SNAPN TRAVEL

A lifetime of travel memories in a snap

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Oded Wagenstein is a travel photographer and author.
He is a regular contributor to National Geographic
Traveler magazine (Israeli edition), Getty Images and
TimeOut magazine. He is also a photography lecturer
(Google Campus), Director of Educational Development
and a senior photography instructor at Galitz, Israel’s
largest photography school.
The author would like to give special thanks to Nicholas
Orloff for his assistance in editing this guide.
Other acknowledgements
Darren Rowse, Jasmin Tragas, Darlene Hildebrandt and
Naomi Creek (and the entire dPS team). I would also like
to thank Linda Burnette and Shiri Weissner for making
this eBook a reality.
Oded can be found online at www.odedwagen.com
and on Facebook.

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ABOUT THIS GUIDE
Traveling is fun and rewarding, but
sharing memories of your journeys
with friends, family, and the world
through your own beautiful images
can be even better.
Would you like to take unique and
inspiring travel photos that capture
the culture and go beyond the same
“postcard” shots you see all the time?
Would you like to create powerful images
that communicate emotion and bring
home the sense of actually being there?
Then this mini-guide is perfect for you.
It will jumpstart your creativity and
inspire you to create stunning travel
photography on your next vacation
or trip. It is small and fun to read but
packed with tips, techniques, and creative
exercises for beginners and advanced
enthusiasts alike; from preparation
and packing, to photographing people
and places, and everything that makes
traveling so wonderful.
 Let’s lay the cards on the table: everybody can take an
“okay” travel photo. Fly to India, capture an image of a
boy at a market, and you have a travel photo, right?
But is it any good? Is it exciting and inspiring?
Chances are no. We live in an era when we are drowning
in pictures. Every day new and amazing images are
created and the competition for viewers’ attention is
fierce. What used to be considered a good photograph
in the past is considered mediocre today.
So can you still create great and fresh travel
photography today?
Of course! Even without expensive gear and flying to
Papua New Guinea. Because there’s one thing that

INTRODUCTION
hasn’t changed and never will—people’s need for the
emotions they feel in a great story. Travel photography
is all about portraying these stories and emotions we
find during our journeys. And this guide is all about
creating this kind of storytelling.
Great travel photography makes us feel, “Wow I want to
be there!” So-so travel photography makes us think,
“Oh, you were there...” So are you up for the task of
inspiring people to follow in your traveling footsteps?
Then let’s go!
Five great tips for
amazing travel
photography
Don’t show, tell
Travel photography should not be a visual
diary of your trip. Showing some of your
pictures from abroad is nice for a family
gathering, but if you truly want to inspire
others with your work, you should tell
stories instead of showing them. Your
mission is to make your viewers feel as if Beyond the aesthetic aspect in this image, which was taken in Kyrgyzstan, I wanted to convey the feeling and
story of a little child in a big world.
they were there with you.

Don’t blame the equipment Be ready to put in some effort

Luckily for us, great travel photography Great travel photography is hard to achieve. If you
can be achieved with the simplest want that golden light of sunrise, you have to wake
photographic gear. Don’t be intimidated up early. If you want to get shots of somewhere
by others with expensive cameras, lenses, remote, you have to trek for miles with your camera
and the latest gadgets, because the best gear. And sometimes, you need to keep coming
photos in history were taken with back to the same spot to get that perfect shot.
equipment far less capable then the Can this be a lot of work? Absolutely! But it’s also
simplest of yours. possible to have a fun and rewarding trip and come
back with great travel photography if you’re willing
to make the required effort. Wake up early, stay
up late and do the best in between to come home
with the best results.
Practice
Some of us (OK, most of us) get the urge to buy new gear
before heading out, hoping that having the latest-and-
greatest camera stuff will help our photography. But do you
want to waste time in that once-in-a-lifetime destination
learning how to operate a new external flash? Instead,
practice becoming an expert with the gear you have.
One thing to consider would be taking a short photography
course to raise your skill to a different level.

Enjoy yourself
I’ve never seen a great travel photographer who didn’t
enjoy traveling for traveling’s sake. Become involved in your
travels and live the story you are telling by not letting the
viewfinder stand between you and the world. Respect the
locals and your travel companions. Talk to people. It’s okay
to put the camera down and take a break to gaze at the
landscape. When you enjoy the journey, your audience
enjoy your images from it.
While amateurs go out and hope for the best, pros are ready
before leaving home. It doesn’t matter if your goal is to
shoot for a well-known magazine or capture great memories
of your family vacation. Being a pro is not just about getting
paid, it’s an attitude and drive to return home with the best
images possible.

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PART ONE: BEFORE YOU GO
BECOMING A TRAVELING PHOTOGRAPHER
INSTEAD OF A PHOTOGRAPHING TRAVELER
Step one: Inspiration
Doing your own visual research
“Visualization is the ability to
anticipate a finished image before
making the exposure.” Ansel Adams
Traveling involves new experiences
like exotic food, interesting
landscapes, and meeting people
different from you. Visual research is
preparing to capture these new things.
This important fact can’t be simpler:
the more you know about a place, the
easier it is to photograph the place
and show your viewer a fresh, in-
depth, personal point of view.
The less time you have, the more
time you need to invest in your visual
research, because you won’t have that
time once there.
How do I visually research?
Today you can do it all on the internet.
Let’s say you are heading to Japan for the
first time. Type “Japan” into Google image
search and study your destination’s visual
characters.
What should I look for when
doing my visual research on
the web?
• F ind places to photograph that appeal
to your interests, such as markets,
festivals, museums, and more.
• Get a better understanding of how
light behaves at your destination(s)
by studying the intensity, color, times
of sunrise and sunset, and even the
weather. Light during winter in London
looks a lot different than light during
summer in New Delhi.
• Find the “hocks”. Hocks are the things
that make a place special, like geisha in
Kyoto or the teahouses of Beijing.
Then, narrow your visual research to
specific places or photographic concept.
For example, search for “Kyoto+geishas”,
or type in a question like “the best place
to photograph geisha in Kyoto?” or
“train rides in India” or “nomadic life in Before heading to document a nomadic community
Kyrgyzstan”. in Kyrgyzstan for National Geographic Traveler,
I figured out what I should expect visually, such as
how do people, landscapes, and food look. 9
Three reasons you should
visually research
Inspiration
As a photographer, you deal with a visual
medium, so your inspiration should be
visual as well. Did you find a photo of
a colorful street market? Or a different
vantage point to a famous landscape?
Take notes from the image captions and
keep a journal of the locations you want
to visit.

Originality
To create unique photography you need
to understand what already is on the
market. The Taj Mahal at sunrise? The
Eiffel Tower at night? They’re great to
see as a tourist, but if you wish to create
new and inspiring travel photos you
probably need to get off the beaten path.
Visual research tells you where to go to
see things most people never have seen
before... until you have shown them!
Gear selection
A common question I hear from my
students is: “I’m heading to [insert fantastic
place here] soon. What’s the best lens to
take?” My reply is usually: “It depends.”
It depends on what the destination visually
offers. If you’re heading for an African
safari, a super telephoto is your best
bet, but if you’ll be shooting Armenian
landscapes, a wide lens is a must. Visual For the spectacular landscapes of the Caucasus
in Georgia, I selected a wide lens (and landscape
research allows you to make an informed photography filters which I will describe later).
decision. Whatever you do, don’t take all However, for the vibrant streets of New Delhi,
your gear with you! It will be very heavy a fast, lightweight 50mm lens was the right choice.
and frustrating (more on choosing the right
gear in “Step four: Tools of the trade). 10
 Creative exercise:
Visually research a place you already know
Search the web for new and interesting things about a nearby place (or even your own
hometown). After discovering something new about it, head there and make some
images based on your fresh point of view.

Tip on how to overcome a cliché

location
My editor at National Geographic
says “a place becomes touristy for
a reason”. You don’t have to skip
touristy places, because they are
usually worth a visit. But think about
how to show a fresh point of view. It
might not be easy for the iconic sites.
But beating the crowds by showing
up very early or very late, shooting
with a very wide lens, or adding an
interesting subject to the foreground
might just work. In the worst-case
scenario, turn around and photograph
all the other photographers clicking
their brains away.

When photographing an Indian festival for

National Geographic Traveler, I knew that coming
home with pictures of people in colorful clothes
was not enough. I highlighted the energy I felt
during this festival by capturing this man diving
into the sea. I hope you can feel that energy too. 11

Left: Apolo, 63. Right: Sufa, 10. Both are from the Akha tribe, who live in the remote hills of northern Laos and
believe that a photograph can steal the soul. So how did I manage to photograph them? By having patience
and a slow approach. You can read more about that in the “Photographing people” chapter on page 49.
Step TWO: UNDERSTANDING
Learning about the culture and place
As I mentioned previously, travel
photography involves telling a story
about a place and its culture, and you
can’t create great travel photography
if you don’t know that story.
Yes, they smoke cigars in Cuba,
there’s a big wall in China and people
wear colorful clothes in India. But
those visual stories are only part of
a much bigger picture and 99% of
photographers come back with just
this tiny fraction of images.
Discover things not commonly
photographed and your stories will
always be two steps ahead of the
crowd.
What questions should
I ask myself about my
destination?
Photography related
• H
 ow do people react to the camera?
A few months ago I covered the Akha
tribe in northern Laos who believe the
camera can steal their souls. This is the
kind of information you need to know
before taking their photos. And this is
why although this is the eighth year
covering the tribe, I still have a local
guide who helps me “calm their souls”
and make new friends.
• S
 hould I pay for taking pictures? In
some countries the growing number
of tourists creates a system where the
locals want payment for each click you
take. This is common in Morocco, for
example. What can you do? Well, a local
guide who takes you off the tourist trail
is worth every penny.
 r you can encounter what I like to call
O
“professional photography subjects”.
You’ll usually find them standing
on street corners dressed in “overly
authentic” local clothing and flashing a
photogenic smile. Only after you press
the shutter will they ask for money.
Don’t get upset; remember this is what
they do for a living. Most will ask for
a dollar or two. Just pay it, learn your
lesson, and the worst thing that has
happened is that you now have a great
story to go with your new photo.
• A
 re there any subjects you should
not photograph? Military bases,
international borders, etc., are usually
off limits. If you think it’s something
you shouldn’t be photographing,
chances are, it is.
• D
 o you need to declare your
photography gear at customs?
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Daily life related
• W
 hat kind of struggles do locals have? Recently I was
working in Cambodia and it was very tempting to
photograph the children or the orange monks’ robes.
But after reading about the bloody history of the place,
everything looked different.

What kind of daily activities should I expect to see?

• D
 aily activities by the locals. Every morning, elderly people
in Beijing gather in parks for morning aerobics.
• Are there any interesting festivals or ceremonies?
(An Indian festival is bliss for photographers.)
Street scene in the Dominican Republic. Local guide helped me to understand the
• Do the locals have a passion for music, dancing, or many do’s and don’ts of the streets.

cooking? A visit to a Japanese onsen (bath house) is also

hard to beat.
I can understand the “photography-related stuff,”
but how does knowing the background story of a place
show up in my images?
Let’s say you are heading to northern Thailand. For the
ordinary tourist, the Karen long neck tribe is an exciting
picture opportunity. But by reading about them you’ll
discover you won’t find any girls with neck rings in most
villages today. That’s because this custom is preserved
mainly for tourists. So with this knowledge you can either
skip it, or go there with your eyes open.
How should I get this information?
The best option is to get a local photographer’s advice. Google
your destination + the word “photographer” (example: Paris +
photographer) and right away you’ll find some local experts.
It might feel weird to ask advice from a stranger, but from my
experience you might be surprised by the results. Meeting the
photographer in person to shoot together is a really rewarding
experience, and ensures you will come home with more in-depth
visual stories.
Other sources of information include travelers’ forums on the
web, travel guidebooks (most of them have a short photography
section), and even the embassy.

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Creative exercise:
Find yourself a fixer
A fixer is arguably the most important
factor for every travel photographer.
A fixer is a local who acts as your
travel guide. But he or she can do
much more than show you the sights.
They can take you to places you
won’t find in the guidebooks, be your
interpreter, and break the ice with
other locals. A good fixer will advise
you of the places and activities you
should avoid.
Find a fixer and create a small
photography project. Choose a
subject you would like to cover close
to home. It can be an interesting
market in your capital city or an ethnic
Without the dedicated work of my fixer I would not have been able to photograph this elderly lady, who was part
community living in your country. of a small gypsy community in Uzbekistan.
Then find a local to be your insider
to the place or community. Does this
sound daunting? It can be if you’re
shy, but remember you have friends Tip: www.couchsurfing.org is a great site for
and they have friends. One of them finding locals to host you in their homes, or
must be working in a very cool job or meeting for a “cultural exchange”. Most couch
have access to very cool places. Think surfing members are travelers themselves, and
outside your comfort zone and create enjoy meeting people and showing them around.
a photography project with a view that
you can’t get by yourself.
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Step THREE: FOCUS
Deciding the story you want to tell
Okay, so by now you know that great
travel photography needs to tell a
story. But the question is... a story
about what? You will be surprised
by the amount of sub-genres within
travel photography, but this is exactly
what is so tricky: we live in a world full
of photographers who have covered
almost every square inch of it. So is
it even possible to tell new stories
today? Yes, absolutely!
Decide on the kind of story you want
to tell.
You have already done some visual
research and read about the place and
culture, so now you have a general
picture of the destination. Now you
have to choose your story theme to
get going.
Wait, what? “Story theme!?” We just
talked about creating something
different, not that cliché “people in
colorful clothes” kind of photography.
Aim to create fresher photography, BUT
don’t pressure yourself with the need
to do everything differently just for the
sake of it. Creating your own style can
take years and even the greatest artists
throughout history first followed in
the footsteps of others. Look at these
photography themes as starting points
for developing your own unique ideas.
Travel photography themes
The broad spectrum theme
This is a photo summary of everything
you encounter. It should answer
questions such as what one should
see, do, and feel when traveling in that
location. Most travel magazines swear by
the broad spectrum theme. The purpose
is simple: to make your viewers say,
“Wow! I want to be there right now.”
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Broad spectrum theme ideas
The “my journey” theme
This is the easiest and sometimes the
most enjoyable theme of all. All you have
to do is cover your own trip. But don’t let
it be just a visual diary but also a story
that a stranger will enjoy.
See: The people you met, food you ate,
and interesting landscapes. Don’t forget
to include shots of your travel companion
and/or yourself. Landscape shots alone
are not enough, you need someone
traveling in them and you might be the
only one around (a small tripod is a must
for this kind of “selfie” shot).
Feel: Your goal is to make your viewers
want to leave their day jobs and go there.
Winner’s tip: For your photo story to
be interesting, your trip must be too.
An image with the caption “here’s me in
Times Square” should be kept solely for
family gatherings.

I photographed this set of images as part of my

personal journey in central Asia. While I was
photographing diverse subjects (roads I traveled,
people I met, and where I slept) I was trying
to create some sort of unity in terms of color,
composition, and overall style. 16
The country or geographical area theme
This is very popular with travel magazines and which I am
usually required to bring back with my work for National
Geographic Traveler.
See: Give your viewers a good understanding of what
the country (example: Uzbekistan) or geographical area
(example: the Silk Road) is like.
Aim for capturing subjects (hocks) that make the country
unique, such as festivals, food, landscapes, markets, etc.
Feel: Give your viewers a good understanding of what it is
like to travel there.
Winner’s tip: Have a theme within a theme for a much
stronger and focused photo-story. For example, the Silk
Road by train, a wine tasting in New Zealand or rural Japan,
as you can see here.

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During each of the past seven years I returned to Thailand to document a small community of sea gypsies. This allowed me to create a strong bond with the otherwise closed community.
The in-depth theme
Here you dive into a specific subject or
narrative that sparks your interest. While the
broad spectrum theme squeezes as many
subjects as possible in one photo story,
this theme keeps it focused and minimal.
In-depth travel photography theme ideas
The “inside look” theme
This provides an in-depth view of a world
your audience rarely sees. It can be on
almost any subject: from the customs of
a remote tribe on the other side of the
world to the traditions of your own family
at home. The only two rules are that you
must be interested in the subject and
knowledgeable about it.
However, it’s not always practical to do
this type of travel photography. Let’s say
you want to cover the life of a nomadic
tribe in India, but are a student in Alaska
with limited resources. Fortunately, there
are other things you can do. One option is
to choose a subject you have easy access
to, such as the ethnic group or culture
you belong to. What is familiar to you will
be exotic to other viewers.
Sometimes it’s not accessing a location/
subject that’s the problem, but the case
of understanding it. Another option is
getting the help of a fixer. As mentioned,
a fixer is a member of the community you
want to photograph, and they can help
you get an inside look.
See: A chance to see a new subject or place.
Feel: The thrill of discovering some place
new.
Winner’s tip: Many photographers tend to
overlook familiar subjects because they are
looking for something different and exotic.
You don’t have to travel far for good travel
photography. Sometimes you don’t have to
travel at all. Let’s say your family is part of
an ethnic minority, or you are about to take
part in a local festival in your home town.
Even daily activities like riding the train,
going to work, or studying at university can
be interesting and exotic to someone who
is from outside your own culture.
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I shot this image at Miami airport. First there was just the flag as the background. Using slow shutter to emphasize the dynamism of Tokyo.
Then the man came by and sat down. For the next five minutes the situation was
bland and ordinary. But when it was announced the flight was canceled I had my
moment.

The “old place, different point of view”
theme
While “inside look” focuses on subjects
found off the beaten path, this theme
involves showing a different angle to a
known place. Not everybody likes to (or
can) travel to remote, exotic places.
Take a look at today’s travel magazines.
Most of them no longer deal with little-
known tribes and far-flung places, but
rather the ordinary and touristy shown
from a different point of view.
See: It’s all about giving a fresh
perspective. For example, after visiting the
Eiffel Tower hit the local spots like small
wine tasting shops or a farmers market.
Feel: “Wow! I never saw that on my trip to
Paris. That’s so cool!” That’s exactly what
you want your viewers to think.
Winner’s tip: Using an unconventional
focal length can really help you create
that “fresh look” you’re after. Try shooting
landscapes with a telephoto lens, or using
a fish eye for an iconic monument.
The most important aspect of choosing the
story you want to tell is the “choosing” part.
You can move from theme to theme on
one journey, but don’t try to squeeze too
many themes into one short trip or see the
whole place at once. When you try to do
too many different things at once usually
none of them come out well. For example,
the inside look and broad-spectrum
themes are almost polar opposites, as
the preparation and work in the field are
completely different.
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Creative exercise:
Create a full photo-story
In the last creative exercise you
found a cool location or sub-culture
to explore and a fixer to get you
access. Now choose a theme and
create a full photo-story of 10
images on your subject. Write a 500-
word essay about your insights and
upload the result to your website,
Flickr or Facebook.

I took this picture during an assignment in Istanbul, in which I tried to highlight the diversity and wonderful
polarity of this city.

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Step FOUR: tools of the trade
Choosing the right gear
For most people, choosing and buying gear is confusing thanks to almost
unlimited options. Luckily, unlike many other genres of photography,
there is NO must-have gear for travel photography.
Let’s start by discussing a few gear myths.
You cannot be a professional
photographer without professional
gear.
Not true! My editor at National
Geographic Traveler once told me “the
camera is just the pipe” for your thoughts,
ideas, and most importantly, your
feelings. You can buy the most expensive
car in the world but it won’t take you far if
you don’t know how to drive. Sure, quality
equipment with good optics is important.
But it is far less important than having
“soft skills” such as courtesy, creativity,
and a love of traveling.
You must have a professional camera
to work with travel magazines.
Wrong again. Big newspaper and travel
magazine editors couldn’t care less about
the equipment you carry (or your age
or day job for that matter). As long as
the images are technically great (sharp,
properly exposed, etc.) and touch the
viewer by telling stories in exciting and
creative ways, you are already ahead of
the guy with the $6,000 camera that he
doesn’t know what to do with.
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Taking a DSLR on a trip isn’t smart as
it’s too heavy and might get stolen.
Partially true. Yes, traveling with your
big camera has some downsides like
weight and chance of theft. But you didn’t
get your camera just to keep it in a glass
closet and save it for your grandmother’s
90th birthday party!
Consider the level of photography you
want to achieve. For some, image making
is only for memories and a point and
shoot camera will be enough. Others
place photography on a higher level of
importance and some even travel purely
to take pictures (me included). For these
travelers, leaving the beloved camera
behind would be painful!
To minimize risk of theft, keep your gear
with you at all times unless it’s stored in
a safe or locker. You can find a lobby safe It is better to put more money into the
even in the cheapest guest houses all lens and not the camera.
around the world.
Partially true. This is an old saying
The second aspect to consider is what
among photographers. Of course one
gear to take for your particular trip.
cannot work without the other. But if you
Climbing Mount Everest and wandering
must choose to spend your hard earned
the streets of Paris require different
on only one, let it be the lens. Camera
photography equipment and a different
models change all the time, but lenses
style of traveling. If keeping your
endure as you upgrade.
backpack’s weight low is crucial, you have
to consider taking less gear. 22
Choosing gear
Camera
As the great photographer Ansel Adams
once said: “The single most important
component of a camera is the twelve
inches behind it.” He knew the camera is
just a tool. It must create sharp images
and be reliable, but that’s it! All that
mumbo-jumbo about megapixels and
interpolation is just not for me; you can
create great travel photos with almost
every photographic tool, even your
mobile phone.
Technical aspects worth knowing when
buying a new camera
What is the highest shutter speed
possible?
The higher the shutter speed, the easier
it is to freeze fast moving subjects such
as athletes or birds in flight.
What is the highest ISO possible
before noise becomes an issue?
High ISO without too much noise enables
you to shoot in low light conditions such
as at night and indoors and still come
away with great pictures.
The more advanced the sensor of the
camera, the higher the ISO level you
can use without having unusable noise
(in practical terms, this means that
while shooting at ISO 1000 creates an
unacceptable level of noise in one camera,
it might be almost imperceptible in another).
How fast is the burst mode?
This means how many shots per second
are possible. Let’s say you want to capture
a group of children about to jump into a
pool. A high burst mode will let you shoot
several images per second, enabling you
to freeze the children in mid-air several
times. Then you can choose the best
capture later.
Lens
What’s the best lens for travel
photography?
Again, there’s no such thing. When
choosing a lens, choose between
convenience and quality.
A versatile “all day” lens offers a wide
range of focal lengths such as 24-105mm
or 18-300mm, allowing you to capture
subjects from various distances without
changing lenses.
The disadvantage of these lenses,
however, is optical quality. The rule of
thumb (with some exceptions) is the
wider the lens’s range, the less sharp it
will be. For example, an 18-200mm lens
(meaning a range of 182mm) will be less
sharp than the 24-70mm (with a narrower
range of only 46mm).
Therefore, lenses with zero zoom range,
meaning that they have only one focal
length (such as 50mm or 35mm), are
usually the sharpest. These lenses are
usually referred to as “prime” or “fixed”
lenses. “Prime” and “fixed” are two ways
of saying the same thing. Some see these
lenses as extra sharp, therefore “prime,”
while others see them as restrictive,
because if you wish to get closer with a
prime lens, you need to move yourself.
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So you have to choose your lenses
according to your need, style, and of
course financial status. As mentioned,
a wildlife photographer needs a
different focal length than a landscape
photographer. But if you want to capture
a range of subjects, from animals in the
distance to wide landscapes, you have
two options: buy a few high quality prime
or narrow range sharp lenses, or one all-
day zoom lens with a wide range, but with
the compromise of less sharpness.
The lenses I use
My typical subjects are people and
landscapes. That’s why I only have two When I traveled to Bangkok, I knew that night photography would be a significant part of the trip, so I took a tripod.

lenses, a 24-70mm short range zoom

and an 85mm prime (yes I carry only two
lenses with me on my trips! That’s all I
need).
Tripod
Tripods go for anywhere between $20
and $2,000. The difference is in the build
quality and weight. With tripods, the
lighter and stronger the better, and that
means more expensive. You can settle for
an inexpensive tripod if you don’t mind
the extra weight as you don’t need to take
a tripod everywhere. Like the lens, you
should match the gear to the trip and
style of photography.
I carry a tripod when night photography
(usually urban landscapes) or landscape
photography is dominant on my shooting
list. Both require slow shutter speed and
therefore a tripod. When I need to stay
light for long treks I leave the tripod at
home.

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Filters
You don’t need any extra gear for people
photography but if you wish to capture
stunning landscapes, consider taking a
few of these filters.
UV or protective filter
This one is a must! Its job is to protect
your expensive lens. Some photographers
prefer to shoot without one, because
EVERY filter reduces the amount of light
that enters the lens and the sharpness of
the image. But if you buy a good quality
filter from a well-known manufacturer
you won’t see any difference.
ND (neutral density) filter
By reducing the intensity of light going
through the lens, this filter allows a
slower shutter speed in strong light. You
can also use a graduated ND filter (called
ND GRAD) which lets you darken only
part of the image.
Note that the factors that affect the price
of every filter are optical quality and
With polarizing filter.
diameter. With the ND filter, the ability
to reduce light is also a price factor. The
more light it reduces, the more expensive
it is. (ND2 will reduce one full stop of
light, ND4 will reduce two stops, etc.)

Polarizing filter
This filter controls reflections and is
almost a must if you love landscape
photography as it reduces glare from
white sand or snow, reflections in water Without polarizing filter.
Notice how the beaches on Rhodes seem totally
or from glass windows. It also creates a different through the use of the polarizer filter
great dark tone for sky photography. (no Photoshop).

Creative exercise: Gear boot-camp At this vantage point overlooking the Japanese
countryside, I used a graduated ND filter because
It takes me two or three days to warm up and images I create mid-trip are much better I didn’t want that dramatic sky to be burnt.
than those I take on the first day. So warm up before you leave so you don’t need to spend The filter made the upper part of the image darker,
as much time doing it when you arrive. Shoot at least an hour per day for seven days without affecting the lower part, creating a balanced
before your trip. Don’t worry about creating gallery quality photos as this is only practise. dynamic range.

Street photography is ideal due to the variety of subjects and its spontaneous nature. 25
TRAVELING WITH OTHERS
When we travel, most of us do it with other people
who might not be as passionate about taking photos.
Therefore, this stage is very important in order to
prevent problems.
The key is to coordinate expectations. If you travel with
your spouse or a friend, you must discuss with them
beforehand how important photography will be to you
on this trip, and how you will spend your time doing it.
For example, my partner and I have an agreement:
I wake up at five in the morning and get out on the
streets to work. I have my quiet morning and wonderful
light to myself, and then I make sure to be back for
breakfast at 8:00am.
You can easily wear your “photographer hat” and all
of your other “hats” such as parent, spouse, or friend
during your trip. The trick is to not wear two hats at once.
It’s always best to do things together, including building
the shot list. Throughout this book I give examples that
are paradise for photographers and travelers alike, such
as markets or places of worship.
The key is to combine your photography with your
companion’s needs. Let’s say your family wants to do some
shopping. Suggest a local street market instead of the
shopping mall. The more you know about the place, the
easier it will be for you to plan your trip and do your visual
research together.
Remember, even a phenomenal photo isn’t worth the
unhappiness of your loved one. If photography is a high
priority for you, that’s great. But if that’s all you’re going to
be doing, you should consider traveling alone.
26
CASE STUDIES
Here are case studies based on recent trips I made. Both resulted in photo essays for magazines, but they could not
have been more different. While the first one was a photography assignment, where I was traveling alone on a mission
to come back with an interesting visual story, the other was a laid-back family vacation, where I had to wear my
“photographer hat” along with many others. Enjoy! 27
Case study one:
The Rabari tribe
After years of somehow “overlooking” India, I decided to go.
Doing my visual research was mind-blowing: The colorful
markets, daily festivals, interesting people, and amazing
food were all screaming to be photographed. But the
sheer quantity of amazing images I found made me realize
that returning from India with unique images is almost
impossible.
As a pessimistic person, I made a list of what I did NOT want
to shoot, like poverty and the Taj Mahal. Creating a fresh
perspective on the Taj can take years.
The next step was to understand the place and culture.
Of course, you cannot understand the whole of Indian
culture in one breath. So I focused on reading specific topics
that interest me like religion, food, and areas less traveled.
A photographer friend of mine gave me his friend’s name,
Mr. Hardik Pandya, who became one of the best fixers I ever
worked with.
The two of us took the next step of deciding the story.
Mr. Pandya told me of a nomadic tribe, the Rabarri, who
lived in Gujarat.

28
I went back to the understanding the culture step and
read about a festival that Rabari people walk many miles to
get to. It happened that this festival would occur when I was
going to be there. I had found my visual story: journeying
with the Rabari to get to the festival.
Finally, I took the last step and chose the right gear,
starting with what I did NOT want to take. Since there would
be good light all day and I had no landscape photography
planned I left the flash and tripod at home. Also, as we
would be walking with the tribe I needed to keep my
backpack as light as possible, so I took only one camera
body and two lenses. My time with the Rabari was amazing.
I got the chance to see a different side of India and
ultimately this story was published in National Geographic
Traveler magazine.
It all started with a desire to bring home new and exciting
images that told a story that you don’t often experience.
See what the power of visual research can do?

29
Case study two:
Rhodes road trip
My partner and I decided to visit the
Greek island of Rhodes for our summer
vacation. My visual research showed
that this little island offered a lot:
beautiful beaches, boutique wineries, and
fine dining. During the understanding
the place and culture phase, I read
about the effects of the economic
crisis on the locals. But the thing that
attracted me most was the island’s
“stekis”: small taverns that serve food
for locals. I decided my story would be
based on the broad-spectrum theme, and
further narrowed down to a “country or
geographical area” theme with a twist.
The result was ”a road trip around
Rhodes to find the best places to eat
with locals”.
Since this was going to be a road trip,
obviously the most important gear was a
car. With wonderful landscapes (beaches,
forests), food and portraits to take of
locals, I needed my versatile 24-70mm
lens. I also took a tripod, an ND filter for
shooting landscapes at sunset, and the
very important polarizing filter for water-
related (sea and beach) photography.
This story was later published in Masa
Acher travel magazine.
See how it’s possible to do great travel
photography and have a lot of fun doing
it?
30
31
PART TWO: BEING THERE 32
“How many images do you take on a trip?”
My students ask me this a lot and my answer is always the same: The fewer the better, as long as you put the most effort possible
into each image. Say you have one roll of film which enables you to take only 36 images versus a 16 GB digital card which enables
you to take 2,000 images. I can assure you that proportionately speaking, you will find more high quality images on the roll of
film. That’s because with only 36 chances, each click is sacred. With this in mind, let’s begin the second part of our journey.
It doesn’t matter if I’m on a family vacation or an important magazine assignment. The following techniques are on my golden
list when working in the field. The only thing that changes is the amount of time I spend on each step.

33
 Location scouting
Arriving at a strange place is an assault on
the senses with new sights, sounds, and
smells competing for your attention. In
some countries, even crossing the street is
a skill that takes time to master. So become
familiar with the surroundings before you
start shooting. Leave your camera behind
and take a short stroll around your hotel or
nearby neighborhoods.
Yes, that’s right! Leave your camera
behind. Of course many great
photographers will advise you to take
your camera everywhere, but I feel it’s
best to first experience the place through
By being at a home stay (local family stay) in the old part of the city of Samarkand, I was able to step out of my
doorstep into the wonders of the city each morning, without wasting time to get there. your eyes not the viewfinder. Why?
During my years of teaching photography
I’ve seen that too much thinking in
LOCATION SCOUTING terms of rectangular composition and
focusing on f-stops usually results in bad
Smart stay photography. Allow yourself to settle
My father taught me that the most expensive thing on a trip is time. You can save in and feel the place. Only then start
money by staying on the edge of town, but you wind up spending precious time thinking photographically.
getting to and from the action. There is nothing like stepping out of your hotel door
This technique of checking out the place
into the bustle. Do your homework, read online reviews, and check to make sure the
before shooting is known as “location
location is safe to make a smart choice.
scouting” in the film industry. During
your short walk, try to understand
the “rhythm” of the place and identify
interesting things that you will come
back to photograph later. 34
 Cast study: Istanbul
When I did my visual research before visiting Istanbul, I found images of a colorful
street in the old part of the city. But when I visited the street the first time, the light
was too harsh. I guessed that the street would be filled with soft light about two hours
after sunrise, so I returned the next day and it was totally worth it.

The art of taking notes

It is very important to take notes while
location scouting. See this as fine tuning
the visual research you did back home
in order to create a shot list (another
concept of the film industry). Don’t forget
to write down important information
such as where the place is located, how to
get there, what time the best light occurs,
opening hours, etc. If you’re really serious
about light (and you should be), use a
compass (or a smartphone app) to figure
out where the sun is going to rise or set.
35
CREATING THE FRAME
We researched, planned, location
scouted, and built a basic shot list. Now
the time has come to get out on the
streets and create some fascinating travel
photography.
Timing and light
As photographers, light is our
raw material. Most professional
photographers find the best time to work
is the “golden hours” around sunrise and
sunset. At these times of day the light is
soft, full of color and coming from a low
angle, which gives volume and depth to
objects. But if you’re like me and like to
sleep in late, this is certainly a conflict of
interest. However, don’t waste your time
shooting things you might see once in
your lifetime in bad light. Plan your day
according to lighting conditions. Know
where you want to be at sunrise and
sunset at least one day before.
Setting the trap
We tend to think of photography as
searching for interesting subjects to
capture. But why not think of this in
reverse? Instead of wandering around
looking for subjects, let the subjects
come to you. I call this “setting the
trap” or “starting with the background”.
Find an interesting setting, build your
composition, and set the exposure.
Then, all you have to do is to wait for an
interesting subject to enter your frame.
You can see an example above, which
I shot in the Dominican Republic for
National Geographic Traveler. I spotted
that nice, colorful wall, but I also needed
a subject. So I waited. And after a minute
or two this man walked by and the frame
came to life.
A train passing by in India. I was standing on the
platform and had about half of a second before this
“frame” disappeared. I had to be ready, both in terms
of composition and exposure.
Creative exercise:
Be your own image
hunter
The best way to learn is by practicing.
Go to your local market or a crowded
street, choose a good position
(consider the background and
lighting) and wait at least 15 minutes
to catch some great shots in your
“photography net”.
36
The “warm-up shot” vs.
the “portfolio shot”
Everybody wants the portfolio shot. This is the kind of photo
you would print on fancy paper and slip into a leather-
bound case with your best work before your big travel
magazine pitch. It’s that good a shot. You know the feeling
of when a portfolio shot is near, when everything comes into
place: the composition, the light at the decisive moment,
and you just know you’ll be returning home with an amazing
image.
The problem is that we have become addicted to trying to
create perfection with every click. My students often get
frustrated after only a little bit of shooting, saying “I don’t
have any incredible shots.”
Most of the time, to create great images, you have to warm
up by making mediocre ones first. I need to take around
four or five warm-up images just to understand where I
want to go with the shot. As soon as you get on the street,
start warming up right away by shooting for 20 minutes
without worrying about results.
Go for the small and mundane subjects like a cup of coffee,
a cat, or even a pretty window. After warming up, go for
more complicated subjects such as portraiture or street
photography. Don’t approach an iconic situation, meaning a
shot you were waiting to make for a long time, without the
proper warm-up.

This small detail shot of the painted hand was a great warm-up for
the more complex shooting which came later at this Indian festival.
37
Case study: A story about dim sum and
the photo-story I almost lost
I was in Hong Kong on assignment for National Geographic
Traveler. After four months of traveling throughout China,
I was tired and so was my muse. I didn’t feel moved by
anything I photographed. After three days there and only
two to go, I assumed my photo-story was a lost cause
and I gave up. So I focused on my favorite thing (after
photography) to do, which is eating local food. I went into
a dim sum restaurant and when the food arrived, I thought
the bamboo dim sum basket was beautiful. So, of course, I
photographed it.
I moved the basket around and photographed it against
different backgrounds in the restaurant. Then, I really got
into it and asked the waitress to hold the basket. I took a
photo, and before I knew it I made a portrait of the waitress.
Suddenly I realized I had my powers back! That little
lunchtime photo shoot of nothing but dim sum was exactly
what I needed.
The important thing to take away is that it worked because
I was relaxed and I was photographing something that I
love. And the best part is that the resulting photo-story was
published in the magazine including the very first warm-up
image.

38
VISUAL STORY GENERATORS
This guide’s all about creating great travel images in a short amount of time.

Take a trip downtown, the park, or anywhere people gather. Places with people are natural story generators for getting
your creative juices flowing. The following examples are places that are always on my priority list. 39
MARKETS
Markets are a photographer’s
paradise. They offer many colorful
and diverse opportunities. Not only
do you have a range of subjects
to photograph; you also have
opportunities to practice different
techniques.
Markets are a hub of activity and
are great places to meet locals and
experience the culture. Even in
the most modern, technologically
advanced countries I’ve visited (like
Japan), by wandering the markets I’ve
been able to catch glimpses of the
traditional culture.

Tips for photographing • M

markets
• W
 alk on the edge: Skip the busy
streets built for tourists and head for
the fringe. This is where all the cool
stuff is happening and where the locals
shop and gather.
 ix it up: Markets are a great place
to practice different techniques, such
as testing your skills with various
focal lengths. Try finding a spot with
a view high over the market (a café
balcony would be a perfect). Take
some wide-angle shots overlooking the
entire market. Then zoom a bit closer
to capture groups of people. Then
closer still for detail shots of food and
products for sale.
40
• B
 uy something: The traders are
there to make a living. If you spot
an interesting stall you’d like to
photograph, why not buy something
first? I do this all the time because it’s
a win-win situation. Not only does the
trader make a sale, but he or she will
be happy and that will make their stand
look more inviting. And you get a great
picture as well as a tasty snack.
• Get there early: In the Middle East
there’s something called siftah,
which means “opening”. Siftah is the
nickname for the first thing the trader
sells each day. If you want to get a
bargain, arrive first thing in the morning
as vendors looking for their siftah will
make a great effort for the sale. You will
find this custom almost everywhere in
the world. (But of course, you will know
that because you did your research.)
 he same rule of arriving early goes
T
with photography. Get there before the
tourists do. By doing so, you’ll find the
traders will be more relaxed and open
to having their pictures taken since they
aren’t busy with crowds of customers.

41
VANTAGE POINTS
Everywhere, from small villages to big cities, has high
vantage points. It could be a structure like the Eiffel
Tower or just a hill overlooking a village. Being high up
gives an opportunity for some really interesting shots.

High vantage point tips

• G
 et there early: People usually go to high places at
sunset/sunrise. Be there at least 30 minutes before the
crowds to get a front row seat.
• B
 e creative: High vantage points are a must for every
photographer, so you have to challenge yourself to make
more creative images: Use filters, creative editing or even
permission to shoot from a “Closed to the public” point
of view.
Or
 you can make your own high vantage point, like a
photographer I saw in Japan who walked around a festival
with a ladder!

42
places of worship
Places of worship are a great source of inspiration and an
opportunity to familiarize yourself with the local culture.

Places of worship tips

• R
 espect: You must be super sensitive when photographing
a religious place. Many places do not allow photography
during prayer so do your research and dress accordingly.
I’ve seen too many tourists walking through Thai temples
with their shoes on, completely unaware of the grave insult
to locals.
• L ose the fancy equipment: Keep a low profile. No long
telephoto lenses, no tripods and above all, no flash.
• L ook for the decisive moment: Don’t just take pictures
of the backs of people’s heads. Capture the beauty and
intensity of prayer.

43
getting lost wandering
the streets
Forget about your plans and shot list for a while and
just wander around.

Wandering the streets tips

• L
 ook for simple pleasures: Shooting dramatic and iconic
images is great, but a big part of the travel photographer’s
portfolio is daily life: people eating, playing, sleeping,
strolling in the park, and just doing what they do.
• G
 et lost but stay safe: Before heading out, it’s smart
to ask a local or hotel staff about potential safety issues
of wandering around with your expensive camera in a
foreign country.

44
45
DAILY WORKFLOW
To make the most of your time and get the images you want it’s important
to keep a daily routine, especially if you are traveling with other people.

Here is a basic workflow you can adjust to suit your needs.

46
Before you set off
• G
 et ready: Ensure batteries are
charged and you have enough memory
cards.
• Clean your gear: Make sure the lens
and camera sensor are clean from
dust and spots. (If your sensor is dirty,
it might be smart not to try to clean it
yourself, as it is very delicate. Take it
to a specialist.) If you plan to travel
to remote areas, invest in a sensor
clean kit.
• P
 rotect your gear: In some places the
• Be organized: Organize your camera
weather can change from sunny to rain
in an instant. Pack the right things to
protect your gear, including a simple
garbage bag to cover your camera.
A more sophisticated option is to buy
a waterproof case, usually used for
underwater photography or rafting.
You can find these online for less
than $100.
 he combination of wind and sand
T • D
can also damage your camera so don’t
switch lenses (exposing the sensor to
dust). If you are shooting in extreme
cold (under -10 ºC/15 ºF) have extra
batteries on hand as they discharge
faster in the cold. Wear gloves that
protect your hands but also let you
operate your camera. In extreme
heat, never leave equipment on the
floor, sand, or inside a car during the
daytime.
bag in the most logical way possible.
After you’re finished for the day, pack
everything away the same way each
time to make it easy to find everything
at the next shoot.
On the move
 on’t forget your shot list: The shot
list is your friend. It will keep you
focused and remind you of those great
ideas you had when you were relaxed
and doing location scouting. On the
other hand...
• F
 orget about your shot list: The
shot list is there to help you, not limit
you so allow yourself time for new
experiences. Flexibility is important to
exercise your creativity.
• B
 e ready: Don’t walk around with
the lens cap on. Be ready for those
unexpected moments.
• D
 on’t forget to rest: A tired
photographer takes boring images,
so take breaks. A coffee shop, tea
house, or just on a bench in the park is
perfect for relaxing, taking notes, and
enjoying people watching.
47
At the end of the day
• B
 ack up: It doesn’t matter how as long • T
 ake care of your gear: Clean dust
as you do it: on a laptop, external hard and dirt from your camera and
drive, cloud storage, DVDs, or even lenses and prepare everything for
by emailing your photos to yourself. the next day. This includes charging
Back up your material on at least two batteries, backing up your images,
different types of storage. I download changing memory cards, and taking
my photos from the card to my laptop and reviewing notes (shots to take
and then copy them to an external hard tomorrow, names of people you have
drive. I don’t delete the best images met, etc.).
from the cards, so I have my photos in
• T
 hink: Reflect upon your experiences
three places at once.
and what you could do better next
I keep backups in different bags. time.
While on long trips (over two months),
 hill: Put the camera down and
• C
I give a copy of the images to a friend
enjoy yourself. It might be hard to
or fellow traveler to bring back home
believe, but there is more to life than
(if I know and trust this person of
photography!
course). Most importantly, back at
home I don’t keep all of my hard
drives in one place. I have two very
large external hard drives with all of
my work that I keep offsite. It’s very
important to have offsite backup in
case something happens to your home.
One of my friends lost his entire life’s
work because of a flood that destroyed
his house.

48
PHOTOGRAPHING PEOPLE You can’t create great travel
photography without capturing
a piece of the culture, and a
country’s people. So if you are
missing portraits of locals in
your albums, it’s like an Italian
cookbook without pasta recipes.
There are two types of
photographers: those who
love people photography and
those who hate it. Of those who
hate it, 10% truly just don’t like
photographing people (and that’s
okay). But 90% don’t like it in order
to avoid approaching strangers.
If you’re part of that 90% and
would like to be able to approach
and photograph people close up
without being overwhelmed with
embarrassment, then this is for you.

49
Shooting portraits of
strangers and staying alive
There are two ways to photograph people: From a distance
using a telephoto lens or close up while interacting with
the person. Most people prefer the former option for it has
two major advantages. The first is the “authenticity of the
moment”. Someone who is unaware of the camera remains
natural. The second is it’s easier on your nerves: there’s no
need to ask, you won’t get rejected, and if no one sees you,
then you can’t get beaten up!
But this method has many disadvantages. First, you have
almost no ability to control the things photographers need
in order to create a good image, such as composition, angle,
background, light, etc. Another (and the most important one)
is that you are not creating a connection with the subject.
When you get to know the person you get an experience with
the locals and have some fun too, and this will also lead to a
great photo. I call this the “being involved” technique. The one
drawback is the authenticity of the moment. It is true, when
people see a camera, they change. They put on masks. Some
might pose, smile, or get angry. So the big question is...

50 50
How do I photograph a stranger from
close up while keeping the spontaneity
of the moment?
A person who’s aware of the camera doesn’t mean a bad
image, like in these examples.
But if you don’t want the person to look straight at you
and telling him to look away is impossible because of the
language barrier what can you do?
Here are four stories that will help you understand the
trick.

51 51
The boy with the dog
When I saw these kids playing in a river I went back into the water and splashed
in Laos, the first thing I did was to take a water back at the children. It was a
photo. Then I did something important wonderful experience. After a few
—I checked the image and asked myself: minutes, heavy rain poured from the sky
“How do I feel about this? I replied to and the children scampered to shore.
myself: “Well it’s boring. I can’t see their One of them grabbed his dog to comfort
faces, so there is almost no emotion. him in the rain. And that’s when I saw a
And it’s of kids playing in a river in a new story. I realized that by letting the
third world country, quite the cliché.” story that wasn’t working go, I was free to
The picture was showing, not telling. find a new one. I photographed this boy
So rather than taking more versions about twelve inches from his face.
of the same image, I thought of what
My students always ask me: “He’s so close
I could do to make the best of this
and yet he still remains in his moment.
situation. Maybe if I got closer I would
How did you do it?” The answer is simple.
find a better story. So I waded into the
He first saw me as a normal person, and
water and took another picture.
when the photographer in me joined us,
“Well this one is better... it has more he welcomed him too.
energy. But it’s still lacking something.”
So what could I do? Get closer? Not
without destroying my camera. Ask them
to come closer? I could not speak their
language. So, I stopped taking photos.
Yes, I put my camera away! It’s important
to build a story with great photography,
but it’s even more important to know
when to let the story go.

52 52
HOLD MY HAND
I was in Japan doing a workshop with my
students. We met a family in traditional
dress getting ready for the festival later
that day. I took a photo of them speaking
with my students. What did I do next?
I reviewed the image of course. “It’s
boring!” I exclaimed. “They are dressed in
beautiful clothes and they look different
from me, but does that alone make a
good picture?” Not really. I took a step
back and added the little girl into the
frame with the temple as the background.
This one was a little better but not good
enough. Before I gave up completely I
searched for something to highlight—
something that would create the story
with this given situation in front of me.
Suddenly, I noticed the way the girl held
her mother’s hand. It brought me back to
the days when I held my mother’s hand
as a small boy in the exact same way. So I
highlighted the situation that showed me
a story, even reminded me of one of my
own. The two other frames just said “here
is a family walking in a temple.” While I
hope that this last one makes you feel
something.

53 53
Please write
I saw this woman on the streets of Istanbul and asked to
take her picture. I was not surprised when she refused as I
was a stranger in a Muslim country. I respected her request,
but asked if I could photograph her children. She agreed,
and after a few minutes of taking photos of them, they
hugged her and I snapped a picture of all of them together.
I showed her the picture and she was very happy with it.
Then she said I could take one picture of her. And so I did.
When I thanked her and said goodbye, she asked me to
send her the photos. I gave her my pen and notebook and
she wrote down her address. And the image you see right
here is one of the many I sent her.

The young monk

One hot day in Laos I was resting in a monastery courtyard
at sunset. I was exhausted from the heat and even more by
the fact I didn’t find anything to photograph that day.
As I put my camera away, a bunch of monks surrounded
me and started practicing their English. I already had
dozens of pictures of monks so I spoke with them instead of
getting my camera back out. They asked me about my life
and to see pictures of my home. I asked one of the young
men (whose name was Seet), “Where do you sleep?” He
ran up the stairs and said “here”. I sensed a good story in
front of me and I signed with my hand “ wait there”. I came
back with my camera and took this photo. Two years later,
I returned to give him a print.
54
Conclusion
So that’s the secret. I show respect by For me, photographing people from a interesting stories that enhance not only
approaching the person, saying hello distance is like stealing. A good portrait the process of your work, but your entire
(in their language), and shaking hands. is given to you and not taken. Besides, journey.
It’s no different than I do with people I you get to know new people and hear
meet at home. Treat everyone as a fellow
human being and not as a photography
subject. If they agree to have their photo
taken, he or she might pose for you. Creative exercises for people photography
That’s okay, let them do so, without
Work within your comfort zone
directing them. Make a few pictures. The
posed pictures will be for them, not for In order to practice the technical aspects of making portraits like composition and
you. Show them the images, they will be lighting, ask a friend or relative to be your model. By doing this you skip the need
happy to see themselves on the screen to “break the ice” and it allows you to focus on the mechanics.
and might laugh. Then, if you stay with Get out of your comfort zone, but without your camera
them a bit, you will notice how their mask
Practice starting conversations with strangers. Don’t take your camera with you as
slowly peels away and their “real” self
it may interfere with the process. You can start with the new guy at work, or the
emerges.
shop owner you always see but have never spoken to.
I have used this technique with people
Practice non-verbal communication
everywhere; from Kyrgyzstan’s toughest
With most travel portrait work, you will meet people who do not speak your
cowboys to the hurrying people of New
language. Of course during your research you learned a couple of words of the
York city. Of course, it’s much easier
local language but it’s more important to practice your ability to “talk without
to photograph in some places than
words”. Go (with your camera this time) to a busy place in your own town and try
others, but in general, people want to
to get non-verbal approval of people to let you photograph them. A smile and nod
be respected and assured you have no
of the head while lifting the camera up a bit should be enough.
negative motives for photographing
them.

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The “fly on the wall”
technique
Despite all I’ve said about my strong
preference for close-up work with people,
the method of photographing people with
a telephoto lens from a distance should
remain in your tool box. Sometimes it’s
necessary depending on the situation. For
example, meeting a person and shaking
hands will not work in a place of worship.
But don’t make it your default technique.
When encountering a situation, decide
which portrait technique is best, not
in the terms of your shyness, but in
measures of storytelling.
Tip
• K
 eep a low profile: You can see this
as a type of street photography. Wear
clothes that fit the environment and
carry minimal equipment. Work with
a small lens (35mm or 50mm) and
reverse the hood to make the lens look
less like what a professional carries.
Working in a hostile
environment
By “hostile environment” I don’t mean
a war zone, but somewhere portrait
photography is not easy to create.
Tips
• Get a fixer: They can warn you how to
not get involved with the wrong sorts of
people.
• The selfie: This is a wonderful method I
use a lot. If a person doesn’t want to be
photographed, I ask “Okay, can we take
a photo together?” Once they see that
photo come out great, most people will
agree to one of them by themselves.
The importance of time
management
Sometimes you can spend too much
time with one subject and have nothing
to show for it. With people photography,
the risk is even greater. When landscapes
are your subjects, you can always return
another day if your shots don’t work out.
But when you meet people on the street
it’s a once-in-a-lifetime opportunity.
We are a ”must have it now” generation
of the internet age. I see my students
running from place to place frantically
looking for the next face to photograph.
After 30 minutes they come back with
30 portraits of 30 different people. So, I
always tell them that it’s better to focus
and come back with one good portrait
of someone you had a connection with
rather than many portraits of people you
hardly spoke with.
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 Both photos are 85mm
Gear for people photography
There is no such thing as must-have gear for travel photography
and the same goes for portraits. You can shoot portraits with
whatever lens you have (yes, you don’t “need” a 50mm).
Here are a few examples of portraits I did with varying
focal lengths:

57
Above and left: 50mm
Far left: 17mm

58
 Find an interesting subject

Ask yourself, how much potential is there in the situation?

Is the lighting appropriate? Select the composition, lens,
Portrait photography
shutter speed, aperture, and ISO.
workflow
Choose the best technique to suit this visual story.

Fly on the wall technique Getting involved technique

Wait for the right moment and click Ask: “Hello can I take your photo?”

No Yes

Suggest a selfie shot or move Examine the lighting, the background, and try
on to the next story to choose the appropriate decisive moment.
Make adjustments and changes if needed.

Make the shot

The person is making a pose You don’t get what you wanted

Wait for the right moment Move on to the next story

Make the shot

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The detail shot
The detail shot is one of the most important shots
for a travel photographer. It captures an object
showing a small fraction of the entire story.
Let’s say you are at a lively market. You can take
pictures of stands and make portraits of people,
but a well-composed close-up image of a local dish
enhances the big picture—not just of the market
but of the entire place you are visiting.
Image buyers and magazine editors alike are always
on the lookout for good detail photography. It won’t
make the cover but the detail shot is how I sell
the story. The secret to a good detail shot is that it
provokes a sense of that story.
Remember that a good detail shot is not a riddle.
The viewer should understand what they’re seeing
and how it relates to the story. Don’t get too artistic
with this one.

60
Tips for great detail shots
• Look for it: As its name implies, this shot is found in the
little things. If you’re always focused on the big iconic
subjects, you might miss them. Make it a habit to look for
these little things everywhere you go. A funny street sign,
a basket of fruit, almost anything can become a detail shot.
• Make it look amazing: Aesthetics are everything. Consider
the lighting and especially the background. Don’t be afraid
to change and re-recompose as needed. For example, you
want to create a detail shot of a dish you just tried in a local
restaurant. Ask to move to a table near the window. Using
the natural light can make all the difference.
• B
 reak the cliché: The detail shot is a great way to create
a different point of view of an iconic subject. Instead of
showing everything at once, give your viewer a small hint
of where you are.
 

61
Conclusion
Throughout this mini guide, I have highlighted some of the
many elements that make a good travel photograph. Of course,
there is no magic recipe that works for each image and every
photographer. But one thing is certain, the ability to evoke
emotion and a sense of story, while bringing home the spirit of
your journey, combined with good technical skills will result in
a great image.
Don’t forget to practice. Photography is like any other craft and
you need to put a lot of time into it. Don’t leave it to chance and
Sharing the image with the subject in India. Shot by Hardik Pandya
be as ready as you can for those once-in-a-lifetime moments.
Don’t be afraid to photograph people. Many people love to
have their photo taken and if not, most will let you know
Thank you for buying this guide and please feel free to
politely. Smile, show respect, and send them their photos.
contact me via my website or Facebook if you have any
These simple things promise amazing outcomes for you,
questions. You can also read more about my worldwide
and the photographers who come after you.
photography workshops.
Travel photography is not always about traveling. Your
hometown is another’s foreign country. The same goes for
your food, street, and family.
Practice using your eyes to see the beauty in the small things,
and in the details.
And most importantly, don’t forget to enjoy. A great image
you made today might look so-so to you in few years’ time.
That’s good, because that means you’ve made progress. Images
may not last forever, but good stories and memories will...
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 ABOUT SNAPNGUIDES Written by: Oded Wagenstein

SnapnGuides are easy to read mini-guides to improve your Photography by: Oded Wagenstein
photography in one specific area. SnapnFood is our first,
but stay tuned for more in the near future! Publisher: Darren Rowse
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or otherwise, without prior written consent from the publisher,

About Digital Photography School (dPS)
Led by Darren Rowse. dPS is one of the world’s largest
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except for the inclusion of brief quotations in a review. You may
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Disclaimer: The information contained in this book is based on
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