portraits – To Travel Hopefully

“The Travel Photographer’s Toolkit”: Please join me for a special online workshop!

Love to capture photos while traveling the world or near your home? Ready to improve your photography techniques? Join award-winning photographer Kyle Adler for a special online workshop on the basic principles of travel photography. We’ll cover how to plan your travel with an eye toward photography, how to pack, a few simple technical matters, and general approaches to various genres including landscape, cityscape, portrait, night photography, street, sports/action, food/beverage photography, etc. The session will be kept small so we can be interactive. This workshop is suitable for all photographers from beginners through enthusiasts to semi-professionals and professionals. Hope you can participate in this rare opportunity to learn a wide range of practical travel photography techniques in a concise 75-minute format!

Reserve your spot by registering and paying here: https://form.jotform.com/202343669158157

“When someone shows you who they are, believe them the first time.” ~Maya Angelou [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 Morocco [Encore Publication]: A visual feast for all the senses

Iconic Moroccan scene: No visit to the Sahara Desert would be complete without experiencing a dromedary ride across the sand dunes. Ever try to photograph while clinging on for dear life atop the lurching single hump of a dromedary? I have. The best advice for shooting in situations like this one is to preset your camera to a very fast shutter speed in order to freeze the motion, use your camera’s or lens’s stabilization feature, and capture a few bursts of many shots in quick succession. You’re unlikely to get any award-winning photos while traveling on camelback, but using these tips you can at least capture some of the adventure of the experience.

My wife and I recently returned from a lovely adventure traveling through Morocco. OAT’s Morocco Sahara Odyssey itinerary took us from the administrative capital of Rabat to the ancient cultural capital of Fez, to the thrilling and otherworldly Sahara Desert including a stay in a luxurious private tented camp nestled among the sand dunes, into the High Atlas Mountains, then on to the quintessential overload experience for all the senses that is Marrakesh, and finally to fabled Casablanca. Throughout this adventure we had the opportunity to meet and learn from local Moroccan people of diverse backgrounds and trades. Morocco is a special destination for photographers of all levels: whether you’re shooting with 40 pounds of professional gear (and the backache to prove it) or just using your phone’s camera, this is an adventure that will engage your creativity to capture sweeping desert landscapes, street scenes among the vibrant and bustling souks, ancient cityscapes, lovely portraits, and exotic wildlife.

Our Moroccan adventure began in the capital city, Rabat. Rabat boasts a twelfth-century mosque and minaret that would have been the world’s largest had they been completed.

When strolling through any city I’m always on the lookout for interesting patterns of color and texture. This bustling urban scene impressed me with its repeating pattern of blue taxicabs framed by manicured palm trees and whitewashed buildings.

From Rabat we traveled to ancient Fez, with its rich Moroccan cultural legacy.

At a souk (marketplace) in the old part of Fez, a vendor prepares thin layers of dough for cooking. Many photographers expect Morocco to be a challenging destination for portraiture because some of its people hold to traditional beliefs and would prefer not to be photographed. We found this to be only partly true. As in any other country, in Morocco one should always ask permission before shooting closeup photos including any person. But in today’s Morocco, particularly in urban settings, people have smartphones and are quite accustomed to being photographed. Your trip experience leader can act as a local “fixer,” helping introduce us to the people we meet and translating for us to help pave the way for photography. But with or without a local guide, the traveler who makes an effort to get to know their subject first is likely to be rewarded with a richer understanding of the local culture and some lovely portraits by which to remember its people.

Traditional leather dyeing process at a tannery in Fez. The tannery staff take pride in continuing to employ natural methods as opposed to the chemical processes used by most modern tanneries. As we looked down on the dyeing vats from the roof of the tannery’s adjacent four-story shop building, I was struck by the stunning array of vibrant colors. I used a moderate telephoto lens to compose the image and underexposed the shot by one stop to concentrate the saturation of the colors.

Our intrepid group poses wearing traditional Moroccan turbans at the caravansary, an ancient rest stop along the trade route where camels were fed and sheltered on the ground floor while their people were taken care of on the upper floors. It’s always fun to capture some shots of the entire group while traveling. Here, I used a wide-angle lens to include everyone along with the surroundings, a technique referred to as an environmental portrait. The trick when photographing people through a wide-angle lens is to keep the lens exactly level to the ground rather than pointing it up or down, which causes unflattering distortion.

After spending several days in Fez, we traveled through the Middle Atlas Mountains into the Sahara Desert. The stark, otherworldly features of the desert were a highlight of the trip. Far from being a desolate and lifeless place, the Sahara is teeming with flora and fauna and home to some of the friendliest people we’ve met.

Traveling through the Middle Atlas Mountains between Fez and Erfoud, we stopped to view Barbary apes in their habitat in a cedar forest within a national park. Tips for better wildlife photography include using a long telephoto lens to allow shooting from a safe distance so as not to endanger you or your subject, selecting a high ISO setting and a fast shutter speed, and grabbing a burst of many shots so as to increase the chances of walking away with at least one really good one.

Meet Moha, whose father many years ago found ground water just below a seemingly lifeless patch of land in the Sahara Desert and decided to plant there. Moha, shown here with his granddaughter, took over the farm from his father and now tends to more than 150 date trees. He showed us his entire impressive operation. When making portraits of two people, it’s best to wait for them to relax and then to catch the moments when they are interacting with each other and not the camera. I used a wide aperture setting (small f-stop number) to soften the background, which helps emphasize the people in the foreground.

Hiking to the top of a massive sand dune near our tented camp to enjoy happy hour, I captured this landscape photo of a Saharan sunset. Not all landscapes need to be photographed using a wide-angle lens. In this case I wanted to compress the apparent distance between the far-off layers of dunes, so I used a moderate telephoto lens. Underexposing by one stop helped concentrate the colors in this scene.

Sand surfing down from our perch on the dunes. Because this photo was shot in almost total darkness well after sunset, I had to boost my camera’s ISO sensitivity setting. This allowed the use of a small enough aperture (high f-stop number) to keep the whole scene in sharp focus and a fast enough shutter speed to freeze the action.

Spectacular night sky in the middle of the Sahara Desert featuring a brilliant Milky Way and a meteorite above rolling sand dunes. Because our private tented camp was situated in a remote spot among the dunes, I had only to walk a few steps from our tent to find a dark-sky location for night photography. Today’s cameras are much better at capturing nighttime scenes, but there are still some complexities in getting your shot: use a sturdy tripod and a remote shutter release to keep your camera stationary, employ a wide-angle lens to include more of the sky, focus manually so that the stars appear sharp, and select a fast ISO setting and wide aperture (small f-stop number) to allow a shutter speed of no longer than twenty seconds. A longer exposure risks that the stars will move during your shot.

This region of the Sahara is known for its Gnawa musicians. Originally from Sub-Saharan Africa, their ancestors escaped slavery and migrated north, bringing ancient folk traditions with them. Today pre-Islamic and more modern musical forms are integrated into their performances. The famous photojournalist Robert Capa once said, “If your photos aren’t good enough, you’re not close enough.” This is not universally true but it’s certainly a helpful reminder when shooting portraits that we shouldn’t be afraid to get really close to our subjects—assuming we have their permission and we’re not disrupting their activities. I used my go-to portrait lens, a moderate (85mm) telephoto prime (non-zoom) lens with a very wide aperture (very low f-stop number) to be able to get this closeup without disturbing the performance. The wide aperture allows a faster shutter speed to freeze the motion and also softens the background so that the drummer’s features are emphasized.

We had a chance meeting with Aicha as she carried a tree she planned to use for firewood through the alleys of the village of Tinjdad. Our wonderful trip experience leader Mohammed broke the ice by asking Aicha some questions about her life and her activities that day. She had quite a few questions for us, too, and found the interaction to be very amusing. With her permission I made this delightful portrait that expresses her wisdom and curiosity about the people she has just met.

En route from the Sahara to the ancient and chaotic city of Marrakesh, we visited several villages and met some of their people.

An eleventh-century village and fortress that is now a UNESCO World Heritage Site. For village scenes, I find it’s helpful to look for a while without the camera and wait for an interesting visual story to come to mind. Only then do I choose the right focal length lens to tell the story. There are many ways to photograph an historical place, so be sure to find a story that has meaning to you.

In the village of Asfalu, Ahmed and his wife Leila welcomed us into their home. I love this portrait of one of their daughters, 13-year-old Nouhayla. After getting to know each other, she agreed to pose for the photo and I suggested we move into the courtyard outside their home where there was an uncluttered background. The background is at least as important as the foreground subject when composing a photo, so don’t be shy about moving your subject.

Marrakesh is a place unlike any other. Its ancient souks inhabit the narrow alleys of the medina (old city). Jemaa el-Fnaa Square, a UNESCO World Heritage Site in the heart of town, bustles day and night with thousands of visitors from near and far.

We enjoyed coffee at a café atop a nearby building and were afforded a panoramic view at sunset over Jemaa el-Fnaa Square. Any camera yields great results when photographing a scene this vibrant and lively. Just choose a composition that speaks to you and fire away. I do recommend checking that the horizon line is level while composing your shot, as it’s easy to get carried away with the excitement of the scene and to shoot with an uneven horizon.

One of countless thousands of vendor stalls along the labyrinthine alleys of Marrakesh’s medina. I was intrigued by the array of identically shaped jars, each with its own vibrantly colored contents. To ensure the lines of the shelves were not distorted, I used a medium telephoto lens and shot from slightly further back. Wide-angle lenses have the effect of distorting parallel lines unless great care is taken when composing the photo.

A few travelers from our group used our free time to hike among the hill towns of the Imlil Valley in the High Atlas Mountains. We were afforded glorious views of nearby villages as we trekked along the narrow trails. This scene of a village at the base of the mountain appeared around a bend in the trail.

A beautiful tagine (Moroccan stew) served at lunch during our hike. We were amazed by the flavor and appearance of this dish, especially given our location at a tiny rooftop café in a remote mountain village. Capturing photos of food is rarely easy and certainly was a challenge in dazzlingly bright sunlight. I moved the tagine under a canopy, positioned a black placemat behind it, and shot from an oblique angle to bring out the contrasting colors and textures in the dish. During post-processing, I cropped a bit more tightly and darkened the background to make it completely black.

Leaving Marrakesh behind, we traveled to Casablanca, our final stop before returning home.

The Hassan II Mosque in Casablanca is the world’s third-largest mosque, accommodating 105,000 worshipers. Only the mosques in Mecca and Medina are bigger. Photographing very large and tall buildings poses a challenge. To include the whole structure a very wide-angle lens is required, but if the camera is tilted up or down even a little bit, the lines of the building are distorted. Here I used an ultrawide lens but ensured the camera was kept exactly level to the ground to minimize distortion.

You can see more of my images from our Morocco adventure here: https://www.kadlerphotography.com/Travel-Photography/Morocco.

Have you traveled and photographed in Morocco? Please share your experiences, and images, by commenting on this post!

Focus on Turkey [Encore Publication]: Spectacular photographic opportunities abound in this troubled nation

In the fall of 2015, my wife and I traveled throughout Turkey on a 2.5-week journey that included adventures in Istanbul, Cappadocia, the Turquoise Coast, and Ephesus. We traveled with Overseas Adventure Travel (OAT) in the company of a local Turkish trip leader, and we had a wonderful, safe experience. In today’s post I share our experiences and some of my favorite images from this spectacular but troubled nation.

First, a few words about safety. Even when we traveled in September and October of 2015, there were concerns about the safety of travel in Turkey. We did not visit the far southeastern regions of Turkey due to the ongoing violence between various factions from ISIS, Kurdish separatist groups, and the Turkish government. There was a bombing with many casualties in Ankara while we were visiting a different part of Turkey. Since our trip, the situation has deteriorated as a result of an escalating crisis in and around the border with Syria, terrorist actions throughout the country, and the broad government crackdown in the wake of the attempted coup earlier this year. OAT, the company we traveled with, has since suspended all of their trips to Turkey. Tourism in Turkey is being devastated by the concerns of safety on the ground.

So why would anyone want to go to Turkey? The cultural, historic, and natural appeals of this destination are undeniable. It is a travel photographer’s paradise. And safety is a relative term. I’ve traveled in over 100 countries and many of them were considered “unsafe” when I visited, but my only two close encounters with real terrorism were in supposedly “safe” cities: a bombing in Tokyo and a mass shooting in Los Angeles. I felt safer in Turkey late last year than I do in many other parts of the world. That said, the situation on the ground has deteriorated since I visited, tours to Turkey are becoming hard to find, and only you can decide on your tolerance for risk. So perhaps wait for more order to return to Turkey before traveling there to make your own images, but in any case you can enjoy my images from this fascinating and gloriously beautiful part of the world.

Our adventure began in Istanbul, an ancient city situated at the border between Europe and Asia. Its place as a crossroads of history from Roman times through the Byzantine Era, the Ottoman Empire, and the modern Turkish republic is apparent as you stroll its winding streets and ply its crowded waterways. The are opportunities to make great images everywhere in the city.

Istanbul’s Hagia Sophia, the foremost Byzantine church, is nearly 1500 years old. When shooting grand architectural sites from up-close, it’s a challenge to try to avoid distortion due to perspective and the necessity of using a wide-angle lens. Here I kept the horizon level with the ground to avoid excessive distortion. Buy this photo

The best baklava in Istanbul? Perhaps. I certainly didn’t taste any better baklava in the city, and believe me, I tried a lot of baklava. To make this portrait, I asked our trip leader to introduce me to the baker, who was happy to pose with his wares. This was shot with natural light and just a touch of fill flash. Buy this photo

View of the Galata Tower from across the Bosphorous. Buy this photo

After Istanbul, we traveled to the central region of Cappadocia, famous for its “fairy chimneys,” natural spires formed by the erosion of soft tufa rock. This region is a veritable dream for travel photographers!

Upon arriving in Cappadocia, we were thrilled to learn our hotel room was inside an ancient cave dwelling. (Not to worry, it had been recently remodeled.) When shooting interiors, it’s usually best to use a fast wide-angle lens and to compose the image carefully so as to gain the viewing perspective you want. Buy this photo

The Goreme Open Air Museum comprises dozens of ancient Byzantine churches carved out of the tufa rock. Remember to capture some images that include yourself and your travel companions. Refer to this post for more practical tips about making great self-portraits while traveling: Post on Self Portraits. To make this image, I set up the camera on a lightweight travel tripod, composed it by having my wife stand in front of the “fairy chimney” church, then joined her in the frame and triggered the camera using a remote release. Buy this photo

The soft tufa stone formations look almost like sand dunes in the late afternoon glow. I shot in RAW mode (as always!) and underexposed slightly to allow for a higher-contrast image during post-processing. Careful cropping also helps a striking landscape really pop. Buy this photo

We awoke at 5:30 AM to the sight out our cave-hotel’s window of hundreds of hot air balloons launching about the fairy chimneys. I jumped out of bed, barely remembering to throw some clothes on, before running out the our balcony to set up a tripod and capture this amazing scene. I exposed for the rock formations and allowed the balloons to be partially silhouetted. Buy this photo

We visited a school in the region, always a favorite activity during our travels. While I also made quite a few images in the classrooms with the kids and teachers, I like the unusual perspective in this image. It was shot from outside the school building as the kids came to the windows to wave goodbye. Buy this photo

We took a very memorable hot air balloon ride at dawn over Cappadocia’s otherworldly landscape. I made this image looking down from our gondola at three other balloons in various stages of preparing to launch. The amphitheaters of soft tufa rock can be seen in the middle-ground and the rising sun in the far background. Buy this photo

At a rug-weaving cooperative, this woman enjoys a cup of Turkish coffee during her break. I was drawn by her colorful clothes and enigmatic smile. I asked our trip leader to introduce us and inquire if it was okay for me to make a portrait. Shooting quickly with natural light only, no time to set up a tripod, and a too-slow lens mounted on the camera, I had to boost the ISO setting quite high. Fortunately, I was able to reduce much of the noise in the image during post-processing. Buy this photo

Hiking up to the top of Uchisar Castle, the highest elevation in Cappadocia. Buy this photo

We had the chance to watch a whirling dervish ceremony. The Samazens, followers of Mevlana Rumi, are a mystical Sufi order who practice the ritual we witnessed. To capture the sense of motion, I used a slower shutter speed to blur the participants. Buy this photo

The Mevlana Museum houses the monastery and tomb of Mevlana Celaleddin Rumi, the mystic who founded the “Whirling Dervish” sect. This image captures the incredible workmanship on the interior of the monastery, especially around Rumi’s tomb. Flashes and tripods are not allowed inside the tomb, so I had to use a fast lens and high ISO setting to handhold the camera. Buy this photo

We departed Cappadocia and drove to Antalya, the gateway to the southern Mediterranean region known as the Turquoise Coast. Antalya boasts an ancient Roman harbor and a fascinating archaeological museum.

We happened upon an interesting scene when several archaeologists and their students attempted to match a recently excavated statuary head to a body already in the museum. Always be on the lookout for serendipitous scenes, which often make the most memorable images from a trip. Buy this photo

These Lycian house-tombs were carved into the cliffs centuries before the Romans arrived at Myra. Buy this photo

We boarded our gulet, a traditional Turkish wooden sailing yacht, for a four-day cruise along the Turquoise Coast. Each day offered a wonderful photographic tapestry of great images, as we sailed, hiked, swam, and dined.

Kayakoy is a ghost town, a Greek village abandoned when the Turks expelled Greeks after their war for independence in the early 20th century. Turks living in Greece were also expelled the same year. Buy this photo

My wife Mary spotted this rare wildcat, which looked to us a bit like our local Californian bobcat, along one of our daily hikes. I changed lenses very quickly while slowly approaching the cat, then captured this portrait using a medium telephoto just moments before he slipped into the brush. Buy this photo

A riverboat took us from our gulet yacht to the ancient Lycian site of Caunos. This image of a beautiful kingfisher along the side of the river was captured using a long telephoto lens and a fast shutter speed to allow for handholding the camera on a rocking boat. Buy this photo

On our last full day in Turkey, we finally got to visit the splendid ruins of Ephesus, a major Roman city in the region.

The ruins at Ephesus include the incomparable Library of Celsus, pictured here in a self-portrait of my wife and me. To achieve the broad depth-of-field required to ensure both the people and the buildings were in sharp focus, I used a small aperture (large F-stop number). Major archaeological sites are often packed with other visitors, so try to find vantage points that allow the crowds to appear small in comparison to your main subjects. Buy this photo

Throughout Turkey, the food was vibrant, simple, and delicious. Our final day’s lunch, in a beautiful village in the mountains, consisted of course after course of delightful meze (appetizers). Buy this photo

Turkey is a remarkable destination for travel photography. Let us hope its current troubles will soon be a thing of the past and that safe and affordable travel will again be available there.

Have you visited Turkey? What were your most memorable experiences there? Please share your thoughts here.

Want to read more posts about travel photography destinations? Find them all here: Posts on Destinations.

Focus on Balaknama [Encore Publication]: Making portraits that go beyond documentation to help Delhi’s street kids

During a recent trip through the north of India, I had the opportunity to meet with the advisors and some of the young staff at the Balaknama Newspaper, a project to empower the street kids of New Delhi. I’ve long been interested in the plight of the street kids who live in Delhi’s sprawling slums and have historically been terribly mistreated at the hands of exploitative child labor bosses, a corrupt police force, and often their own abusive families, so this visit was important to me personally. In this post I share some of the images I made of the kids who risk their own safety to expose the abuses against the young people in their community, and I also discuss how to go beyond the purely documentary function of portrait photography to give your portraits more power.

The images I share here are published with permission from Balaknama’s editor and the NGO who supports the project. However, I will not share the location of the offices nor the real names of the kids who work there, in order to protect their identities.

The power of a portrait to advocate for social change depends primarily on its ability to go beyond simple documentation and to reveal the personality, background, and/or motivation of the subject. For this shoot, I wanted to convey the passion and bravery of the young reporters. I shot with available light only (no flash) in order to capture the intimate and urgent mood of the work the kids are doing. I used several lenses for different perspectives, but most of the images were made using a fast prime portrait lens. My shooting perspective was from a low angle so as not to give the appearance of looking down on the subjects. People appear more empowered when the camera observes them from the perspective of their peers–it should appear as though the viewer is a part of the conversation.

This 17-year-old reporter is also the primary organizer of more than 10,000 of Delhi’s street kids. I wanted to capture her intensity and focus in this portrait, so I got in close with a medium-length portrait lens and shot from the perspective of a participant in the conversation. A wide aperture (low F-stop number) is helpful to isolate the subject from the background. Buy this photo

The “decisive moment.” I shot several frames of this young reporter as he described the horrific abuses of his peers in the slums of New Delhi, in order to maximize the chances of capturing just the right instant. I love this image, which to me appears to emulate the drama and body language of Francisco Goya’s famous painting, “The Executions of the Third of May, 1808”.

This powerful portrait has a painterly feel and freezes the tension and drama of the harrowing stories retold by the young reporter. Buy this photo

The interaction between the students at the newspaper is an important theme. Here I worked to capture the girls’ engagement with each other and with the overall discussion. Buy this photo

Language barriers are less important than many photographers believe them to be. A simple “thumbs-up” gesture evoked a playful response from these young Balaknama staffers, providing a light moment during the intensity of our conversation. Buy this photo

As I’ve often written in To Travel Hopefully, it’s important to remember to include your own group in some of your images. While I most likely won’t publish this image in my stories about Balaknama, I am happy to have this documentation of my fellow travelers as we interacted with the students and staff at the newspaper.

For large group shots in tight spaces, use a wide-angle lens. This was shot with a Nikon 16-35mm f/4 lens at its widest setting, giving the viewer a sense of the setting as well as the people there. Buy this photo

I wanted to capture a final portrait of the two primary student organizers as we left the newspaper’s offices, so I asked them to pose together during our walk through the neighborhood. This gives a sense of the environment in which they live and work. I got in close using a wide aperture to soften the background, but I also chose a background that would inform the viewer about the kids’ environment. Buy this photo

Do you have techniques for making powerful portraits that go beyond pure documentation to advocate for the people and causes in the images? Please share your thoughts here!

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

Focus on Carnival in Madeira [Encore Publication]: This tiny Portuguese island group celebrates a vibrant and unique Mardi Gras

When we think about Mardi Gras carnivals, most often the first locations that come to mind are Rio de Janeiro, New Orleans, and perhaps Trinidad. But the start of the Lenten season is celebrated in many parts of the world with the outpouring of dance, music, color, and joy known as Carnival. While each region’s celebrations have a few elements in common–typically the all include grand parades with samba dancers and floats, all decorated in lavish costumes–there are many notable regional differences. For example, in my home in the San Francisco Bay Area, Carnaval SF is unique for its array of “comparsas” (samba school contingents) representing the cultural traditions of all of Latin America and the Caribbean as well as parts of Asia.

This year I had the great pleasure of capturing Mardi Gras Carnival images on assignment in Funchal, capital of the tiny island group of Madeira. While politically a part of Portugal, Madeira is located off the coast of Morocco in North Africa and has a decidedly different cultural flair than what is found in mainland Portugal. Samba and Carnival were essentially invented by African slaves in Brazil while it was a Portuguese colony, and the samba parade traditions have migrated back to Portugal where celebrations are held throughout the country. Given its location between Africa and Europe, Madeira combines distinct cultural traditions from both regions and offers a special flavor of Carnival that I found exhilarating. And best of all, the celebrations roll on over a whole week with numerous events, retaining a true local flavor with few tourists.

Today’s post features some of my favorite images from this year’s Carnival events on Madeira. If you’d like to see more photos, or to purchase a few, please visit https://www.kadlerphotography.com/Travel-Photography/Madeira-Carnival/. I am grateful to the Madeira Promotion Bureau for their assistance providing access to the Carnival events. Enjoy!

I hope you enjoyed these images from this year’s Carnival events on Madeira. Visit https://www.kadlerphotography.com/Travel-Photography/Madeira-Carnival/ to see more photos. Again, a big thank-you to the Madeira Promotion Bureau for their assistance providing access to the Carnival events.

Have you discovered any less known locations for Carnival celebrations? Please share your experiences and your photos here!

Faces of Vietnam and Cambodia, Part II [Encore Publication]: Showcasing the diversity of Vietnam and Cambodia’s people

My wife and I recently returned from an amazing 3.5-week adventure traveling through Vietnam and Cambodia. Our itinerary took us from the bustling capital of Hanoi to the glorious mountains jutting skyward from Halong Bay, then to the former imperial capital of Hue and the quaint festival city of Hoi An, on to the mountain retreat of Dalat and to modern Ho Chi Minh City (Saigon), and finally to the indescribable temple complexes at Angkor Wat in Cambodia. While it was wonderful to view the region’s gorgeous landscapes and fabled monuments, what made this adventure truly unforgettable for us was its many opportunities to interact with Vietnamese and Cambodian people from all walks of life: a Buddhist nun, an older couple whose homes were confiscated by the Communist Party, a former South Vietnamese soldier who survived the re-education camps and rose to become major of his village, eager students at Dalat’s rapidly growing university, former Viet Cong fighters, and ethnic minority hill tribes rarely contacted by outsiders.

Yesterday’s and today’s posts showcase some of my favorite portraits, some of them not yet previously published, featuring a wide range of people we met during our adventure. The portraits will be presented as a photo essay, but I will include brief descriptions of each and occasionally some commentary about how they were made. You can click on any of these images to view or purchase them and many more from the Vietnam and Cambodia trip. Yesterday’s post featured Part I, and today’s post comprises Part II.

A wonderful visit to village of Buon Chuoi, home to the Kho Chil ethnic minority. We were among the very few foreigners ever to visit this hill tribe area. Kids are great fun to photograph. The key to making authentic portraits of kids, as of adults, is to make a personal connection before starting to shoot. Get to know your subjects first, be playful and interactive, and only then take out your gear.

School was not in session due to parent conferences when we visited the mountain village of Buon Chuoi, so many of the schoolkids were playing in the courtyard. I captured this portrait of a girl with her little brother during a game of marbles.

Visiting the village chief’s home in Buon Chuoi Village. His wife, in her eighties, still passes most days by weaving while smoking her pipe. This is one of my favorite portraits from the whole trip, because it truly captures the spirit of the subject, offers a rare view into rural Vietnamese village life, is illuminated by lovely natural light, and represents a memorable and striking image.

Kho Chil boys run after our tractor as we descend from Buon Chuoi Village. Not all portraits need to capture a stock-still subject. This portrait gains its vitality through the boys’ motion, and its jaunty, slightly off-kilter composition adds to the sense of kinetic energy.

Dalat is much cooler than the rest of Vietnam. This mom and her daughter are dressed appropriately for the higher elevations. Busy backgrounds can distract from a good portrait, but here I mitigated some of the distraction by using a shallow depth-of-field and by applying a bit of post-crop vignetting during post-processing.

In the courtyard of the Linh Phuoc Pagoda, Lady Buddha observes this young woman checking her text messages. Good street photography is characterized by capturing just the right viewpoint, framing, and moment (what Henri Cartier-Bresson called “The Decisive Moment”) when the people and the space come together, and I believe I caught that conjunction nicely here.

A young Buddhist monk-in-training. Often, the person appearing in a portrait is more colorful than the background elements, but here the opposite is the case.

At Saigon’s Post Office, I asked this lovely young woman to model the traditional Vietnamese costume, the ao dai. I made no attempt through depth-of-field, supplemental lighting, or vignetting, to set off the model from the cluttered background. That’s because I wanted to feature the glorious French colonial architecture of the post office as much as the model posing before it.

Preparing to board our sampan on the Mekong Delta. The weather was overcast and rainy, so I used a slower shutter speed (1/50 second) and fairly wide aperture (f/4) to saturate the colors.

Ben Tre Village is famous for its coconut plantations. We enjoyed coconut meat, coconut milk, coconut whiskey, and of course coconut candy. I used a small amount of fill flash to fill in the shadows on the subject’s face and to help set her off from the background.

A stall-keeper at Saigon’s bustling central market. I used a fast portrait lens at a wide aperture along with a high ISO setting in order to soften the busy background.

Very interesting learning about the wartime experiences of these former Viet Cong fighters. They lived for years in the Cu Chi Tunnels, which they considered much safer than being exposed to US bombing and infantry attacks above ground. This portrait is effective because it captures the officer in a candid moment with beautiful available lighting and sets him against a solid colored background.

We visited a farm outside Siem Reap, Cambodia, where women still thresh rice by hand. The farm family’s six-year-old daughter stopped by to check us out.

We are welcomed to a small village outside of Siem Reap by this elder. I made an environmental portrait showing her in the context of her work weaving baskets. The image works very well because the composition is intimate and engaging, telling the subject’s story in a concise way, and because the simple solid contrasting color of the wall behind her offsets her colorful clothes in a pleasing manner.

Visiting the floating village of Mechrey on the huge Tonle Sap Lake. I made this image of a local family in their houseboat as we sailed by. By placing the family in the context of their home and daily activities, the image serves to capture a slice of life rather than to feature any individual member of the household.

A monk pauses to reflect outside the Angkor Wat temple complex. I spoke with him (using our guide as a translator) to make a personal connection and to obtain his permission to make the portrait. The contrasting colors and textures of the monk and the temple buildings, as well as the leading lines that guide the viewer’s eye from front to back, make this a memorable portrait. I made the image using natural light only and incorporated a polarizing filter to deepen the colors and add drama to the sky.

At a home-hosted lunch in rural Kravan Village, I made portraits of the whole family. Here is the oldest daughter, Lia, a flight attendant and gracious hostess. Classic portrait techniques applied here: make a personal connection first, use a fast prime 85mm lens at a wide aperture, and light the subject with the most beautiful light available in the situation.

I arranged a visit to a performance of traditional Cambodian Apsara dance. In the days of Khmer empire, only the king and queen were allowed to see these dances. During live performances, use of flash is almost always prohibited (and almost always rude), so use a fast prime lens, a high ISO setting, and a steady hand.

We learned about the traditional folding of flowers to present at the Buddhist Ang Chorm Shrine in Siem Reap. The young daughter of the flower stall owner folded these flowers herself. While a bit on the busy side, this portrait succeeds by capturing a riot of colors and an intriguing story.

Have you visited Vietnam or Cambodia? What were your favorite photographic subjects? Please leave your thoughts here.

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

All of these photos and many more from Vietnam and Cambodia are available for viewing or purchase here: Vietnam and Cambodia image gallery.

Missed Part I of this story in yesterday’s post? You can read it here: Part I of this story.

Faces of Vietnam and Cambodia, Part I [Encore Publication]: Showcasing the diversity of Vietnam and Cambodia’s people

Today’s and tomorrow’s posts showcase some of my favorite portraits, some of them not yet previously published, featuring a wide range of people we met during our adventure. The portraits will be presented as a photo essay, but I will include brief descriptions of each and occasionally some commentary about how they were made. You can click on any of these images to view or purchase them and many more from the Vietnam and Cambodia trip.

Here is Part I, and tomorrow’s post will feature Part II.

Street portrait of a little girl petting a small dog in a Hanoi store. While still a source a food in Vietnam, dogs are becoming more common as pets in urban areas. This image was shot from a cyclo-rickshaw, a great way to travel in urban areas of Southeast Asia and an especially good platform for street photography, as this way you travel at eye level of people on the street but will not be noticed as you pass by.

Motor scooters are the major form of transportation in Vietnam’s cities. Whole families of three, four, and even five people commonly share rides. I’m always looking for striking color palettes, and here I loved the family’s vibrant colored clothing, each person wearing a different colored mask.

Phan Tranh Liem is one of the few remaining practitioners of the 1000-year-old Vietnamese tradition of water puppetry. He makes his own puppets, creates the shows, and performs them with his wife. I made this environmental portrait of Mr. Phan, surrounded by a few of his puppet creations, in the workshop of his Hanoi home.

At a local market outside of Hanoi. Dog meat is a local delicacy (and quite pricey).

In the village of Tho Ha, 20 miles north of Hanoi, we visited the home of a family who make rice paper, the main occupation in the village. Spring rolls are extremely popular throughout Vietnam, so there is high demand for rice paper. An environmental portrait is framed to include not only the subject but also enough of the surroundings to give the viewer a sense of the subject’s life.

The head of the household plays a traditional Vietnamese stringed instrument.

In the village of Bat Trang outside of Hanoi, we visited the home of Mr. Duc and his wife. After the war, their homes were seized and they were persecuted as “landlord oppressors” even though they had never exploited others. They recovered one of their houses decades later. It can be a challenge to make a candid portrait of a couple. Here I used a fast normal (50mm) prime lens with a medium aperture so that both wife and husband would be rendered in fairly sharp focus but without requiring a very slow shutter speed or very high ISO setting.

En route to the Hanoi Airport for our flight to Hue, we stopped to say hello to several farmers harvesting rice by hand. A good portrait doesn’t need to include the face of the subject, nor even the subject’s head at all. This portrait works because of the strong composition and lovely color palette, and one feels a connection to the subject even without seeing her face.

We had a lovely visit with a Buddhist nun at the Dieu Thanh Pagoda in Hue. It was fascinating to learn about her life in the convent and her decision process to give up worldly life as a young teen. To make her portrait, preparation was important. I had my gear all set up while we were having our discussion, so that when we were comfortable together I could simply ask if it was okay to make her portrait and then shoot without interruption.

Aboard a “dragon boat” on Hue’s Perfume River, we attended a private performance of a cultural show featuring traditional Hue song and dance. A fast prime portrait lens (85mm) allowed me to shoot this musician using available light with a shallow depth-of-field to offset him from the background.

Hoi An is a charming city adorned everywhere with colorful lanterns. This bride and groom were posing for photos, so (with the permission of the couple and their photographer) I jumped in and captured this portrait.

I chatted with these twin three-year-old cuties and their Mom as we browsed in her shop. With young kids, it’s important they feel at ease before you start shooting, and you should then shoot many frames quickly in order to increase the likelihood of getting one that captures the mood well.

Hoi An’s central marketplace is a wonderful space to capture portraits of the many vendors selling traditional wares. The natural light was lovely, but required some finesse due to the bright background relative to the dim lighting on the subjects.

At My Son Sanctuary, site of the most significant ruins from the Champa Kingdom, we attended a performance of ancient Cham dance. I used a fast portrait lens at a wide aperture and a high ISO sensitivity setting so that I could capture the dancers using a fast shutter speed. In addition, I used a touch of off-camera fill-in flash, not as the primary light but to fill in the shadow areas and obtain more color saturation.

Outside our restaurant in Nha Trang, our waitress checks her messages. I was drawn to this framing because it succinctly captures the modern life of young working urban Vietnamese people.

Fascinating discussion with Xom Gio Village’s chief, a former South Vietnamese soldier and survivor of the re-education camps who managed to work his way up to a high-level position after the war. To capture this striking portrait, I used a fast prime lens almost wide-open to cast the background into soft focus, and I waited for dramatic moments during our conversation to shoot.

The wife of Xom Gio Village’s chief. I used the same technique, described above, as for the portrait of her husband. This portrait has a lovely color scheme, beautiful framing, and nice bokeh (the soft, out-of-focus parts of the background).

The beautiful city of Dalat, high in the mountains, has been a favorite escape from the tropical heat since French colonial times. We spent a lovely afternoon with students from Dalat University. I had the opportunity to get to know English teacher Trung and his bright young students Nhi , Diễm, and Giang. For this portrait, we were joined by my wife and several students she accompanied. To include yourself in a group portrait, first set up the camera carefully, then either mount it on a tripod and trigger it remotely or ask a trusted person to release the shutter for you.

A wonderful visit to village of Buon Chuoi, home to the Kho Chil ethnic minority. We were among the very few foreigners ever to visit this hill tribe area.

Have you visited Vietnam or Cambodia? What were your favorite photographic subjects? Please leave your thoughts here.

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

All of these photos and many more from Vietnam and Cambodia are available for viewing or purchase here: Vietnam and Cambodia image gallery.

Look for Part II of this story in tomorrow’s post!

Focus on Morocco: A visual feast for all the senses

Our Moroccan adventure began in the capital city, Rabat. Rabat boasts a twelfth-century mosque and minaret that would have been the world’s largest had they been completed.

From Rabat we traveled to ancient Fez, with its rich Moroccan cultural legacy.

En route from the Sahara to the ancient and chaotic city of Marrakesh, we visited several villages and met some of their people.

Leaving Marrakesh behind, we traveled to Casablanca, our final stop before returning home.

You can see more of my images from our Morocco adventure here: https://www.kadlerphotography.com/Travel-Photography/Morocco.

Have you traveled and photographed in Morocco? Please share your experiences, and images, by commenting on this post!

Faces of Myanmar [Encore Publication], Part II: Showcasing the Diversity of Burma’s People

My wife and I recently returned from an amazing 2.5-week adventure traveling through Myanmar. Our itinerary took us from the main city of Yangon to the vast plains gleaming with ancient pagodas in Bagan; then to the former imperial capital and cultural hub of Mandalay; on to Kalaw, the gateway to many hill tribes of the region; and finally to Inle Lake, well known for its picturesque floating gardens and for the Inthe people with their unique traditional style of fishing. While it was wonderful to view Myanmar’s gorgeous landscapes and fabled temples, what made this adventure truly unforgettable for us was its many opportunities to interact with Burmese people from many ethnic groups and all walks of life: Buddhist monks and nuns, villagers displaced by a typhoon 10 years ago who are still living in temporary bamboo huts with no running water, the Paduang hill tribe whose women traditionally wear heavy brass plates on their necks, an octogenarian master of the dying art form of Burmese marionette theater, young boys celebrating their initiation as novice monks, and the delightful girls who have found a caring home at an orphanage in Mandalay. Burma is a photographer’s dream, filled with glorious pagodas, gorgeous vistas, and friendly, diverse cultures.

Yesterday’s and today’s posts showcase some of my favorite portraits, some of them not yet previously published, featuring a wide range of people we met during our adventure. The portraits will be presented as a photo essay, but I will include brief descriptions of each and occasionally some commentary about how they were made. You can click on any of these images to view or purchase them and many more from the Myanmar trip. Yesterday’s post featured Part I, and today’s post comprises Part II.

A fascinating visit to Myawaddy Nunnery, where we had the opportunity to meet some of the more than 200 novice nuns who study there. I composed this image to include the contrasting colors of the novices’ pink robes against the painted carved teak facade of the building.

Portrait of the abbess at Myawaddy Nunnery. The lovely “bokeh”, or soft quality of the out-of-focus background elements, is created by using a very wide aperture on a lens known for having this property (in this case, an 85mm f/1.8 prime lens). Even when traveling, it’s important to have the right lens for the right job.

The Mingun Bell, 13 feet high and weighing 90 tons, is the world’s second largest functioning bell.

A delightful visit to the Aye Yeik Mon Girls’ Orphanage. We were heartbroken to learn the stories of some of the abandoned girls who live here, but were uplifted to see the wonderful care and guidance they are receiving there now.

I had the opportunity to get to know 15-year-old Phyu Phyu at the Aye Yeik Mon Girls’ Orphanage. Abandoned by her mother at an early age, Phyu Phyu’s early life was challenging, but she has flourished under the care of the nuns at Aye Yeik Mon and is planning to continue her education and to enter a professional career.

We were invited into the Mandalay home of Oma and his family. His mother was a restaurant owner and chef for many years, so we were treated to an amazing Burmese meal. It can be challenging to make portraits of groups, especially when young children are involved. I shot several frames and chose one where the young boys are looking (nearly) directly at the lens, settling for some of the other family members to be looking elsewhere.

Kuthodaw Paya is called the world’s largest book because the entire canon of early Buddhist scripture is recorded on carved stone tablets housed in its hundreds of pagodas. These young local women wanted me to pose for a selfie with them, so I asked them to return the favor. Their brightly colored longyis (traditional Burmese attire) stand out nicely against the drab background of the pagoda behind them.

A quiet moment at the entrance to Shwenandaw Kyaung Monastery. I used spot-metering based on the woman’s clothing so as to achieve proper exposure given the much brighter background.

A stop at the Kalaw morning market to purchase the produce for our visit to Myin Ma Htie village.

We visited the village monastery in Myin Ma Htie and met with the monk there.

On arrival at Myin Ma Htie, we are greeted by villagers who will be our hosts. This portrait was carefully composed to provide nice soft natural lighting on the girl and to frame her in a pleasing way within the surrounding area.

Traditional spinning methods to create yarn from lotus plant fiber. I was struck by the symmetry and the bright color of the yarn in this scene.

A worker in a cheroot workshop demonstrates her craft. She makes about 1000 of these small and inexpensive cigars every day. To make this portrait, I used my go-to 85mm portrait lens at a wide aperture and added just a small amount of balanced fill flash to evenly expose the subject’s face.

The Phaung Daw Oo Paya is one of Burma’s most sacred sites. Dating to the 11th century, this pagoda houses the four remaining Buddha statues that enclose relics from the body of the Buddha. Worshipers add a little gold leaf to these statues when they visit, so that today the shape cannot even be recognized as that of the Buddha.

A fisherman on Inle Lake demonstrates the ancient style of fishing with a netted basket. I framed the shot through the fabric of the net to add texture and visual interest.

Meeting members of the Padaung ethnic minority, whose women are famous for wearing heavy brass coils to make their necks look longer. This 18-year-old Padaung girl proudly wears the brass coils on her neck as a symbol of ethnic identity. She told us her younger sister chooses not to wear the ornaments as she goes to a Burman school where most of the other students are not Padaung. The tradition was often scorned as backwards during the military regime, but now young Padaung women are again often choosing to practice it.

Have you visited Myanmar? What were your favorite photographic subjects? Please leave your thoughts here.

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

All of these photos and many more from Myanmar are available for viewing or purchase here: Myanmar image gallery.

Missed Part I of this story in yesterday’s post? You can read it here: Part I of this story.

Faces of Myanmar, Part I [Encore Publication]: Showcasing the Diversity of Burma’s People

Here is Part I, and tomorrow’s post will feature Part II.

A worshiper at Chaukhtatgyi Pagoda. I’m always on the lookout for ways to include local people when shooting monuments and other landmarks. The human element adds great visual interest to travel images and also personalizes the photo, transforming a generic scene into a story.

We were shown around the Musmeah Yeshua Synagogue by one of the 17 remaining members of Myanmar’s only Jewish community. Environmental portraits like this one include not only the person but also some other elements that help tell the person’s story, in this case the Torahs at the ark of the synagogue.

A worshiper at Shwedagon Pagoda, the most sacred Buddhist site in all of Burma. At least 90% of the time I include people as a main element in my images, I obtain permission from them first. I find that this approach, as well as being friendlier than shooting first and asking questions later, tends to lead to better portraits as there is an interpersonal connection between the subject and the photographer. However, there are certain instances when asking first could interrupt the subject’s activities or negatively impact the dynamic being captured. For this photo, I made no attempt to hide that I was shooting the woman, but I didn’t interrupt her meditation, either.

Armies of volunteer sweepers make the rounds at Shwedagon Pagoda to ensure the temple is kept spotless. To shoot this large and fast-moving group, I positioned myself at a scenic spot, configured my camera’s setting in advance, then waited for the volunteers to move into position.

Rangoon’s Inya Lake, site of the former military junta’s brutal response to the 8888 uprisings and the Saffron Revolution, is now a peaceful place where young people picnic, make music, and go on dates. When shooting strongly backlit subjects, be sure to use spot metering or exposure compensation unless you’re trying to create a silhouette.

Street vendor in Yangon.

A fascinating visit to an informal housing settlement inhabited by people displaced by the devastating 2008 typhoon. A decade later they are still living in squalid conditions in bamboo huts with no running water. Here, children are filling containers with water from the lake and carrying 40 kg (88 pounds) of water, often more than their body weight, several miles to their families’ homes. This image is a favorite because it effectively combines the contrasting moods of the scenic beauty of the region with the hardship of the people living there.

As curious about me as I am about her, a young dweller in the informal settlement comes to say “mingalaba”. I used a fairly narrow aperture to create enough depth-of-field allow some of the background to be emphasized in addition to the girl.

A traditional Burmese dance performance showcases the dancers’ grace and the beauty of their costumes. Always look for an uncluttered background when composing and be sure to capture multiple shots so that one will be timed just right.

At the village market in Nyaung-U in the Bagan region. I introduced myself to the vendor and received permission to make her portrait. At first she appeared stilted and posed, but as she tended to other customers and got accustomed to my being there, she returned to a natural state.

Escaping steam nearly obscures a worker at a Bagan workshop where pone ye gyi (a popular flavored soybean sauce) is made. A portrait can become much more visually interesting when composed in an unexpected fashion.

The matriarch shows us around her family’s paper workshop where they make ceremonial fans for weddings and other events. I made this image using my classic portrait technique: using a fast portrait lens (85mm f/1.8) nearly wide open to emphasize the subject, and choosing a location with nice soft lighting and as uncluttered a background as possible.

One of the family’s daughters kindly poses for a portrait. She wears thanaka, the tree bark paste that most Burmese women, and quite a few men, apply to their faces daily.

We had been invited by villagers to attend a Buddhist initiation ceremony, so we rose early and traveled to their village. The boys in the back row are preparing to start their service as novice monks in a monastery. All Buddhist boys in Myanmar are required to perform this service at some point during their childhood. The girls in the front row are some of their sisters who are celebrating their ritual ear piercing.

The boys paraded through the village to the monastery on horseback, while the girls and some of the parents rode oxcarts. Another classic portrait using a fast prime lens at a wide aperture to soften the background, this image also was made with a touch of balanced fill-in flash to reduce shadows on the subject’s face.

During an excursion to Phaw Saw Village outside Bagan, we met this artisan.

Have you visited Myanmar? What were your favorite photographic subjects? Please leave your thoughts here.

Want to read more posts about what to shoot while traveling? Find them all here: Posts about what to shoot.

All of these photos and many more from Myanmar are available for viewing or purchase here: Myanmar image gallery.

Look for Part II of this story in tomorrow’s post!

Focus on 2018 SF Pride Parade [Encore Publication]: Capturing diversity, purpose, and intimacy

It’s no surprise that San Francisco hosts one of the world’s oldest and largest LGBTQ Pride events in the world. Each year, the parade and festival grow bigger and better attended. SF Pride is one of my favorite annual events in my home region, the SF Bay Area, and what I love the most about this exuberant celebration is its remarkable focus on the central human values of diversity, inclusion, activism, hope, and love. In today’s post, I share some of my favorite images from this year’s Pride Parade, along with a few words about how the images were made. The goal is to showcase the incredible diversity and sense of social purpose of the participants and observers at this grand celebration, while also striving to capture the small, more intimate, moments. Remember that you can view–and purchase–all of these images as well as many more by clicking on any of the images in this post.

In a frenzied environment like that of most festivals, parades, and street fairs, it can be a challenge to make a nice clean portrait with an uncluttered background. Sometimes it’s possible to relocate the subject to an area with a clean and clutter-free background, but most often (as with this portrait) that isn’t feasible. In those cases, my best practices are to use a moderate telephoto “portrait” lens, select a wide aperture (small F-stop number) to throw the background into soft focus, get in close to the subject, and use a touch of post-crop vignetting during post-processing.

Huge festivals and celebrations such as SF Pride can be overwhelming, with hundreds of thousands of participants and observers present. I strive to capture the smaller, more intimate, moments within this gigantic environment. Here I captured a beautiful portrait of two participants sharing their love, which I think encapsulates the entire meaning of Pride events around the world. I had been chatting with these two people and had obtained their permission to photograph them before making this image. I used a medium telephoto “portrait” lens and got in close to isolate the couple from the busy background.

Color and texture play a huge role in photographic composition and expression. As photographers, we’re very aware of these factors when we compose landscapes or nature scenes, but even when making a portrait, we should always be considering the mood evoked by the colors, patterns, and textures in the scene. I love this portrait for its moody use of the similar shades of orange-red offset against the multiple colors of the flowers and the cigarette. This is an image that tells a story, but that also leaves most of the story untold.

Another intimate portrait, this one made of a young woman doing yoga poses while waiting to march in the parade. She had an adorable sense of humor and expressive face, which, coupled with her offbeat outfit, made a great closeup portrait. Don’t be afraid to get in close to your subject, but always get to know them and ask permission first.

An iconic Pride scene, this portrait was made with a longer telephoto lens, its use made necessary by the greater distance to the parade float in the middle of a wide street. While I prefer to get up-close and personal with my subjects, and to get to know them before shooting, sometimes we have to shoot from farther away, such as during a fast-moving and crowded parade. It’s therefore important to have the gear and expertise to make portraits from any range. Even when shooting from farther away, though, my key portrait rules still apply: try to capture the portrait with as uncluttered a background as possible, use a wide aperture to isolate the main subject from the background, and apply a bit of post-crop vignetting during post-processing.

It can be tricky to try to capture nudity in a tasteful way suitable for sharing and selling to broad audiences. I spent some time chatting with these two activists to get to know them and to understand their cause–overturning San Francisco’s ban on public nudity–before starting to shoot. Even though they had given me permission to photograph them nude (which is an important courtesy all photographers should follow, although no permission is legally required to photograph people in a public space in the US), my market for images containing graphic nudity is small, so I strive to capture scenes that tell the story but with implied nudity rather than graphic nudity. Here I found a vantage point that allowed the subjects’ arms to strategically cover certain parts of their bodies. The resulting portrait conveys the story of their purpose and gets across the idea of their nudity, but is still shareable and sell-able to a broad market.

Another close-up portrait, using the same techniques I shared earlier in this post.

Another of my favorite portraits from the day, this one also tells a small-scale, intimate story, conveyed by getting in close and isolating the subjects from the busy background. The end result is a sense that these two people are celebrating their own story, even in the midst of the bustling celebration going on around them.

I met this young woman in a very crowded space, but fortunately I had the opportunity to walk her to a less cluttered space to make her portrait. I’m always on the lookout for quieter and cleaner spaces when shooting festivals and celebrations. A few steps was all it took for us to find this simple, clean background, allowing the portrait to really pop.

Group portraits pose a special challenge in busy public spaces: how to capture all the group members in crisp focus while also trying to isolate them from the cluttered background. Here I used a medium aperture to keep the people in sharp focus while slightly softening the background, but since a very wide aperture cannot be used for groups, the softening effect will be mild. As a result, it’s especially important when making these group portraits to seek an interesting, complementary, or clean background.

As their float passed by in the staging and assembly area before the official start of the parade, I observed an opportunity to capture this quiet scene of one woman helping to apply her friend’s makeup. I used a moderate telephoto lens and shot several frames to increase the odds of getting a clean and interesting shot.

When making portraits of kids or seated people, it’s a good practice to get down to their level. Getting in close is also usually an effective technique, both to isolate the subject and to capture a sense of their spirit.

What are some of your favorite celebrations, and how do you capture their diversity in your images? Please share your thoughts here.

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

Revealing Portraits [Encore Publication]: Inspirational women of India are struggling to empower themselves and others

Travel photography is about more than simply recording what we see and do during our trips. It is more important even than creating art from our experiences while traveling. I believe travel photography also has an important role to play in documenting and communicating to broad audiences the present situation facing underrepresented, repressed, and abused communities, and advocating for change to improve on the present situation.

Today’s post illustrates this point. In a series of four portraits made during my recent travels in the north of India, I document several of the serious struggles faced by the girls and women of India–abuse of street children, poverty and lack of education, forced early marriage, and acid attacks–and show how these brave young women are working to empower themselves and others like them to end these abuses.

First, we meet a 17-year-old girl from the slums of New Delhi. Let’s call her Sheela (the NGO supporting her work has requested that I not use her real time in order to protect her identity). Sheela is the principal organizer of 10,000 street kids from similar slums across the sprawling city. She helped start a newspaper, called Balaknama, to give a voice to the street kids and expose their stories of child labor exploitation, police harassment, and physical abuse. Through her efforts and those of other kids from the streets, the editors who advise them, and the NGO that funds them, Balaknama has helped improve the lives of the poorest and most vulnerable residents of Delhi. My portrait of Sheela is set in Balaknama’s offices and shows her calm and inspiring strength. Lit by available light only, this image was made with a fast prime portrait lens, shot from a low angle so as not to condescend to the subject, and using a wide aperture to soften the background. The feeling this image evokes is one of quiet power and a strong drive to expose and right the wrongs of her society.

Sheela, a 17-year-old resident of Delhi’s slums, organizes 10,000 street kids and reports for a newspaper run by and for the street children of the city. Buy this photo

Next, we meet a girl who was born into poverty in Delhi and was forced at an early age to beg to earn money for her family. Let’s call her Anika. School was not an option for her. However, Anika found a way to earn more and to avoid begging by selling bead necklaces on the streets of the city. The portrait shows the contrast of her daily life: hopeful yet exhausted, bright yet uneducated, strong yet vulnerable. This portrait was made using natural light with just a touch of fill flash to accentuate the saturated colors of her outfit and her wares. The emphasis was placed on Anika by use of the fill flash, by exposing for her face, and by blowing out the overexposed background.

Anika is one of Delhi’s poorer residents. Unable to attend school, she sells beaded jewelry to make a few rupees for her family. Buy this photo

In a small village in rural Rajasthan, we met Parma at her modest house. Forced to marry at the age of 11, Parma had four daughters at an early age. She is fiercely committed to ensuring her daughters receive a good education so that they will have more options than she had. Parma made the brave decision to become one of the first women to join a cooperative formed to allow women of the village to learn to make handicrafts in order to earn money for their families. She and her husband faced considerable scorn from neighbors and relatives over her decision to earn her own income, but now many other village women have seen the success of this program and have also joined. Parma is proud to have learned to sign her name and read a few words, thanks to her older daughters’ having taught her. My portrait shows Parma in her kitchen with her third daughter preparing tea in the background and a neighbor child just in front of her. The image radiates beauty, dignity, strength, and resolve. In this environmental portrait, I wanted to portray Parma in relation to her home, her family, and her community, so I placed her in the center, exposing and focusing on her face, and allowing her daughter to be clearly identifiable yet slightly out of focus.

Parma, a child bride, vowed to educate her four daughters and works in a women’s cooperative to earn extra money to fulfill her promise. Buy this photo

Finally, we meet Rupa at Sheroe’s Cafe in Agra. Sheroes’ is a project founded by and for the women of India who are survivors of acid attacks. We were so inspired by meeting Rupa and learning about her story and her road to physical and emotional recovery after her brutal attack at the age of 15 by her stepmother. Through this project, Rupa has gained the confidence and independence to leave home, meet other survivors and activists, build a business as a clothing designer, seek legal justice against her attacker, and access the surgical care required to reconstruct her face. The courage and resilience shown by Rupa and the other women we met at the cafe moved us to want to help their cause to educate people and improve the treatment of India’s women. My portrait of Rupa is powerful because it doesn’t shy away from her scars but allows her courage, resilience, and beauty to shine through. I got in close to Rupa using an 85-mm prime portrait lens and composed a head-and-shoulders image from eye level. I exposed for her face and blouse, which she designed herself, bringing out the vibrant saturated colors. A shallow depth-of-field ensured that Rupa’s face would be emphasized while the background would be soft.

Rupa was brutally attacked with acid by a relative when she was just 15 years old. Rather than hide at home her whole life, she was empowered by the Stop Acid Attacks organization to live independently, fight for justice, and advocate to end acid attacks across India and Southeast Asia. Buy this photo

I hope this series of portraits of four brave young women in India will inspire you, as their subjects inspired me, to advocate for improving women’s rights in this part of the world. And more broadly, I hope you’ll recognize the power that travel photography has to give voice to the unheard and to fight for social change in the places where we travel.

Have you made the opportunity to advocate for change through your images? Please share your story here!

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

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

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

So this year, ahead of the new year’s holiday, I’m re-posting my earlier thoughts on what we travel photographers should resolve to do differently. In the three years since I originally posted this article, I actually have made progress against all five resolutions.

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

So, resolve to take that trip of a lifetime, shoot locally while you’re waiting for it, learn to use your camera as a tool to interact beneficially with the people and the wildlife you meet during your travels, and work to hone your technique. I’ll be doing the same! Happy trails in 2020.

What do you resolve to do in 2020? Please share your thoughts here.