trip, get creative about how to share your experience. Here I have put together a montage of some of my favorite images from each stage of the Svalbard eclipse. Using Photoshop, I created a composite image showing the sequence of stages from partial to total and back again. Buy this photo

People Pictures Beyond the Selfie: Why selfies don’t make great images, and how to get really good pictures including yourself

Several times in the pages of “To Travel Hopefully,” I’ve emphasized the importance of including yourself and your travel companions in some of your images. Not only will you and your friends enjoy seeing yourselves captured in these travel photos, but the inclusion of people in travel images gives a sense of scale to the places you visited and tells a more compelling narrative than would be possible in photos without people.

The standard way of including yourself in a photo these days is to use your phone’s selfie camera, but there are a number of reasons why taking selfies is not the best way to capture your own likeness in an image. First, the sensor in the front-facing (“selfie”) camera on your phone very likely has a much lower resolution than does the phone’s regular camera, so the picture quality is lower. Second, it’s difficult to properly compose a photo when holding the camera out at arm’s (or selfie stick’s) length, let alone to smoothly release the shutter. Third, the perspective imparted to the image when the camera is held above in selfie fashion is distorted and often unflattering. It’s really quite unlikely that you’ll get professional quality images of people using the selfie technique.

A selfie doesn’t allow you to properly compose your image, is awkward to shoot, and uses a low-quality image sensor. Instead, mount your camera on a tripod, compose the image exactly the way you want it, and release the shutter remotely or with the camera’s self-timer. Or enlist the help of another photographer. Buy this photo

Fortunately, there are better ways of including yourself in your photos, and they’re not difficult to implement. The two most straightforward methods are placing the camera on a tripod and triggering the shutter with a self-timer or remote release, and setting up the camera for another person to shoot handheld.

The basic setup is the same for either method. Have the other people you want included in the photo stand in the desired location. If you’re the only person present, make a note of where your body will be placed in the composition. Then compose your image from the best vantage point, with the camera either mounted on a tripod or handheld. Configure your camera’s settings (focus, exposure, flash, etc.) the way you prefer, and test the settings by shooting a few frames without yourself in the image. Then move into your predetermined position in the frame and either fire the shutter remotely with the self-timer or remote release, or ask another person to push the shutter button for you.

If you do choose to have another person press the shutter release button for you, you need to be thinking about two things: 1) ensure they know how to operate the camera and won’t run away with it, and 2) be aware that in many countries and regions the person who pushes the button owns the copyright for the image even if they did not contribute artistically to making it. I prefer to use a tripod whenever practical, so as to have a higher likelihood of capturing the image I envision and to avoid any question as to who owns the copyright.

Do you have a favorite method for including yourself in your photos? Please share your ideas in the comment box.

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

Every Day I Write the Book: Even in the digital world, there’s a place for a hardcover photo book from your trip

In the brave new digital world, we have a lot of ways to share our travel photos after (and sometimes even before) we return from the trip: social media, on-screen slideshows, video montages, and of course the enduringly popular paper print. Even with all of these very immediate sharing options, one of my favorite formats for preserving my travel images is the hardcopy photo book, and today there are more choices than ever before regarding how to create these wonderful keepsakes.

Our living room bookshelf and coffee table are home to more than a dozen photo books, each one showcasing the images and preserving the often fleeting memories of the details of a major trip we’ve taken. Here’s why I love this method of sharing travel photography and how to create your own photo books.

The leather cover of a photo book showcasing our recent travels in Turkey.

Why create a photo book? Over time, new digital formats replace existing ones, and the very old ones become obsolete. Within about 20 years, it is quite likely that none of our present formats of storing data will still be readable. The printed page has much more staying power. It is estimated that photos printed on high quality paper using high quality inks, and stored away from direct sunlight, can last for 100 years. I’m a big fan of framed prints, as well, but a photo book is more cost-effective and space-efficient as a means to preserve many more photos than we could easily hang on our walls. And because photo books can include customized captions to accompany the included images, they’re a great reference source for refreshing our memories about what we saw, when, and where. Finally, photo books look great and are fun conversation-starters to tell the story of our travels when friends and family come to visit.

How do you create a photo book? There are a number of methods, but unless you are a scrapbooker or handy with bookbinding, all of them involve sending your specifications and images to a vendor that will print the book, bind it, and mail it to you. Some software packages, including Lightroom, have built-in modules for creating photo books. And most photo sharing websites, including SmugMug (a fabulous site used by many professionals including me), Snapfish, Shutterfly, and Apple Photos, allow you to create and purchase photo books from your images. These services vary in features, price, and quality, so shop carefully. Most of my past photo books were created using Snapfish, but I am transitioning to using Lightroom’s and SmugMug’s services instead. I will report on the results in a future post.

Good book-creation software should allow you to choose from a wide range of formats on each page to display one or several photos plus text.

The basic process works similarly for any of these services. You specify the book size, cover material, paper quality, printing quality, and other basic parameters for your book. Then, you fill the pages of the book with your photos, specifying the layout you want for each page. You can add captions for individual images or series of images, and you may be able to add various special effects. At the end of the process, you place your order for the book to be printed and mailed to you. Using the service offered by Blurb, which is available via SmugMug and Lightroom, you can self-publish a large or small print run of books and make them available for sale on Amazon or directly on your own website.

The process of creating a photo book using Lightroom’s Book module (shown here) is fairly straightforward. It’s even more intuitive using an online service such as Snapfish or Shutterfly.

When you receive your photo book a few days after placing your order, you’ll have a keepsake suitable for sharing with visitors and for preserving your own precious travel memories.

A two-page spread in our Turkey photo book showcases several images of the incredible rock formations in the Cappadocia region.

Have you created photo books from your travel images? Which service did you use and how was your experience? Please share your thoughts here.

Interested in reading more posts about sharing your travel images? Click here to see them all: http://www.to-travel-hopefully.com/category/travel/share/.

News Flash–Google Trips now available: A new app for your smartphone can help plan and manage your next trip

As I write this post, Google has just announced a new smartphone app (for iOS and Android) that claims to simplify the planning and management of travel. Called Google Trips, the new tool appears to have some useful capabilities for many travelers, including travel photographers. I’ve had a chance to download this free app and play around with it a little bit. Here’s what I found:

It’s handy to be able to consolidate all of your reservation info in one place. When I travel, I typically enter every flight, ground transportation segment, hotel, meal, and event as separate items in my phone’s calendar app. I link the email messages containing each item’s confirmation info to that item. This allows me to access all of my reservation info in one place, but to set it all up requires quite a lot of time and effort. With Google Trips, you have the option of handling this consolidation in a simpler fashion. I was not able to try this out, though, because it seems only to work for reservations made using gmail accounts, and I am not a gmail user.
The local content is helpful to have in your pocket. The only reason I still carry a small hardcopy guidebook on many of my trips is for quick and convenient access to information on local attractions, restaurants, and nightlife. With Google Trips, this may no longer be necessary. I looked at the content for two cities I plan to visit in Ireland, Dublin and Dingle. For a large city like Dublin, the app seems to have hundreds of local listings, and a cursory glance confirms they appear to be fairly accurate. However, for smaller towns like Dingle, most of the listings seem not to be local at all, but an assortment of attractions culled from the surrounding region. One would expect the coverage to get better over time.
Far and away the best feature is the capability to download content. My international data plan, probably like yours, costs an arm and a leg, so when I travel I must turn off cellular data roaming on my phone and use it sparingly to avoid massive overage charges. In one day of using the phone as a navigation tool to stroll around London, I incurred $50 of data charges. Google Trips has the capability of downloading directly to your phone all of the maps and content about local attractions for your whole trip, which means it is always available even when there is no cellular data signal, and it won’t eat up your international data allowance. I haven’t had a chance to test this feature in the field, but plan to do so on my next international trip.

In a single day of using my phone to navigate on a family trip in London, I incurred $50 in data surcharges. Google Trips’s offline data feature could save a bundle in these situations. Buy this photo

I like the ability to find out what is open nearby and to plan an itinerary to see all the attractions I want in a customized fashion. Just as a good guidebook can suggest an itinerary in a given location for one day, three days, or longer, so can Google Trips recommend top local sights to fit into the time you have available. The difference is that this app can customize your itinerary to include just the sights you’re interested in, and can provide directions from each location to the next.
Be careful about privacy if you choose to use this app. I have concerns about what data Google says it may collect and how it may use this data. I recommend you read their privacy policy carefully and make your own informed decision about whether to use this app.

You can learn more about the app right from the Google horse’s mouth here: https://googleblog.blogspot.com/2016/09/see-more-plan-less-try-google-trips.html.

Note that I don’t specifically endorse this app or Google products or services in general, nor have I had a chance to use this app in the field. I am providing this information to my readers in the hope that it may be of interest to some. There also appear to be some privacy concerns in this and other Google apps, so be sure to research what data will be collected and how it will be used before deciding whether to use this service.

Have you tried out Google Trips? What do you think? How does it work in the field while you’re traveling? Please share your thoughts here.

Focus on New Orleans: This iconic US city pulsates with jazz, creole, and historic beauty

Some places are magnets that draw us back again and again. I’ve made at least a dozen visits to New Orleans and each time, I find something new. It’s an iconic US city that also defies easy categorization. Home to unique and cutting-edge forms of music, cuisine, and culture, it is also steeped in a grand historic past that evokes France, Spain, Africa, and the Deep South of the US. Quite simply, there is no other place like New Orleans, and nowhere else do travel photographers find more charismatic subjects. Here are a few of my favorite images from a recent visit to NOLA, along with a few words about what they depict and how they were made.

Aside from Paris, I can’t think of any other city that has influenced the cocktail more than New Orleans. Here I captured my older daughter enjoying a classic NOLA libation during dinner on our first night in the Big Easy. I used only natural light and selected a large aperture to soften the background. Laissez les bons temps rouler! Buy this photo

It’s boozy, vomit-filled, sophomoric, touristy, overpriced, and downright awful, but Bourbon Street is a part of the landscape and is worth a quick walk-by. At night, it’s neon assault can almost seem romantic. This shot was handheld using a high ISO setting and a small aperture for greater depth of field. Buy this photo

The lovely Spanish colonial architecture of the French Quarter cries out to be photographed. I made this shot of a wrought iron balcony using a telephoto lens and enhanced the color vibrancy during post-processing. Buy this photo

It’s the tiny cheap eateries as much as the temples of haute gastronomy that keep New Orleans at the top of the list of cities for dining. Be sure to grab some po’ boys, beignets, or muffulettas at these humbler places, and bring your camera to catch some of the action. This image of workers in a po’ boy shop was shot from the hip, street photography style, using a high ISO to allow for a quick shutter speed. Buy this photo

New Orleans is rightly famous for its jazz, which seems to seep through every crack in the pavement of the city and can be heard in places humble or elevated. None is better than the iconic Preservation Hall. As with many performance venues, this hall allows photography without flash, but it is always better to ask permission first and to be discrete during shows. Use a fast lens and high ISO setting to allow a fast shutter speed. Buy this photo

A short trip outside of the city quickly reminds you that New Orleans is a part of the American Deep South. This image was shot from an airboat plying the bayous of Jean Lafitte National Historic Preserve. I metered the exposure on the lush vegetation lining the waterway so as to avoid overexposure from the bright reflections. Buy this photo

I captured this image of an alligator seeking the sun on an overcast winter’s day by framing tightly around the gator and its reflection. In post-processing, I cropped to emphasize the symmetry of reptile and reflection and converted the image to black-and-white, while increasing its contrast a bit. Buy this photo

I’m a big fan of food photography, especially when the plate is as strikingly beautiful as this one served at Brigtsen’s Restaurant. I framed the shot tightly with a fast prime lens and a wide aperture to reduce the depth of field. Buy this photo

Wherever we travel, we should make images that bring out a sense of place. This image of my daughters strolling in the Garden District works because it captures the iconic symbols of this neighborhood–the stately mansions and live oak trees–while being a bit playful and framed in an unexpected way. And as I’ve said many times, remember to capture your travel companions in some of your shots. Buy this photo

Have you visited New Orleans with a camera in hand? Please share your experiences. Where do you like to visit and what do you like to shoot?

“Building” Your Portfolio: Architecture gives local flavor and makes a great subject for your photography

Travel photography is exciting in large part because it encompasses all types of subjects. In a single day while traveling, we may have the opportunity to shoot landscapes of the scenery around us, portraits of the people we meet, wildlife images of the fauna in the region, night images after the sun goes down, and photos of the local architecture. I’ve already covered how to shoot most of these subjects in previous posts. Today we’ll focus on how to make compelling images of architecture, which includes both the exteriors and interiors of the buildings we encounter.

For architectural photography, it is essential to carry a good wide-angle lens. While I’m a big fan of prime (fixed focal-length) lenses, architecture is one subject where a zoom lens comes in very handy. That’s because it can be difficult to change our vantage point when shooting large buildings in crowded urban environments. And when photographing buildings, the widest end of the zoom range should be quite wide, indeed. I recommend a lens that can zoom out to 16mm (for full-frame cameras) or even wider. The lens doesn’t have to be particularly fast, because buildings do not tend to move quickly and we can use a tripod to steady the camera for longer exposure times, but it must be of very high optical quality for architecture photography. Cheaper wide-angle lenses are prone to several kinds of distortion that can lend an unprofessional appearance to photos of buildings. I recommend ponying up for a good professional quality wide-angle zoom lens with a range of somewhere around 16-35mm, or even a fast 14-24mm lens if you have the budget for it.

I use the Nikon 16-35mm f/4 lens for architecture shoots. It’s got great image quality and is very solid and well built, but at f/4 it is not super fast, and it is rather heavy and bulky.

When shooting the exterior of a building with a wide-angle lens, we need to make an effort not to distort the lines of the building or its surroundings. A wide-angle lens, especially when pointed upward, has the tendency to exaggerate features so that parallel lines appear to be divergent. If you have the option of moving to a higher vantage point so you can shoot parallel to the ground instead of upward at the subject, this distortion can be greatly reduced. But for those frequent situations when you have no choice but to look up at a building from the street level, try to zoom out so that the entire subject can be included in the frame without pointing the lens too far upward. This image of a stately old building in Buenos Aires was made with the camera pointed nearly parallel to the ground so that even though a very wide focal length was required to fit the building in the frame, there is relatively little distortion of the perspective.
When using a wide-angle lens from street level, try to keep the camera pointed parallel to the ground to avoid severe distortion of the building’s lines. Buy this photo

In contrast, the next image was shot from a vantage point at the same elevation as the subject, the world’s northernmost church. I climbed a snowy hill in front of Svalbard’s chapel to attain the same height as the center of the building, so that I could hold the camera exactly level to the ground and still include equal amounts of the church above and below the center of the image. This minimized the distortion and resulted in a more natural rendering of this fascinating building.

To make this photo of Svalbard’s church, I chose a vantage point at the same elevation as the midpoint of the building, minimizing distortion. Buy this photo

I like to seek interesting colors and recurring patterns in architecture. The miners’ houses in Svalbard made an intriguing subject because they were lined up in an even line of identical structures, but they varied in color. To make the image more compelling, I moved across the street and shot with a moderate telephoto lens (65mm) to compress the scene and make the houses appear closer together. I based the exposure on the light reflected from the paint on the houses, so that the snow in front of and behind the buildings was nearly blown out. In post-processing I increased the vibrance slightly to bring out the bold colors in this scene.

Look for architectural scenes featuring interesting patterns and colors, such as this view of miners’ cottages in Svalbard surrounded by snow. Buy this photo

Sometimes the most effective images of architecture hone in on the details rather than including the whole of the building. I’m always on the lookout for a characteristic or unusual feature of the buildings around me. In New Orleans’s French Quarter, I framed this shot of a lovely wrought iron balcony using a long telephoto lens so that only this one feature of the building was included.

Zoom in on just the most characteristic or compelling features of a building to make an arresting image of the details rather than the whole building. Buy this photo

Shooting interiors of buildings poses some of the same challenges as shooting their exteriors. In particular, since a wide-angle lens is most often required and is frequently pointed upward, it is important to look at the edges of the viewfinder to try to minimize distortion of the building’s lines. To make this wide-angle image of the inside of a grand mosque in Istanbul, I kept the camera level using a tripod and the camera’s virtual horizon function. There was still a good deal of distortion around the edges of the upper part of the scene, but I was able to control this to some degree by adjusting the images perspective using Lightroom software during post-processing.

This image of the interior of a mosque in Istanbul shows some distortion, but I was able to keep it under control by shooting level to the floor and adjusting the vertical lines using post-processing software. Buy this photo

Do you have tips for shooting the interiors and exteriors of buildings? Please share them here.

Portrait Photography Gear: Affordable kit for making great portraits

Whether in my home town or traveling around the world, I love to shoot portraits. There is something magical about creating an image that captures the essence of a person. It can be daunting for many photographers to describe what gear they think is required to make professional-quality portraits: we often visualize a fully equipped studio with tens of thousands of dollars’ worth of high-end lights, modifiers, and backgrounds. The reality is that we can make portraits of publication quality, shot on location and using kit that costs far less. Here I outline a basic setup that is portable enough to pack on nearly any trip and costs only a few hundred dollars (not including your basic DSLR or mirrorless camera body).

Really all you need to get great people photos is a good portrait lens and a little know-how. Make sure to set exposure and focus on your subject’s face. I often use my camera’s Spot metering mode to get the correct exposure in tricky lighting conditions, such as when the subject is backlit. In these conditions, it can also be helpful to fill in any harsh shadows on the subject’s face by using a touch of flash with a diffuser attached or a reflector. That’s really all the gear you need: camera with portrait lens, flash unit, and a reflector kit. Let’s look at the gear and basic techniques.

My indispensable portrait lens is the Nikon 85mm f/1.8G lens. I shoot at least three-quarters of all my portraits, whether in the studio or on location, using this one piece of glass. This is a classic portrait lens and provides a flattering perspective and great image quality when your subject is a person. But this lens also shines for nature and action photography where you don’t need a really long focal length. It renders really lovely “bokeh,” or the soft quality of the out-of-focus parts of the image.

This portrait of a grandmother and granddaughter at Carnaval San Francisco was made with natural light using an 85mm lens at a wide aperture to throw the background into soft focus. Because no flash or reflector was used, there are some shadows on the subject’s faces, but I like the shallow depth of field that really emphasizes the subjects, and this would have been difficult to achieve with the slower shutter speed required to synchronize with a flash. Also, carrying a reflector through the hustle and bustle of a chaotic street fair can be impractical. I’m very pleased with this image even with a few shadows.

This portrait was shot using natural light only. Some shadows are visible on the faces, but the effect is not unpleasant, and the soft focus from shooting without a flash is very effective. Buy this photo

Your camera most likely has a built-in flash, and in many cases it is good enough to provide some fill-in lighting for backlit subjects or even to serve as a main light in very dark situations. But for more control over how much light you want, the quality of that light, and where that light comes from and goes to, you likely want to have a separate flash unit. I use the Nikon SB-910, which is powerful and flexible enough for most settings. It has been discontinued and replaced by the Nikon SB-5000, but the older model is often still available.

Whatever flash you use, it is best to attach a diffuser of some sort to soften the otherwise very harsh light of the flash. I also keep my camera set to lower the flash output by 1 stop, and I only override this setting occasionally. Flash is often best when used sparingly.

This next image was shot at the same location as the previous one, but here I used an off-camera flash with diffuser to provide fill lighting on the subjects’ faces, thus reducing the shadows. The only downside of using flash on location is that a slower shutter speed (typically about 1/160 of a second or slower) must be used, which in turn requires a smaller aperture (here it is f/8), and this can lead to more distraction from in-focus backgrounds. I could have mitigated this problem by attaching a neutral density filter to block some of the light and allow a larger aperture.

This group portrait was made under similar conditions to the previous image, but here a fill flash was used to soften the shadows. Buy this photo

An inexpensive accessory can provide the best of both worlds for on-location portraiture. For less than $20 you can purchase a reflector kit with a variety of different colored reflectors and diffusers. The reflectors are used to bounce some of the sun’s light back onto the face of the subject, thereby filling in any harsh shadows, while allowing you to shoot at any combination of aperture and shutter speed you choose in order to soften the background. Each color of reflector imparts a different mood to the image. An added bonus is that you can preview the precise effect the reflector has in your viewfinder or on your LCD screen. Really the only downside of using a reflector in the field is that they are bulky to carry and often require an assistant to hold in place while you shoot.

This is the reflector kit I carry with me to most portrait shoots. It’s high quality, very portable, and affordable.
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This portrait was made by metering off the face of the model, choosing a wide aperture to blur the background, and bouncing some sunlight onto her face using the gold reflector from the kit mentioned above.

Using a reflector to bounce sunlight onto your subject’s face can reduce shadows while allowing you to retain full control over your aperture and shutter speed. Buy this photo

There you have it: my formula for getting professional-looking portraits in the field with relatively inexpensive gear that’s easy to carry and use.

What is your favorite gear for portraiture? Please share your thoughts in the comment box at the end of this post.

Interested in other posts about photography gear? See them all here: http://www.to-travel-hopefully.com/category/gear/.

Revisitng Your Old Friends: Take a fresh look at your older images with new post-processing

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.

I See a Little Silhouetto of a Man: Intentionally underexposing your subject can create dramatic images

A silhouette is an image rendered as a solid shape of a single color with its edges showing the outline of the subject. In photography this is a rather easy effect to achieve. Simply by underexposing the subject by several stops, all the shadow detail is lost and the subject will appear as an outline in black. This technique can yield dramatic, powerful images if used properly and sparingly.

When the subject is already backlit, just expose for the background and then dial down the exposure by approximately two stops. This image of a man fishing off the seawall at the Malecon in Havana, Cuba works effectively as a silhouette. The subject was strongly backlit by the late afternoon sun reflecting off the ocean, so I exposed for the water and compensated by another two stops. The resulting photo is more evocative of the mood of quiet contemplation than it would be had I exposed for the fisherman.

This shot of a man fishing off a sea in Havana is rendered more powerfully with the subject in silhouette. Buy this photo

During a studio shoot with a yoga and fitness model, we decided to try something different. We turned off the main light and the fill light that ordinarily illuminate the model, and instead turned up the intensity of the lights on the white backdrop. The resulting images showed the model in full silhouette as she dances and performs yoga poses.

In the studio, turning off the primary lights and increasing the brightness of the back lights yields a true silhouette. This image is striking because it reduces the model’s form to an outline, emphasizing her motion. Buy this photo

The silhouette is a simple technique you can use to get creative in your photography. Experiment away–memory cards are cheap!

Top Tips for Great Travel Images: These five simple “hacks” will result in more professional images

Festivals and street fairs can be challenging to shoot due to backgrounds cluttered with people, buildings, and cars. To make this portrait of grandmother and granddaughter at Carnaval San Francisco, I got down low so that most of the background was covered by the cloth of the costume, and I used a wide aperture to throw the hectic street scene into soft focus. Buy this photo

The web is positively overflowing with “life hacks,” simple tips and tricks to save us all time and effort and to achieve better results. Some lists are better than others, but it is in the spirit of these lists that I bring you this compilation of five simple travel photography hacks. These techniques are not difficult and do not require expensive gear. They work equally well for your photography whether traveling or at home. And I promise that if you follow them, your images will improve. The pros do these things almost automatically; to them, it’s hygiene, like tooth brushing. If you read no other post about photography, read this one.

Avoid cluttered backgrounds: So often the travel images of a professional stand out from those of amateurs simply because they took careful notice of what was in the background while composing the shot. Try to frame your subject against a clean backdrop such as a dark-colored wall or the sky. If there’s no way to avoid including some clutter in the background, at least use a wide aperture (low F-stop number) to throw the background into soft focus.
Watch your horizon: Frequently, we’re so intent on composing the main subject within our viewfinder that we forget to check whether the camera is level before firing the shutter. An uneven horizon can give the impression of vertigo, like the subject is going to fall out of the frame. Some cameras have a virtual horizon function to show you whether the horizontal and vertical axes are level, but whether you use it or not, be sure to check visually that the edge of the image looks correct.
Achieve sharp focus: The one characteristic of an image that even the most inexperienced viewer can identify immediately, and one that’s almost impossible to fix in post-processing, is poor focus. Today’s cameras are so easy to use that we often overlook this most basic element. The camera can’t know for sure what subject you intend to have in focus; it can only make its best guess. So take the extra fraction of a second while composing your image to move the camera’s focus point onto the main subject. Or use a small aperture (high F-stop number) to provide a wide depth of field so that essentially everything is in focus.
Choose the correct exposure: Another very basic element of any photograph, exposure can only be correctly chosen by the photographer, not by the camera. Your camera’s Auto mode can be fooled very easily by many tricky situations, most commonly by backlighting of the subject. It’s fine to use the camera’s guess as a starting point, but nearly every camera (including smartphone cameras) have a way to manually override this guess, so learn how to do this and add in about a stop or so of extra exposure if your subject is backlit, more if the backlighting is severe.
Turn off the darned flash: Nearly every camera has a mode where it fires the flash automatically if it determines the extra light is needed. This is rarely a good thing. Far better to turn off the auto flash setting and make your own decision about when to use the flash. Otherwise, your low-light images could end up with an eerie, unnatural color cast or your far-away subject could be underexposed (a flash typically lights an object only a few feet away from the camera, so why fire the flash when you’re photographing an object hundreds of yards or even miles away?). Worse, if you are shooting through glass or another reflective surface, your flash reflects off the surface, ruining your whole image. Worse still, your flash may blind everyone else near you in a very dim setting, damage sensitive artwork, or scare or anger nearby wildlife. I’ve seen countless visitors ejected from museums, zoos and aquariums, and other wonderful destinations because they hadn’t figured out how to override their camera’s auto flash setting. Just turn off the darned flash, and use it manually when appropriate.

Learn these simple techniques and follow them whenever you shoot, and you’ll start making images that stand out from the crowd. Remember, you, and not the technology inside your camera, are the creative force behind your images.

While this image of a yurt in the remote mountainous region between China and Tajikistan succeeds in spite of (or perhaps because of) the off-kilter horizon, it serves as a good reminder to check the horizons at the edge of our photos. Buy this photo

The Harsh Realities: How to shoot in extreme conditions

Travel is exciting because it exposes us to new environments from which we can learn about the diversity of the world and our own place within it. But travel also can expose our expensive and sensitive photo gear to extreme conditions. Heat, cold, humidity, dryness, wind, dust, sand, salt, water, and physical shocks are among the harsh realities of travel photography. Let’s examine some of these hazards and discuss how to mitigate the potential harm.

Cold: Extremely low temperatures can cause all kinds of problems with modern electronics, including cameras. Batteries don’t hold their charges very well in frigid conditions, so you need to carry extra batteries and keep them warm in your pocket or inside your parka. Also expect to be recharging them more frequently than in warmer climes. The LCD displays on your camera (and other devices such as your smartphone) can stop working partially or completely in very cold temperatures. I’ve found there isn’t much that can be done when this happens except to try to gently warm the device, but that can be difficult when in the field shooting. Fortunately, most of the time the display will return to normal functioning when it warms up. Remember that very cold air is usually also very dry air, so be careful of condensation when getting out of the cold and returning to the warmth of an indoor environment. The moisture that condenses on the inside of our lenses and electronic equipment can be damaging, so it’s best to let the gear warm up again while inside a sealed bag to prevent excessive condensation. A large freezer-style bag works well for this purpose; just remember to place your camera and lens in the bag before coming inside from the cold. Avoid lens changes in extreme cold conditions whenever possible.

Extreme cold, such as in Svalbard, can cause problems with the operation of batteries and LCD displays, and with condensation. Buy this photo

Humidity: Excessive humidity can also cause condensation and fogging of the glass surfaces and displays on your gear. In very humid conditions there is lots of moisture in the air, while in air conditioned vehicles and hotel rooms there is less moisture. That means your lenses and LCDs will likely fog up quickly after leaving the air conditioned comfort of your hotel or vehicle. To mitigate this problem, try to store your gear in an area that is less air conditioned, such as a storage area or bathroom. And when you leave your hotel or car, keep the gear inside your camera bag to help prevent the buildup of moisture.
Wind and Dust: Recall that we’ve discussed many times in other posts the need to keep a UV (or haze) filter permanently attached to all lenses. This protects the lenses from scratching damage, but has the secondary effect of protecting against dust building up on the front surface of the lens. Dusty areas are also a good place to keep your lens cap on except when you are actually shooting. Rule Number 1 in dusty environments is never, ever to change lenses outside unless it is absolutely necessary. I like to carry two camera bodies with different lenses so that I can shoot with both lenses without the need to change in the field. And if you do get dust on the camera’s viewfinder, lens, LCD, or mirror, you should have a good blower brush and soft lens cloth with you so you can clean it off. I do not recommend trying to clean your camera’s sensor yourself unless you are confident you have the skills and equipment to do it properly. Instead, turn on your camera’s sensor-cleaning function, if it has one, to try to prevent dust buildup, and heed the caution never to change lenses in dusty or windy environments. A few small specks of dust on the sensor can even be removed in post-processing, although this becomes very difficult if the sensor is badly marred by the stuff. I have a friend who is an ophthalmologist as well as an avid photographer, and he is one of the few people I know who will clean his own camera’s sensor. I have a wonderful photo of him in full surgical regalia, using a microscope and surgical instruments to do the job. For the rest of us, bring the camera to a good repair shop after your trip ends and before the next big adventure begins.
Physical Shocks: Travel is the school of hard knocks for camera gear. Safari vehicles, “puddle hopper” bush planes, and long bus rides over bumpy roads are the norm for adventure travelers. Once the gear takes a punishing blow that damages it, there is very little to be done in the field. My best advice is to carry your gear in a very good padded bag with snug fittings around each piece, and to bring a backup camera body and lenses in overlapping ranges of focal lengths to ensure redundancy in the event of a mishap.

Game drives while on safari are near the top of every photographer’s “bucket list,” but the harsh realities of jolts, dust, and humid heat can threaten your sensitive camera gear. Buy this photo

There’s an old saying, “If you can’t run with the big dogs, stay at home on the porch.” If we were the types of photographers who wanted to avoid all these hazards, we’d just stay at home, right? But travel photographers are the adventurous sort, and we consider these risks to be a cost of the intense pleasure we derive from shooting all kinds of fascinating subjects in new environments all around the world. Plan well to minimize problems, bring extra gear for redundancy, and when something does go wrong keep a positive attitude: you’ll be well rewarded when you get home and have unique images as a souvenir of your efforts!

Baggage Claim: 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.
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.

Luck Favors the Prepared: 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 (and exactly when is a good topic for a future post), 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.

Focus on Tanzania: Every wildlife photographer’s dream destination

There are very few destinations more exciting to us travel photographers than East Africa. My family’s 2.5-week trip to Tanzania, with a brief stroll into Kenya, was a dream come true. Operated by Overseas Adventure Travel, the adventure began with a pre-trip excursion to the Kilimanjaro region, then moved on to the regional capital city of Arusha and to safaris in Tarangire National Park, Olduvai Gorge, Serengeti National Park, and Ngorongoro Crater. It goes without saying that the wildlife photography in Tanzania is second-to-none, but we found the authentic cultural interactions with the nomadic Maasai and other local people to be a highlight of the trip.

The usually shy Mount Kilimanjaro made a brief appearance as we awaited sunset near our lodge. The glaciers that adorn this iconic landform are melting quickly as a result of climate change, so this is a place to visit soon. I used a polarizing filter on a medium telephoto lens to reduce the haze and bring out the texture of the mountain, and I framed the shot through some branches near our campfire.

Mount Kilimanjaro lit by alpenglow. Buy this photo

On a game drive in the Kilimanjaro region, we encountered this lovely lilac-breasted roller. To capture this image, I used a long telephoto lens (500mm, which was equivalent to 750mm when fitted on this camera) and stabilized it on a beanbag that I rested on the top of the safari vehicle. This is a very important accessory to bring with you on a safari, as you cannot fit a tripod in a safari vehicle and a monopod is awkward. While the beanbag that I use is no longer available, this one is well reviewed by photographers and represents a good value.

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Lilac breasted roller captured with a 500mm lens in the Kilimanjaro region. Buy this photo

The cultural learning and interaction was a big part of this trip. Here my older daughter is greeted by a young Maasai woman as we arrived at their settlement. The Maasai are nomadic herders, usually moving from place to place to pasture their cattle throughout the seasons of the year. It was a fascinating opportunity to meet them and learn about their way of life, and to make portraits with the Maasai people we met.

A warm welcome as we arrived at the first of two Maasai villages visited during our trip. Buy this photo

I had a fun interaction with this young Maasai boy by showing him the images as I shot his portrait in various places around the village. He had not seen many photos of himself. Here he is posing in front of his family’s house.

A Maasai boy by his family’s shelter. Buy this photo

Our visit to the bustling city of Arusha was intended to be a staging point for the game viewing excursions to follow, but we found Arusha to be a very interesting cultural crossroads. Here is a shot of what passes for a towing service in the area, a broken-down van being pulled to a service station on top of a donkey cart. Always be on the lookout for serendipitous moments like this one when you travel!

A street scene in Arusha, the region’s largest city. Buy this photo

Along the road from Arusha to Tarangire National Park, we stopped to chat with a group of several young Maasai men. They had recently undergone the ritual circumcision ceremony that marked an important milestone on their journey to become warriors. For the next six months they would wear the special face paint while they underwent their final training. Our local guide was very helpful in facilitating our conversation. Through him, I asked this man’s permission to make a portrait. This was shot with a moderate telephoto lens and a wide aperture to soften the background.

A young man nears the end of his journey to becoming a Maasai warrior. Buy this photo

Tarangire National Park is a gem of a nature preserve that is often overlooked by visitors to Tanzania. Be sure to visit Tarangire if at all possible! Here’s a shot of a baby baboon in a group of baboons we were observing there. When shooting backlit wildlife, use your camera’s spot metering mode with the focus point on the animal, so your camera won’t underexpose the main subject.

A playful baby baboon in Tarangire National Park. Buy this photo

We stopped for a visit to a second Maasai settlement, very different from our first Maasai encounter. This second group of Maasai were only semi-nomadic and lived much of the year in a more permanent settlement. While their way of life was a bit less precarious, and included public education and solid housing, they still lacked a source of safe drinking water, a common problem in East Africa. We presented the chief with a water filter we had purchased in Arusha, for use by the whole village. This group portrait was made of the villagers when they accepted our gift of the water filter.

Maasai villagers with their new water filter. Buy this photo

Serengeti National Park is the stuff we travel photographers’ dreams are made of! Along with game walks and game drives in open safari vehicles, we also had the chance to soar silently above the Endless Plains in a hot air balloon. This is an amazing way to view the migrations of the herds and the predators and scavengers that tag along. This image was made by shooting down from the basket of our balloon toward a balloon closer to the ground. You can see the trees and herds of wildebeest on the plains below.

Safari by hot air balloon. Buy this photo

Of the hundreds of animal species we encountered, including so much more than just the Big Five, the leopard was one of the most elusive. Here we spotted (as it were) a leopard napping in a tree in Seregenti National Park. This shot was made with a long telephoto lens resting on a beanbag in our safari vehicle. My go-to lens for wildlife photography is the Sigma 150-500mm f/5-6.3 lens. It’s more economical than a Nikon or Canon super-tele, and it produces reasonably sharp images even when used at its widest aperture. You can spend much more on this type of big glass if you want or need to, but I’ve found this lens works quite well for me.

A sleepy leopard yawns in a tree above the Endless Plains of Serengeti National Park. Buy this photo

The migration of the herds is an annual event across the combined national parks of Serengeti in Tanzania and Maasai Mara in Kenya. It’s a spectacular sight as millions of wildebeest, zebra, and gazelles slowly migrate across plains and rivers, occasionally being eaten by the predators who follow them. To give a sense of the scale and the action, in this image I zoomed in on a group of wildebeest with a telephoto lens so as to compress the scene.

A small vignette from the massive migration of the herds across the East African plain. Buy this photo

We were very fortunate to come across this quiet scene of a lioness with her newborn cubs. We watched from a distance so as not to disturb this family as she cleaned and played with her two cubs, them mewing like housecats all the while. The light was low in this glen, and the long telephoto lens was slow, so I stabilized it on a beanbag and shot at a higher ISO setting to allow for a reasonably fast shutter speed. There was some noise in the image as a result of the high ISO (camera sensors weren’t as good at high sensitivities back in 2012), but I did my best to reduce the noise during post-processing.

A mother lion spends some quality time with her cubs. Buy this photo

We visited a primary school in a small community. This was one of the first schools in Tanzania to serve breakfast and lunch to students who walk miles each way to school and would have to double their daily walking distance if they had to return home midday for lunch. My daughter enjoyed talking with students about their daily lessons.

Visiting a classroom at a rural primary school. Buy this photo

Farewell to Tanzania! My family enjoys a glorious African sunrise at our tented camp located right inside the national park.

A Serengeti sunrise. Buy this photo

Want to see posts on other travel photography destinations? See them all here: http://www.to-travel-hopefully.com/category/destinations/.

Have you visited East Africa? What were the highlights of your trip? Please share your comments here.

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