NEW

TRAVEL
Teach Yourself

P H O T O G R A P H Y
Edition
Digital
EDITION

CAPTURE CULTURE MASTER THE LANDSCAPE SHOW CHARACTER

THIRD
 TRAVEL
Teach Yourself

P H O T O G R A P H Y
We all long for the excitement of travelling the world,
exploring new places and soaking up new cultures. Imagine
making a living from doing just that while taking incredible
imagery to document it forever. A great travel image can
capture the tastes, smells and the very essence of a place. It’s
the cheapest souvenir around, and when done properly, can
keep the memories alive for years to come. Teach Yourself
Travel Photography will show you how to turn your holiday
snaps into impressive professional standard photos. Discover
top tips for sunsets, portraits, wildlife, landscapes and more.
Get advice on how to shoot in extreme weather, on safari, and
even underwater. Plus, if that wasn’t enough, we’ll tell you
how to get the most out of some of the world’s best locations,
including London, New York, Delhi, Madagascar, Peru,
Shanghai, Morocco and Kenya. This brand new bookazine
truly is your indispensable guide to shooting stunning imagery
across the globe.
TRAVEL
Teach Yourself

P H O T O G R A P H Y
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 CONTENTS
The Ultimate travel guide 008
104
Essential advice for shooting the world

TECHNIQUES
Shoot and explore the outdoors 042

Get more from your landscape shots

Cityscapes skill guide 052

Freeze excitement and emotion of a city

Photographing landmarks 060

Learn to take monumental photographs

Shoot stunning seascapes 070

Discover the secrets of coastal scenery

Faces of the World 076

Capture stunning portraits on location

Adventure in the great outdoors 088

Uncover the excitement behind action shots

Extreme weather 094

Capture imagery in extreme conditions

Shooting on Safari 100

Take a walk on the wild side

Shooting underwater 104

Get incredible shots beneath the waves 128

Go pro with travel photography 110

Start earning a living from your travel

070

6
184 LOCATIONS
London 120

New York 124

Las Vegas 128

Canadian Rockies 132

Peru 136

Scotland 140

South-West France 144

Rome 148

Prague 152

Japan 156

Shanghai 160

Norway 164

Delhi 168

Trans-Siberian Express 172

188
Krakow 176

Madagascar 180

Kenya 184

Morocco 188

Sydney 192

152
124

7
ESSENTIALS
THE ULTIMATE
TRAVEL GUIDE
Iceland
Iceland is a breathtaking landscape that
features mountain peaks, volcanoes, icy
glaciers and geysers. Between
September and March, once
darkness has fallen,
rural areas are often
illuminated by the
Northern Lights.
Take a trip out of town
where there’s less light pollution to
capture this natural phenomenon.
TOP TIP
You’ll need a sturdy tripod and long
exposures to capture the dancing
lights of the Aurora Borealis.
Peru
Peru was once home to many ancient
civilisations including, the Incas.
Visit their ancient settlement Machu
Picchu, above the Urubamba Valley.
Between April and October there’s
less chance of rain but take an early
morning or late afternoon trip to
avoid tourists and ensure better light.
TOP TIP
Explore the site itself and capture some of the structures up
close. Look for unique perspectives to get original results.
Rio De Janerio
Rio De Janerio in Brazil is a vibrant city that’s full of
culture and colour. Visit in February to experience the
Rio carnival atmosphere, which is a great opportunity to
document the tradition. Use slower shutter speed settings
to record dancing motion and capture abstract colour shots.
TOP TIP
Keep an eye on your kit in crowded areas; putting tape
over your camera will age it and help deter thieves.
8
New York
The city that never
sleeps is a perfect
place to shoot street
photography and
architecture. As a
bustling metropolitan,
you’re always guaranteed to find something exciting
to shoot. Capture the real New York by avoiding
overpopulated tourist areas; the subways and markets
are a great place to start documenting.
TOP TIP
Try shooting candid photos from the hip. If you have a
flexible LCD, use it to compose from a low angle.
Rome
The historic capital city of Rome offers
a diverse mix of photographic subjects.
Those interested in architecture will
enjoy exploring the ancient sites such as
the Roman Forum and the Colosseum.
There are plenty of great places to shoot
interiors too, check out one of the city’s
900 churches for elaborate décor and
ceiling frescos.
TOP TIP
Avoid using your flash when shooting
interiors by upping your camera’s ISO.
Kenya
A once-in-a-lifetime trip to Kenya is on every keen
wildlife photographer’s to do list. Visiting during
the drier months between January and March
or June till October will guarantee more wildlife
sightings and subsequently more opportunities to
get good shots. Don’t forget your telephoto lenses to
shoot from safe distances.
TOP TIP
Always set your shutter speed higher than your lens
focal length for steadier, sharper shots.
 THE ULTIMATE TRAVEL GUIDE

Scotland India
Scotland’s a naturalist’s paradise with some incredible Serious travel shooters
sites to explore in both the highlands and lowlands. For shouldn’t miss an opportunity
some unbeatable views, take a trip to Ben Nevis and the to visit India. It’s a country
Grampian mountains in springtime. Scotland’s Lochs brimming with rich culture
also offer some fantastic photo opportunities; just don’t and is home to one of the Seven
forget to pack your polarising filter. Wonders of the World, the Taj
Mahal. To get a real feel for
TOP TIP what India is all about, go off
Be wary of sudden the beaten track; it will give
weather changes you the chance document and
when you’re experience the more traditional
shooting in rural ways of life.
locations and make
sure you and your TOP TIP
kit remain warm For great travel portrait shots,
and dry. work with your lens focal
length set between 70-135mm.

Vietnam
Large parts of Vietnam’s landscape remain
unspoilt today so it’s a great place for budding
landscape photographers to explore. Take a
morning trip along the coast to capture the
traditional sailboats as they set off or, explore
the rural working fields to photograph unique
patterns and colour.
TOP TIP
An ND filter is a great tool for balancing the
exposure between the land and sky.
Australia
The rugged Australian outback is an ideal
location for more adventurous landscape
photographers. Visiting iconic sites like
Ayers rock in Uluru will give you plenty of
opportunity to capture the rich colour tones
of the earth, which contrast against the blue
skies. Stay until sunset to witness the rock
face famously turn a deeper shade of red.
TOP TIP
Use a wide-angle lens to frame the entire
rock or alternatively shoot a scenic
panorama.

9
ESSENTIALS
On the move Improve your travel photos with these tips
© Stuart Dunn Engage with people
Be brave and talk to people. Building a
rapport with someone and making them
feel at ease is quite an art. Interesting
experiences will come your way once
you begin to engage with people.
Get intimate
When focused on taking travel portrait
shots, try to avoid using a long lens.
A 50mm lens or wider will give you
fantastic results with a much more
intimate feel.
Preserve your kit
Humidity is a huge problem when
working in the jungle. If your camera
has condensation issues, place it in a dry
bag with several packs of silica gel, seal
the bag and hang it out in the sun for
“Be brave and talk to
people… Making them feel
at ease is quite an art”
© Getty Images
10
an hour or two – your kit will soon be
working fine again.
Trust your instincts
Experiment with lighting and interesting
compositions. Sometimes you have to
throw out the rule book and just go
with your instincts and what feels right.
Revisit places at different times of the
day as light can change the whole feel of
an image.
Be inconspicuous
Try not to look too much like a
photographer, especially a professional
one. Being faced with big lenses and
expensive kit can often be very daunting
for people so use a smaller second
shooter and also attract thieves..
© Getty Images

Prevent
pickpockets
To keep your kit safe,
disguise it by sticking
duct tape onto your
camera body. It will
make it appear old
and worn, and much
less appealing to any
potential thieves.
Respect other cultures
Always be respectful of different cultures
and traditions. It’s important to research
the way of life at your chosen location to
avoid offending the locals. Find out the
customs and some key words or phrases.
Do your research
Plan ahead and work around certain
times of the day to visit popular tourist
destinations. This way you’ll beat the
crowds and also know in advance of
any scheduled events or ceremonies
worth shooting.
Have a camera on hand
Always have a camera on you. A
compact or even a camera phone can be
handy and will ensure you don’t miss an
impromptu shot when you’re out
and about.
THE ULTIMATE TRAVEL GUIDE
Check
you’re covered
Before setting off on a trip
ensure you and your kit are
correctly insured. It means
you won’t have to worry if you
have an accident or
your gear gets stolen. © Alamy
Embrace motion
Putting it into practice
For photographing busy, popular
locations where tourists will frequently
walk past, use an ND filter and tripod
with a long exposure. This will help to
remove the people from the scene and
create an artistic trace of their
steps instead.
Set yourself a challenge
Don’t be put off shooting the big tourist
attractions, it may have been done before 1helpcan
Settings On location, the light
change dramatically. To 2 Setup Don’t be put off
photographing often-shot
but it sets you the task of finding a new
way to shoot. Start by finding a new
ensure you get well-exposed
images every time, set your camera
scenes, simply find new ways to
get your image. Try shooting from a
angle and don’t be put off by
bad weather.
to Aperture Priority. This way you
can control depth of field while the
low angle for more dynamic results;
it will also give your subject more
camera controls the shutter speed. presence within the frame.
Work with a zoom
Invest in a good-quality zoom lens that
offers you a wide angle and medium
telephoto range, around 18-200mm. This
way you won’t have to worry about
having to change lenses and missing any
key moments to get your image.
Store your shots safely
Take a portable hard drive with you, or
set up an online file-sharing account so
you can upload images to free-up space
on your memory card. Ask a friend at
home to download your shots for you so
they can be stored safely.
Work with RAW
Invest in a large memory card so you
can always shoot in RAW. This way you
can adjust or correct white balance later
in post-production, which is a common
problem when shooting under different
3 The results Think carefully about your composition when framing the
scene. Don’t forget to use lead-in lines and the rule of thirds, it can really
help to strengthen your final shot.
lighting conditions.
11
ESSENTIALS
Landscapes Get in touch with nature
Take in your surroundings
Turn around, don’t become so focused
on what’s in front of you that you
forget to take in all your surroundings.
Experiment with filters
If the situation is right, don’t be afraid
to ‘stack’ your grad filters to get a better
effect. For example, using a soft blue
grad with an ND4 grad filter can create a
dramatic, moody shot.
Follow the rule of thirds
Be mindful of ‘the rule of thirds’ when
framing your image. While there are
a few times when it can be broken
successfully, try to stick to it, as it really
does work.
Lead in with lines
If you can, try to position yourself and
frame your photograph with powerful
diagonal lead-in lines – this will help
12
© Getty Images
© Getty images
create an image with more of a ‘wow
factor’. To do this, imagine an X and
position the axis in either the upper or
lower third area. Paths, rivers, trees
and walls all make great candidates for
leading lines.
Find a focus point
Presenting something in the foreground
of your landscape shot will help to
lead the eye into the image. Even if the
shot has been taken at sunset or in the
afternoon, a well-composed image will
stand out as it will naturally draw the
viewer into the scene.
“Use powerful
diagonal lead
-in lines”
 THE ULTIMATE TRAVEL GUIDE

Frame Capture dramatic skies

your scene
Don’t shy away from shooting in bad
weather. A dark, cloudy sky can add
lots of drama and depth to what could
Finding unique ways otherwise be a dull scene. Clouds can
also help to balance the exposure and
to frame your scene avoid bright, bleached skies.
gives you a different Balance your exposure
perspective on your Grad ND filters are perfect when you
need to balance the exposure in bright
landscape subject sunlight, particularly when the sky
appears bleached. Use a soft blend grad
for a more dynamic for natural results. Place the grad over
composition. Shooting the lens so that it covers the sky. You can
then expose for the land.
through windows or Invest in sturdy equipment
archways is a great A tripod is an essential tool for shooting

starting point. landscapes. It will enable you to take

Avoid
motion blur
Use a cable release or
remote shutter to completely
eliminate the possibility of
blur. If you don’t have either of
these, set up your camera’s
self-timer to shoot.
Maximise depth of field
Long shutter speeds work well when shooting a landscape or seascape,
but will require small aperture settings. A large f-stop number will not
only prevent your image from being overexposed, it will also ensure
your shots are sharp by maximising depth of field.
Shoot a starry landscape
A landscape doesn’t just have to be taken
during daylight or the golden hours. A
long exposure during a bright, moonlit
night can result in some fantastic starry
landscape scenes. Work with slow
shutter speeds around 1/60sec to capture
star trails and don’t forget to up your ISO
setting to ISO 400 or more if your camera
can handle high sensitivity.
High dynamic range
Maximise your exposure by taking
three separate shots of your scene. First,
correctly expose your landscape and
then adjust the EV setting by +2 and
then -2. You can bring all three together
in Photoshop to create an exposure
blend or HDR image.
longer exposures without motion blur or
camera shake, just ensure it’s weighty
enough to stand securely against any
strong winds.
Find a focus point
When shooting a landscape, focus your
camera one third of the way up into the
scene. This will help increase the depth
of field in the foreground. If, however,
you have a focal point in the foreground,
make sure it is this that your camera is
focused on.
Find a new perspective
Change your angle. By getting down
low you can capture more foreground
detail, which will help lead the viewer
into the image. A higher vantage point
can also capture abstract shapes for
interesting results.

Putting it into practice

1 Settings An ND filter is ideal
when shooting a seascape
image as it can turn water into
2 Setup As you will be shooting with a slow shutter speed,
ensure your camera is set up on a sturdy tripod. A remote
shutter release will also be handy here as it can help to prevent
atmospheric mist. Select a you from capturing camera shake as you release the shutter.
good gradient and then attach
it to the end of your camera
lens. You can now set your
desired aperture with a slower-
than-normal shutter speed.

3 The results The ND filter has prevented light from flooding

the exposure. This enables you to use a slow shutter speed,
transforming the water movement into mist.
© Getty Images

13
 ESSENTIALS
Portraits
Balance the light
Light is a photographer’s most valuable
tool, as without it, there wouldn’t be a
photograph. Always light your subject
with two or more light sources to
balance the exposure and get a
flattering effect.
Strengthen composition
Always remember to compose your
photograph so that the reason for
making it is obvious to the viewer. Try to
arrange elements along the diagonal of
the image as this complex composition
can help strengthen the visual space.
Guide your model
Having said that, many portraits are
successful because they are conceptual,
Adjust
light intensity
If you can’t control the
output strength of your light
source, move your subject
closer or further away from
the source in order to get
varied results.
Avoid lens flare
If you’re shooting
outside on a bright day,
use your lens hood
to reduce flare and
prevent hazy shots that
will need more editing
work in Photoshop.
Focus on the eyes
Ensure your model’s eyes are sharp and
in focus, even if there is no direct eye
contact. Your viewer will naturally be
drawn to the subject’s eyes first so they
will notice if they are soft. It’s all
about creating a connection with
the audience.
14
Portraiture pointers
particularly if they indicate an emotion,
mood or expression deep within the
eyes. Be a good director of content in
Putting it into practice
order to provide guidance and direction
to your subject.
Get creative
1up tothe
Settings When working in
studio, set your camera
shoot in manual mode. You
Don’t be afraid to shoot your way. Push will need to adjust your shutter
the boundaries until you decide a clear
speed to 1/125sec if you’re
working with the flash, you
path with regards to your shooting style. can then adjust your aperture
Be creative with your setup and always to control depth of field. Don’t
forget to keep your ISO low.
remember to have patience.
Fill in with flash
Have fun. It can take a few accessories
and a bit of time to create some truly 2 Setup Light your model in
the studio with one main
stunning images. You should always use light that is angled above their
face. A softbox will create a nice
a second light to fill in shadows and gels catch light in their eye. You can
to inject drama. use another light or reflector to
the side to fill in shadow areas of
your shot.
© Ali Sharaf
3 The results There is a
great catchlight in the
model’s eye, which is lit using
two lights in the studio. By using
the correct focus settings, the
model’s eyes are nice and sharp.
© Ali Sharaf
© Alamy
Use a prime lens
If you’re serious about portraiture, invest
in a good-quality prime lens. An 85mm
lens is ideal for headshots as it won’t
create distortions will offer you wider
aperture settings for artistic effects.
Bring out character
Maximise the personality in your
portraits by matching your shoot style
to your subject and bring out their
character. For example, if you are
photographing children, think about
using bright and bold colours that
highlight their youth and playful nature.
Find flattering angles
Avoid shooting a portrait from
unflattering low angles unless you are
taking a full body shot. Always angle
your camera slightly down onto the face
to shoot to accentuate the model’s eyes.
© Alamy
 THE ULTIMATE TRAVEL GUIDE

Wildlife How to achieve excellent wildlife images

© Getty images taking wildlife portraits. Unlike
photographing people, wildlife subjects
are constantly alert, on the move and
looking around. If your subject happens
to look away to the side and you are
focus-locked, the shot will be out
of focus.

Patience is key
Learn to recognise the potential in a scene and what
elements make for a great wildlife image. Then you will
know what not to shoot and what to leave out in the future.
Get a decent tripod
Good camera support is an essential
element for getting sharp photographs
in low light! Get yourself sorted with a
good-quality, sturdy tripod and separate
tripod head. Avoid using the flimsy,
wildlife-alerting silver ‘hobby’ tripods.
Adjust your aperture
With super-telephoto lenses, your depth
of field is significantly compressed.
There’s little difference between ‘single
stops’ (f4 to f5.6) when you’re up-close.
To make a noticeable change, move in
bigger steps. Don’t get caught up on the
technicalities of ‘sweet spots’
and f-numbers.
Pan with movement
Panned motion-blurs require a steady
hand or a tripod for a smooth lateral
movement. Pan in the direction of
the subject with a shutter speed of
around 1/10-1/30sec. An excellent
motion blur requires a recognisable
subject with a sharp head or face and
this technique works best in low light or
overcast conditions.
Get in close
It’s easy to get carried away with
telephoto lenses. Try using a wide-angle
lens to get up close to your subject, it
will enable you to capture the habitat
Keep
practising
If your only photo experience
is twice a year on holiday, how
are you supposed to improve?
Get down to the local park or
pond and photograph wildlife
as often as you can.
© Getty images
and tell more of a story, creating an
engaging image.
Putting it into practice
Up your ISO
It’s better to have a sharp shot with some 2 Setup
noise, than a clean shot with a blurred
subject. The latest DSLR cameras come
with superb noise-reduction technology,
so when you’re shooting in low light, use
it and up the ISO.
Consider composition
1 Settings Adjust your camera subject’s eye
settings prior to shooting so level.
that you’re ready to capture any
For a more dynamic composition, fast-moving subjects. Select
avoid placing the subject centre-frame. a fast shutter speed in your
shutter priority mode.
Compose with the subject to the side or
in one of the corners, looking into the
space on the other side. Read up on the
rule of thirds – it works for a reason.
3 The results Being patient
will result in fantastically
sharp portrait shots of your
subject. However, always
Stay in focus remember to respect the
animal’s habitat.
Shoot on continuous autofocus when
Focus points
Use Single AF mode when you are
photographing a static still-life object,
or when you need to compose a more
contextual shot with your main subject
outside of your focus points.
Get low
Remember you can move to the side
and adjust height even with a tripod.
A metre or two to the side can make a
huge difference to the background
when using a telephoto. Getting down
low will also help diffuse the foreground
and background.
Focus on the eyes
People connect with an image through
the eyes of the subject, so time your
shots for great eye contact and get down
to the subject’s eye level. Above all else,
make sure those eyes are sharp.
Embrace the elements
Don’t be afraid of the elements. Rain,
wind, and snow have the power to
transform the everyday into the
remarkable. Besides, there is no such
thing as bad weather, just bad clothing.
Be observant
Avoid the machine-gunning approach to
wildlife photography. Be selective and
observant of your surroundings and
the behaviour of the subject. Pick your
moments with critical timing, waiting
for that look, intimacy, interaction,
drama, or brilliant light.
Now
set your AF
mode to
continuous
so you never
lose focus
and get
down to your

15
 ESSENTIALS

© Getty Images

Sunrise and Sunset

Top tips for taking stunning sunrise and sunset photographs
Colour contrast
The warm light at the start and end
of the day produces stunning colour
contrasts that will illuminate your
subject. This is known as the Golden
Hour and it’s highly popular with
landscape photographers. Look out for
the strongest colour casts which come
with fierce sunlight and clouds overhead,
so adjust your white balance accordingly.
Cold winter mornings are also a great
time to head outside, as the frosty
ground in the shade will reflect the blue
of the sky.

Look behind you

Often the most spectacular part of the
sky is directly opposite the sun, and
this is particularly true if there are high
altitude clouds around. The balanced
light levels between foreground and sky
should also make it easier to produce a
correct exposure. However, you need to
be careful that direct sunlight doesn’t
shine through your viewfinder and
throw off your settings. © Getty Images

16

Capture silhouettes
If you shoot into the brightest part of the
sky and expose for the highlights you
can capture striking silhouettes. If you
are to do this it is important to ensure
that your subject has an interesting
outline. Trees are prime candidates but
also look out for rock forms and city
skylines.
White Balance
Sunset light is likely to be more red/
orange than at midday. You can use a
white balance of 5500k to reveal this
warmth but a white balance of 4500K
will produce better results in these
conditions making the sky even more
stunning. If you shoot RAW then you
can experiment with the white balance
at the post processing stage.
Sidelight
The low soft light produced at sunrise
and sunset is excellent for revealing
the form of your subjects, particularly
when side lit. Look for interesting
foreground shapes and textures to make
your composition stronger. You can
use a polariser to bring out the sky and
provide your image with an impressive
dynamic impact.
Reflections
Sunrise and sunset present an excellent
opportunity to capture colourful
reflections in water and ice. Still water
creates a strong connection between the
sky and ground, and direct sunlight on
moving water can be accentuated with a
long shutter exposure making the colour
spread across the surface.
THE ULTIMATE TRAVEL GUIDE
Balance and flow
Composition is just as important when
photographing a sunrise or sunset as
it is for any other subject. Don’t let an
amazing sky overpower your image.
Concentrate on the structure, flow
and balance of your image. The most
important thing is to keep the horizon
level. Use a tripod to help.
Careful planning
Careful planning and preparation will
produce wonderful results. You should
scout locations on grey days and plan for
better light. Set custom modes on your
camera to ensure you aren’t fiddling
with controls when time is short. Use
internet image searches to get a feel
for your location before you arrive and
research the best hours for light.
Take your time
Time can be critical when the light is
good, but that doesn’t mean you should
rush around. Try to arrive in advance
and set up your camera and tripod
as quick as you can, but spend time
ensuring that your composition and
exposure are correct. One great shot is
better than 10 average ones.
© Alamy
© Getty Images
© Getty Images
Use filters
Neutral density graduated filters are used to balance
the exposure by holding back the brightness of the
sky whilst keeping the exposure of the foreground as
it reads. A polariser will increase saturation, remove
reflections, cut through haze and improve cloud
contrast. You must keep your filters clean and scratch
free to get the best results and to save time
editing afterwards.
17
© Alamy
ESSENTIALS
Getting started
Practical travel tips
Consider the practicalities of travelling to prevent headaches
Keep safe
Travelling to unknown locations can
come with a large risk when carrying
expensive equipment, as there is always
the possibility of your kit being stolen.
Ensure your camera is in your bag at all
times when not in use, and always be
aware of what is going on around you.
Look after your batteries
Your batteries are very important bits
of kit, and without them you will be
unable to take any photos. It is therefore
important to take good care of them at
all times. Ensure that they don’t get wet
to avoid them becoming damaged, and
keep them in a warm place when not in
the camera to prolong their life.
Travel insurance cover
Carrying expensive equipment while
travelling can come with many risks,
so it is important to be prepared for
the worst. Many different insurance
18
policies will not cover certain bits of
kit, so it’s a good idea to make sure you
have sufficient travel insurance that will
include your expensive gear.
Keep memory cards safe
Perhaps the smallest thing you’ll be
carrying, but also one of the most
important. You memory cards will
contain all of the images you have
taken throughout your travels. It is
therefore a good idea to take special care
of them, ensuring they don’t get wet,
damaged or lost.
Pack what you need
Don’t neglect your own needs in favour
of your camera’s, and always ensure you
have the necessary things you might
need while away from home comforts.
This can be anything from food and
drink to the correct clothing for the
weather and it can ensure you have a
safe and enjoyable travel experience.
Be respectful of
other cultures
Many cultures throughout
the world will have different
views on you taking
photographs, so it is a
good idea to be aware of
the cultural differences
and respect them. Simply
being polite and asking
someone for a photo can
go a long way towards
putting them at ease.
Respect other
countries’ laws
Laws can be different throughout
the world, so it is a good idea to
familiarise yourself with any that
may be different to what you’re used
to. It is also important to note that
Pack your kit securely. This
some countries have laws regarding Kata Bug 203 PL bag is
photography, so being aware of these £202/$274.99, available from
is essential. www.kata-bags.com

Pack correctly
When transporting your kit, either
on a plane or on your back, ensure it
is correctly packed within your bag.
Correctly securing your equipment in
your bag will avoid any of it moving
around and becoming damaged when it
is being transported.
Pack light
When travelling, whether on a plane
or trekking across a country, it is
important to pack only what you need
extra lenses and spare equipment may
not be completely necessary, and will
simply weigh you down while taking up
valuable space in your bag.
Carry enough money
It may sound like a painfully obvious tip,
but it’s also one of the most important.
When you’re out exploring the rural back
roads of a distant village, it’s important
to know you have enough money for any
situation that may arise.
Plug adapters
There is no use taking all of your
electrical equipment with you if you
lack the means to use it. Different
countries use different types of plug
sockets, and therefore your native plugs
may not fit. Ensure you have the correct
adapters for each location you will be
travelling through.
Know your surroundings
In some instances it is beneficial to let
yourself get lost in a vast city. However,
if you are unfamiliar with a country,
it is always a good idea to plan out
your routes, know what is available
to you, where you are going, and be
It’s worth taking some
time to take stock of your
surroundings.
aware of your surroundings. Download
smartphone apps to help advise on
locations and weather and always keep
your device fully charged.
Don’t neglect the journey
Often, the journeys both to and from a
location are forgotten, and subsequently
written off as wasted time. However,
utilising this time to familiarise yourself
with some common phrases, or even
capturing some shots through the plane
window can make it time well spent
and give you an advantage when you get
started with the main shots.
Get involved
If you are comfortable in your
surroundings, don’t be afraid to get
involved with the local culture. Whether
this involves simply eating in a small
café and talking to some residents, or
taking part in local traditions, it will
only enrich your travel experience.
Speak to the locals
Don’t simply rely on the general tourist
information for places to visit and things
to do. Often these will not best portray
the country in which you are visiting.
Speaking to the people that live there
can help you get the most out of your
limited time.
Keep in contact
For many people, travelling is about
being out in the world alone, exploring
what the different countries have to offer.
However, it is always a good idea to keep
in touch with people back home, letting
them know where you are going to be
and how best to contact you in the event
of an emergency.
THE ULTIMATE TRAVEL GUIDE
Research points of interest
Prior to travelling, it’s a good idea to
research any locations you plan on
visiting in order to give you an idea of
what to expect, as well as any previously
taken photographs of the area. This can
help you to plan how best to use your
limited time.
Get familiar Get familiar with
Familiarising yourself with the country the place you’re
you are visiting can serve to help you in travelling to
in advance
a number of ways. Knowing your way
around the city streets can help ensure
that you don’t get lost, and keeping a
small phrase book with you at all times
means you will never be far from help in
case you need it.
Back up your photos Back up your shots
as you go along
This may not be possible in all situations,
but if it is possible then it’s a good idea
to back up your photos as you go along.
This can be done on a storage device,
a laptop, or even by uploading your
images to an online server or website.
Weather aware
It may seem obvious, but being aware
of the weather forecasts for the area you
are travelling in can be very important.
Many countries are subject to sudden
weather shifts, so being prepared with
the right protection for yourself and your
kit can be very useful. Use smartphone
apps to keep on top
of the weather
19
ESSENTIALS

Travel kit essentials

Kit out your camera bag and prepare to hit the road with
all the equipment you’ll ever need to get great shots

T Laptop
ravel photography is one of the most
demanding photo genres, you could
be capturing a landscape scene one
minute and wildlife the next. To help ensure
you’re properly prepared for whatever it is you
encounter on the road, we’ve put together our
top recommended kit for travel. So regardless
of whether you’re planning to trek up mountain
peaks or slide down sand dunes, you’ll have all
the essentials you’ll ever need at hand. If space
allows, it might be a good idea to bring spares Recommended: Apple
of some of the key items, such as memory cards MacBook Air
and lenses. Travelling can yield photographs Price: £949/$1,090
you’ll cherish for a lifetime so it’s so important Website: www.apple.com
to know what to pack and these must-have will
ensure your trip is unforgettable. Although it will invariably take up a large amount of
space and weight when travelling, it can be a useful
accessory in your photography kit. A lightweight

“Ensure you’re properly prepared laptop can be used as a simple hard drive for storing
your photos, a tool for quick editing, or as a way to
share your images as you travel. The MacBook Air

for whatever you encounter” sports the most slim-line chassis on the market so it’s
the ideal travel companion for keeping the load light.

20
 THE ULTIMATE TRAVEL GUIDE

Camera Wide-Angle Lens Telephoto Lens

Recommended: Recommended: Nikon Nikkor Recommended: Sigma 70-200mm
Nikon D5600 16-35mm f4 G AF-S ED VR f2.8 EX DG OS HSM
Price: £579/$744 Price: £880/$1160 Price: £1539.99/$2470.00
Website: www.nikon.com Website: www.nikon.com Website: www.sigma-imaging-uk.com

The compact Nikon D5600 is an ideal travel Travel photographers require lightweight and A good quality telephoto zoom lens is an ideal
companion. The 24.2MP APS-C sensor, EXPEED 4 versatile kit. A wide-angle zoom lens like investment, as it’ll enable you to shoot a variety
processor and 39-point phase-detection autofocus Nikon’s 16-35mm, is ideal for capturing vast of different subjects without having to change
system deliver good performance. Image quality landscapes and more general wide-angle lenses. The Sigma 70-200mm lens is a fantastic
is very pleasing, with punchy scenes. It’s compatible with both FX and DX example, offering the ability to shoot professional
colour, impressive dynamic format DSLRs and comes with in-built image portraits all the way up to wildlife thanks to its
range stabilisation technology for sharp shots. far-reaching focal lengths.
and good
retention of
detail. Nikon’s
SnapBridge
lets you sync
photos to your
smart device
as you shoot.

Camera bag Tripod Filter

Recommended: Recommended: Recommended: Tiffen 77mm
Lowepro Flipside Sport GorillaPod SLR zoom Variable ND filter
Price: £150/$135 Price: £39.95/$49.95 Price: £239.95/$129.95
Website: www.lowepro.com Website: joby.com/gorillapod Website: www.tiffen.com

Investing in a good quality camera bag is The Joby GorillaPod is a great, lightweight To avoid missing out on getting great landscape
important, as it’ll keep alternative to your standard tripod. What it shots at midday or in challenging conditions, invest
your equipment dry, doesn’t offer in height, it in an ND filter. Tiffen’s variable neutral density
safe and accessible on makes up for in flexibility. filter is a fantastic, versatile tool that provides two
a shoot. A supportive Its ingenious design to eight stops of light control. It’s really as simple
backpack design is means that you can as rotating the filter to adjust its strength.
best for carrying bend its legs to wrap
heavy kit and the around trees, benches,
Flipside Sport from railings and much
Lowepro is an ideal more. It’s capable of
buy. It’s also weather supporting a DSLR
protected and has a and zoom lens up
compartmentalised to 3kg in weight
interior with too so it’s highly
side access. versatile.

Speedlight Memory Card Hard drive

Recommended: Canon Recommended: Recommended: WD My Passport
Speedlite 600 EX-RT Transcend SDXC 128GB Essential SE USB 3.0
Price: £680/$630 Price: £65/$80 Price: £130/$160
Website: www.canon.co.uk Website: transcend-info.com Website: www.wdc.com
Your heavy studio Built to keep up with professional photographers, If you’re expecting to
lighting may have the Transcend SDXC card offers a super fast be on the road for a
been left at home 90MB/s read and write rate to keep up with fast few weeks or months
but that doesn’t shooting so you don’t miss the action. The card is at a time, you’ll need
mean you can’t available from 8GB all the way up to 128GB, with to look into much
use flash to help the bigger cards being ideal for shooting high- larger and safer image
illuminate your quality video. storage options. WD
travel subjects. My Passport Essential
A flashgun like is a 1TB portable
Canon’s 600 hard drive that offers
EX-RT is a great a serious amount of
portable tool space that’s ideal for
that will ensure backing up all your
you get the right important travel shots.
exposure results It also frees up space
while on the go. on your memory card.

21
ESSENTIALS

PROTECTION AND FILTERS

Keep your kit weatherproof with protective gear
Filters and filter FOCUS ON FILTERS
Use filters creatively on the

accessories
end of your lens to produce
atmospheric results

Hoya 72mm SHMC Pro-1D

WB PL-Circ
Price: £156 Web: www.hoyafilter.com
This circular polarising
filter enhances colour
and contrast without
affecting the overall
colour balance of the
shot. Colours become
more saturated and blue clouds and sky
appear particularly sharp. The filter also
allows you to remove unwanted reflections
from lakes and other water sources.

Cokin – Gradual
Grey G2 - ND8
Price: £23 Web: www.cokin.co.uk
Cokin systems are well
trusted and offer
affordable options. You’ll
need a camera-specific
adapter to fit the square
filters to your lens. The
ND8 is a good standard to keep handy on
landscape shoots, graduating from grey to
clear allowing you to restore balance
between the main subject and the
foreground or background.

Tiffen Digital HT
72mm UV Haze Filter
Price: £109 Web: www.tiffen.com
Available for wide-
angle lenses, this UV
filter reduces blue
tones in your images
by absorbing UV light
before it hits your lens.
A good general-purpose filter, it can be left
on your camera at all times and doubles in
function as it protects your lens from dust,
scratches and other damage.

Cokin Warming and Cooling

Filters
Price: £17 each Web: www.cokin.co.uk
While manipulation in
Photoshop is easy,
having these basic colour
filters to hand will not be a
waste. Either add rich
warming tones to an
autumnal landscape or highlight the icy
blue of a winter scene. If you’re using the
Cokin system already, these inexpensive
options are easy to add.
THE GRAD
Graduated filters let you to
control exposure by darkening portions
of your shot

22
 THE ULTIMATE TRAVEL GUIDE

IN THE WILD
Safeguard your gear out on location so
you needn’t worry about missing a shot Landscape bags
There’s a bag to suit ever budget and need. Here
are some of the best on the market

Tamrac
Hoodoo 20
Price: £130
Web: www.tamrac.com
The Hoodoo series of
backpacks from Tamrac
have been designed
with adventure in mind,
enabling you to take your
camera wherever you want to go. The Hoodoo 20 is
conveniently three bags in one – a protective camera
backpack, a removable camera shoulder bag and a
stylish daypack.

Protection
Wildlife Watching All-in-One Camera
and Lens Cover
Price: from £31 Web: www.warehouseexpress.com
This range offers more than just a
bit of camouflage, it’s great to
protect from dust in windy
conditions or sea spray if you’re
shooting a coastal scene. The draw
cord lets you choose how snug you
need your equipment wrapped up.
Spudz 6x6” Microfibre lens cloth
Price: £5.99 Web: www.spudz.com
Nothing ruins a shot like an
uninvited spec of dust. We love
Spudz micro fibre cloths as they
cancel out the need for putting
harsh chemicals on your lens and
gives lasting results with a simple
wipe. It’s easy to attach to your bag and it’ll get you into
the habit of giving your precious equipment a wipe.
Lowepro Pro
Trekker 600AW
Price: £250
Web: www.lowepro.com
Available in three sizes, the Pro
Trekker assumes you’ll be facing
the most gruelling of conditions
and offers a host of neat options
to oblige any need you might have while you’re there.
The ten-point harness system lightens the load and the
clever design aims to fit your body perfectly.
Tamrac Aero 70
Photo/Laptop Bag
Price: £90
Web: www.tamrac.co.uk
This sleek and lightweight
backpack makes a good option
for shorter trips where one or two
lenses and your personal items
will be enough. The internal padding protects the kit
and the straps and design keep the weight of your gear
evenly distributed across your body.

Rubber Lens Hood Think Tank Photo Crumpler Full

Price: £7.95 Web: www.jessops.com
Lens hoods are not just to minimise
glare and lens flares, they’re a great
way to protect your lens surface
too, especially in harsh weather
conditions. While generic brands
do the job, such as this rubber
version available in various sizes from Jessops, various
camera manufacturers also make their own versions.
Hydrophobia Rain Cover
Price: from £88 Web: www.thinktankphoto.com
With a rain-cover on your
equipment list, a downpour no
longer has to ruin the fun. Think
Tank has created a hard-wearing
rain jacket to keep your
professional model high and dry.
You won’t even need to take it off to change batteries.
Photo Backpack
Price: £140
Web: www.crumpler.eu
Crumpler’s usual fare is more city-
slick than landscape-savvy but
this bag offers great protection
and well-thought-out space to
house your camera and all the accessories you could
possibly need. Best for short adventures it’s quirky,
stylish and comfortable to carry.

Kata Owl-272 DL
GPS gadgets NIGHT SHOTS
The landscape pro requires
specialist kit and clothing for a
D-Light Backpack
Price: £190
If you missed the night under the stars Web: www.katabags.com
map-reading This pack offers a lot of space
session at boy without adding too much bulk
to your load. It easily takes a pro
scouts, you’re in luck DSLR model with lens and an
with the range of GPS gadgets aimed additional six lenses on top of that. With compartments
at photographers. While most and extra space wherever you look it’s easy to get
smartphones can keep you going the everything you need into the backpack.
right way, in low-signal areas an
alternative should be sought out.
Companies such as Pentax offer a
Lowepro DZ200
GPS unit that can be mounted to dryzone backpack
your hotshoe that not only track your Price: £431
location and distance to the place Web: www.lowepro.com
you’re headed but also Geotag your Essentially a dry suit for your
gear, this heavy-duty soft-sided
images while you shoot. If you’re into
bag is fully waterproof and the
night-time photography you can also manufacturers claim it floats
use the unit to track and shoot stars even when full of your kit. If you’re headed into extreme
in the night sky. conditions then make sure you have this on your back.

23
ESSENTIALS

CLOTHING AND
SAFETY GEAR
It’s not just your gear that needs keeping safe,
pack kit for yourself so you don’t get caught out
K
eep personal safety high on the agenda when planning a you’re going and having maps or a GPS unit to guide you on your
photography day, especially if you’re heading into a remote way. Always let others know if you’re heading out on a shoot,
location where help, or access to a warm dry spot, is not an especially if you’re going alone and be sure to give them a rough
option. Taking the right clothing and protection to fit your location idea you’re location.
will ensure that you get the most enjoyment from your shooting
and you won’t be distracted by your cold chilly bones or sore
feet. Being warm and dry will allow you to focus on taking the
pictures that you came for. Always be practical and think about the
possibilities – even a warm sunny day can turn in an instant. It’s a “Take the right clothing
good idea to put a plastic shopping bag in your coat pocket in case
you need to cover your camera quickly in a sudden downpour. If
you’re walking far or going over uneven terrain, keeping a first aid
to get the most from
kit with your gear is always a wise decision, as is knowing where
your shooting”
MONO GOING THE
MAGIC EXTRA MILE
Don’t write off the dull Landscape pros are known for
days – they can prove to be pushing themselves to get the shot –
perfect for moody monos ensure you and your kit are insured

PROTECTION
If you splash the cash
on pricey kit, ensure it’s safe

Safety is something you should never scrimp on

Garmin eTrex 10
Price: £110 Web: www.garmin.com
A GPS unit is essential if you’re
heading out into the open, especially
if you’re going it alone. This Garmin
model offers a long battery life and
not only tells you where you are, it
also lets you plan your route to avoid
long strolls in the wrong direction.
Think Tank R U HOT?
Belt Pouch Price: £20
Web: www.thinktankphoto.com
Water is one of the most important
things you can remember to take on
an outdoor shoot. This belt pouch by
ThinkTank holds a large water bottle,
and it has side pockets so you can
keep energy bars handy too.
Lifeventure 1L
Vacuum Flask Price: £19
Web: www.lifeventure.co.uk
Available in four sizes from a 300ml to
a one-litre flask, the clever design keeps
drinks cool for 24 hours and hot for eight
hours. The screw-in stoppers prevent
leaking so you can safely place the flask
in your kit bag.

24
 THE ULTIMATE TRAVEL GUIDE

Clothing, accessories
and comfort items
Manfrotto Pro Wind Jacket
Price: £220 Web: www.manfrotto.co.uk
This all-weather jackets folds neatly
and compactly which means you can
keep it in your bag as a ‘just in case’
option without it adding too much
weight to your load. It’s waterproof
and wind resistant and comes in sizes
from Small right through to XXL.

The North Face Women’s Helicity

Down Jacket
Price: £250 Web: thenorthface.com
A hefty but feminine jacket, the Helicity
Down jacket will keep you warm in
freezing conditions and blocks wind
while still being breathable. Designed
for winter sports, it’s adjustable so it will
fit you snugly and give you freedom of
movement while carrying your
equipment and while taking your photographs.

Therm-a-Rest Chair Kit Lite

Price: £28 Web: www.cascadedesigns.com
If stopping to appreciate the view is
part of your landscape day out,
consider taking this ultra-
lightweight chair with you. Fast
and easy to set up, it can be placed
wherever you are.

Hunter Original Adjustable

Price: £85 Web: www.hunter-boot.com
A pair of well-loved Hunters will see you
through muddy, wet and soggy
landscapes. Match these with a pair of
thick socks and they’ll protect your feet
(and legs) from the mud and let you stray
off the path to get the shot you want.

Nikon 1917 Cap

Price: £8 Web: www.nikon.com
Protect your face from the sun’s
rays with this stylish low-profile
brown cap with Nikon’s year of
establishment on the front. A
cap is useful to keep focused in
bright conditions.

Manfrotto Pro PH Unisex

Price: £95 Web: www.manfrotto.co.uk
Keep your digits snug while shooting
in the open with these waterproof
Pro Photo gloves. They keep your
hands insulated and you’re still able
to control your camera without
having to take them off.

British Mountain St John Ambulance Toasti Toes Footwarmers

Maps Series Price: £15
Web: www.harveymaps.co.uk
If you’re not one to rely on fancy gadgets,
get an old-school map. Harvey Maps is
a great site to browse the dozens of UK
locations you could possibly photograph.
Each map is printed on plastic, making it
100% waterproof and light to carry.
Outdoor First Aid Kit
Price: £15
Web: www.stjohnsupplies.co.uk
Especially for use outdoors this kit
has all you need for any scrapes and
bruises you might collect along the
way. As the adage dictates, if you
take it, you won’t need it.
Price: £2 each
Web: www.heatmaxuk.com
Don’t let your little piggies catch a
chill while you shoot. These air-
activated toe warmers are designed
to keep your feet warm on the move.
The adhesive backing will keep them
fitted inside your shoe.

25
ESSENTIALS

TRAVEL CASES
Safely and securely transport your kit all over the world
I
f you need to transport a load of expensive
photographic gear to the other side of the world in
one bulk load, you’ll need to know it’s going to be
protected on any type of public transport. You want
to know your beloved and expensive camera gear is
stashed into a waterproof, dustproof case that will
withstand the hazardous and unrelenting conditions.
There are a variety available to suit every budget so to
keep the traveller’s peace of mind in tact, here are our
top recommendations for the jet-setting photographer.

“You want to know that your beloved and

expensive camera gear is stashed into a
waterproof, dustproof case”
Peli 1510 Case
Case size depends on how much kit you have

Peli Storm im2200 Boblebee Double decker Cargo

Hard cases feature a soft inner lining A soft shell case has thick foam dividers that protect your kit

Alternative hard-wearing travel options

Alzo Digital wheeled storage travel case ThinkTank Photo Logistics Manager
Price: $144/£93 Price: $499/£320
Web: www.alzodigital.com Web: www.thinktankphoto.com
Transporting heavy photographic equipment around is made The ThinkTank Photo Logistics Manager is a plain and
a lot easier with the Alzo Digital wheeled storage travel case. inconspicuous-looking travel case that has
This case measures 32 x 16 x 13 inches and comes with two been designed to transport lots of photographic gear
moulded side handles and one side strap. A covering foam to your location. A seam-sealed rain cover is also
cushion rests over the top to stop your gear bashing against included and a TSA combination lock secures the
the lid. main compartment.

26
 THE ULTIMATE TRAVEL GUIDE

Peli 1510 Case

Price: $300/£200
Web: www.peliproducts.co.uk
Keeping your gear protected against the
elements is vital. The Peli 1510 Case does
just this. The model comes in a tan, black or
yellow finish, and the handy internal Velcro
compartments can be moved around. The
Peli 1510 also features an easy-release,
extendable handle and rugged wheels so it
can be wheeled along for transportation.
Boblbee Double Decker
Cargo DD 130L Studio
Price: $448/£380
Web: www.boblbee.com
The Boblbee Double Decker case has been
crafted for photographers taking lots of kit
over vast distances. The stylish design of the
silver outer case teamed with the bright lime
green dividers makes this a trendy-looking
case that stands out from the crowd. If you
don’t require the internal studio panel then
the model retails cheaper. The Boblebee
Double Decker can be purchased in 40L,
90L and 130L sizes.

Peli Storm iM2200

Price: $159/£143
Web: www.pelistormdirect.co.uk
Peli Storm cases are designed for
extreme weather conditions and are
waterproof and dustproof so the
photographer has peace of mind when on
the road. The iM2200 model featured
here is a medium size and is available with
padded dividers to ensure your camera
gear is well protected.

Lowepro Pro Roller X200 PCi Deluxe Camera Divider

Price: $450/£450
Web: www.lowepro.com/prorollerx
The Lowepro X200 is part of the
Pro Roller x-Series. This series of
cases has been designed with the
travelling photographer in mind. As
the name suggests, the wheels on the
bottom make it easy to pull along and
airport-friendly.
Price: $347/£225
Web: portercase.com
The PCi Deluxe Camera Divider case can
be taken on a plane as hand luggage and
has the option to be secured if needed
with the TSA combination draw lock. You
can be sure your gear is safe as the case
comes with padded adjustable dividers to
custom fit the interior.

27
ESSENTIALS
Getting started

28
28THE TRAVEL PHOTOGRAPHY BOOK
 ESSENTIAL TRAVEL TECHNIQUES
Essential Techniques

Start taking travel shots like an expert with advice

from these pro photographers

© Getty

THE TRAVEL PHOTOGRAPHY BOOK

29
29
ESSENTIALS

FISHERMAN AND CATCH, EXPERT ADVICE

JAMBIANI, ZANZIBAR
A simple, uncluttered scene keeps the
focus firmly on the subject, while by
placing him off-centre, David Taylor has
kept the composition interesting
Shot details: Canon EOS 5D at 50mm
and f5.6, 1/320sec, ISO 250
© David Taylor
David Taylor
David Taylor is an award-
winning landscape and
travel photographer.
Based in Northumberland,
Taylor travels all over the
world in search of stunning
images. He’s visited a
diverse range of
destinations, from the tropical beauty of Zanzibar
to the challenging climate of the Arctic Circle in
winter – and loves every minute of each
photographic journey.
“Before becoming a full-time photographer, I
worked as a graphic artist for a variety of
computer game companies,” Taylor explains.
“When I first took up photography as a hobby, it
was an interesting change to working on a
computer all day. Now with the advent of digital
photography, I spend just as much time working
on a computer as I ever did!”
Taylor’s work is widely used by the
Northumberland National Park Authority for its
publicity and marketing materials. His

H
photographs have also appeared in a range of
ow many of us have dreamed of having the jet-set lifestyle of a travel photographer? If you
magazines and publications, as well as being
love travelling and photography, it makes sense to combine them and after all, who wouldn’t used for publicity materials by local councils and
rather gaze across azure seas, bright skies and white sandy beaches than be holed up in a stuffy tourism organisations.
office somewhere? For more information about David Taylor and
If you’re tempted by the prospect of exploring the world, camera in hand, while getting paid for it, to see more examples of his outstanding work,
chances are you have a long road ahead of you. Professionals who’ve made it in this field have fought visit www.davidtaylorphotography.co.uk.
off stiff competition to get where they are today, but – if you’ve got what it takes – being a
1 Keep it friendly
professional travel photographer can prove to be very rewarding indeed. When approaching people, whether at home or
In this article we talk to some professional travel photographers, gaining insight into what’s abroad, be friendly and open.
required to turn a tourist with a camera into a fully fledged travel photographer, with shots that sell.
2 Know when to back down
Don’t be upset by a refusal – just move on and try
someone else.
with David Taylor 3 Learn the lingo
Learn a few basic words in the language of the
David Taylor is an award-winning travel Although you may be tempted to err on the country you’re travelling to. Please and thank you
photographer, having attained both first and side of caution and photograph people from a go a long way!
second place in the Social Category of the 2007 distance with the telephoto lens that you
Environment Photographer of the Year normally reserve for furrier or feathered prey, 4 Understand the culture
Competition, for his photos shot in and around Taylor encourages budding travel photographers Basic research into local customs is useful.
the busy market square of Djemma El Fna in the to get closer, adding: “I use a Canon 5D DSLR.
5 Fill the frame
heart of Marrakech in Morocco. My favourite lens is a 50mm 1.4 prime. Because Get in as close as possible to the subject!
Although Taylor enjoys photographing every it’s a comparatively short focal length, it forces
aspect of the countries he visits, he has a me to get in ‘close and personal’ with the
particular penchant for creating stunning subject.”
portraits of the people that inhabit them. The Shooting digitally also offers some unexpected
culture and social structure of a place is an advantages, as Taylor points out: “The biggest
integral part of that particular society, so it advantage with shooting digitally is the ability to
makes sense to include the people that live in show the subject his or her image on the LCD
that location as part of your photographic screen after creating the photo. It’s very
documentation. gratifying to see a person’s positive reaction to a
Photographing people – at home and abroad – shot.” You do have to be selective about when to
is not for the faint-hearted. In light of the ever- reveal your DSLR’s capabilities however, as
increasing stigma surrounding photographers Taylor warns: “On several occasions I’ve been
that take their cameras out in public places, we mobbed by groups of children all wanting their
seem to have reached a situation where we’re picture taken so that they can see themselves on
made to feel guilty for taking photos, even if the screen. It took a long time to get away, as Website: www.davidtaylorphotography.co.uk
we’re not doing anything wrong. Taylor proves they were all persistent.” Email: david@davidtaylorphotography.co.uk
that as long as you’re courteous and respect your When planning a trip abroad, preparation is
potential subject’s wishes, you have nothing to key, as Taylor reiterates: “Having a checklist is
worry about. crucial. I have a checklist that is gradually >>
“If you’ve got what it takes, being a professional travel
photographer can prove to be very rewarding indeed”
30
 ESSENTIAL TRAVEL TECHNIQUES

PARASOL MAN, STONE

TOWN, ZANZIBAR
The close crop helps to remove
unwanted distractions from the
surrounding environment and allows
the umbrella to frame to the subject
Shot details: Canon EOS 5D at
50mm and f11, 1/60sec, ISO 400
© David Taylor

31
ESSENTIALS

CHEEKY CHILD, STONE
TOWN, ZANZIBAR
David Taylor’s keen eye and skilled composition
combine to produce a unique and memorable
shot of a child in the town
Shot details: Canon EOS 5D at 50mm and f11,
1/60sec, ISO 250
CHILDREN OF MATEMTWE,
ZANZIBAR The lack of ground
reference adds a sense of freedom
and captures this boy’s carefree
nature beautifully
Shot details: Canon EOS 5D at 50mm and f11,
1/80sec, ISO 200
getting more refined the more I travel. It’s not a
good idea to forget to take something as simple
as a battery charger, and a checklist helps me
avoid this occurring. In terms of research, guides
like the Lonely Planet series are invaluable to
discover potential problems that may occur, and
how to avoid them.”
With the number of cheap-flight deals on the
rise, choosing a location for a photographic
holiday can be tough. Everyone has their
favourite destinations, and for Taylor, Egypt has
proved to be his most inspiring location so far:
“Cairo is a mesmerising city. Walking around
the busy market streets of the Khan al-Khalili is
a real assault on the senses, but incredibly
exciting and photogenic too.”
To help you decide where’s best to go in order
to create fresh, exciting and saleable shots,
Taylor advises: “Visiting a place that is on the
cusp of being the next ‘hot’ location is a shrewd
move, as there will probably be fewer images of
that place in the photography marketplace. It’s
working out where the next ‘hot’ location is that
is the tricky part!”
Once you’re there, the secret to creating
beautiful portraits, rather than quick snapshots,
is control. Candid shots can look great, but a
character portrait can tell you so much more
about the subject if you take the time to ask their
permission, help them to relax and exercise
some care over setting up your shot. Taylor
continues: “A smile goes a long way in
conveying friendly intent. If someone obviously
doesn’t want his or her photograph taken, I
wouldn’t persist. It also wouldn’t be fair to then
try and capture a candid shot when that person
wasn’t watching. I always like to get a person’s
permission before creating a portrait, even if it’s
just a simple smile of acceptance. It’s only when
shooting crowds that I wouldn’t try, and
probably couldn’t, get everyone to agree to the
shot being taken.”

32

© David Taylor
It’s best to try and work quickly, to avoid
detaining your subject from their activities for
too long, but if they’re willing to give you a bit
more of their time, you can afford to experiment.
“I prefer using open shade for portraiture,”
Taylor advises. “People squinting into the sun
don’t look that attractive! Working in open shade
is useful to keep contrast under control, too. I
prefer spontaneity, and using reflectors or
diffusers can get in the way of that goal. That
said, they are useful tools if the situation isn’t
too frenetic and there’s time to use them well. If
the subject is willing to spend time with you, try
to bracket the exposure if possible.”
He continues: “I have a real aversion to
flashlight. Unless it’s used well, it can make a
portrait look flat and dull. Whenever possible I
try to use natural light and use a wide-aperture
if necessary. I shoot RAW exclusively, which
allows me to correct the colour balance of my
images back at home. However, I’ve found that
© David Taylor
“Weed out any weak images and
send the strongest portfolio you can”
even using auto white balance isn’t a guarantee
of perfect results and I find that I always need to
refine the colour of my RAW files before they’re
print-ready. If there’s time, shooting an image of
neutral-grey card as a reference is very useful.”
Composition is a highly subjective matter, but
when it comes to portraiture, the general
consensus is that closer is better: “I like simple
compositions when shooting portraits,” Taylor
explains. “Getting in close to a subject (without
scaring them!) makes a portrait more immediate
and powerful.” Filters have their place in travel
photography, but – as far as Taylor is concerned
– they can prove to be a hindrance when
creating photographic portraits in the field:
“When photographing people, I wouldn’t use any
filtration on the camera. Keeping the
photography as simple as possible increases the
chances of being ready for those moments when
something special happens and that perfect
photograph is created.”
ESSENTIAL TRAVEL TECHNIQUES
As we’ve mentioned, achieving success in this
field of photography can prove highly
challenging. As a well-respected professional,
Taylor is able to offer this advice: “Being honest
about your own work is crucial. There is a lot of
competition from other photographers, and a
potential buyer will only consider images that
compare to the very best. Before submitting
photos to a stock photography library or
magazine, weed out all the weak images and
only send the strongest portfolio you can. It’s the
only way to get noticed.”
Finally, for those who aren’t the sort to back
down from a challenge, Taylor issues a warning:
“Travel can be addictive! There are so many
people in the world willing to share their time
with you and let you have a small insight into
their life that it’s almost impossible to get bored
by travel.”
There’s a wide world out there, so grab your
camera and explore!
33
ESSENTIALS
© Gavin Gough
It’s often said that once you’ve been bitten by the
travel bug, you’re left with an itch that’s impossible
not to scratch. Freelance travel photographer Gavin
Gough was bitten in the course of a round-the-
world trip during a year out from his previous
job as a Systems Analyst, and he certainly hasn’t
looked back since.
“Returning to the UK from that trip, I started to
see whether any of my images were marketable,”
Gough explains. “Encouraged by the response, I
started to learn as much as I could about the stock
photography industry. Joining the Stock Artists’
Alliance was invaluable in this respect, and people
like Bob Croxford and Pete Dean were great
resources who happily shared their knowledge.”
You may think that such photographic expertise
must take years of rigorous formal training
to achieve, but Gough, with the exception of
a couple of evening classes, is self-taught. He
states: “If you’re not able to study full-time, then I
recommend taking an evening or part-time class
to learn the technical side of photography. Having
said that, there are so many great books and
websites available now, if you’re dedicated you can
teach yourself quite a lot.”
There’s a lot to be said for preparation, but –
as Gough has learned through experience – it’s
sometimes better to ‘go with the flow’: “I think
it’s important to do some research on the place
you’re visiting before you leave home, although
I’m becoming increasingly relaxed about this. As
long as I know the main locations that I want to
34
with Gavin Gough
photograph, then I’ll sometimes leave it at that
and take advantage of local guides when I arrive.
Local people are invariably the best source of
information and a quick conversation with the
man selling newspapers on the street corner can
reveal hidden gems that the guidebooks might
not mention. Talking with local people often
produces good photo opportunities too, so I do that
whenever I can. I’ve lost count of the number of
Tuk-tuk and Rickshaw drivers who have offered
to show me their local temple or to take me to a
location where they think I’ll get good pictures,
and they’ve never let me down yet.
“With regards to equipment, I’ll check and
double-check my gear before packing it up. Spare
batteries and plenty of spare memory cards are a
must of course, but I’ll give everything a thorough
clean, format the cards and make sure all the
batteries are charged up.”
When asked about the most inspiring location
he’s visited so far, Gough responds wryly: “It
sounds like a glib answer, but every location is
inspiring in its own way. Every place has different
architecture, shops and markets that will be
unlike anywhere else and people who you’ll
never meet anywhere else. Having said that, it’s
“Every place has architecture and
shops unlike anywhere else”
difficult to take an uninteresting photograph
anywhere in India, and I’m never happier than
when I’m boarding a flight bound for Kathmandu
airport. Nepal was my first love and I’ve yet to go
anywhere more stimulating – photographically,
mentally and spiritually.”
Once you’ve arrived at your destination and
you’re out with your camera, there’s often a lot to
take in: different sights, sounds and smells, not
to mention a plethora of potential subjects just
about everywhere you look. It’s easy to become
a little ‘snap-happy’, but Gough reminds us that
it’s important to slow down and think before you
shoot. First, there’s the lighting to consider.
It’s a key component of any photograph, so
it’s worth taking a moment to analyse the scene
beforehand, as Gough states: “I can’t say that there
are definite rules to follow as such, but I’ll look
for lighting that’s sympathetic to the scene. With
this in mind, I will probably avoid anything that’s
especially harsh or which has too much contrast,
but if the scene is interesting then I’ll work with
whatever light is available. I’ll be conscious of
exposure problems in harsh lighting conditions
and know that I might have to choose between
exposing for the highlights or the shadows.” >>
 ESSENTIAL TRAVEL TECHNIQUES
A VIEW OF THE MANHATTAN SKYLINE
FROM THE EMPIRE STATE BUILDING
OBSERVATION DECK AT SUNSET: Cityscapes aren’t
always easy to do well. By using a wide-angle lens and waiting for the
right time of day, Gough has captured New York looking its best
Shot details: Canon EOS 1Ds Mark II with Canon 16-35mm lens at
16mm and f11, 0.4sec, ISO 1600

SILHOUETTE OF A CAMEL TRADER

AND HIS CAMEL AT SUNSET AT THE
PUSHKAR CAMEL FAIR IN INDIA
Never underestimate the power of silhouette – it
just takes a little know-how and an eye for a clean
composition to emulate yourself
Shot details: Canon EOS 1Ds Mark II with Canon
24-70mm lens at 70mm and f2.8, 1/6400sec, ISO 100

© Gavin Gough
35
ESSENTIALS

EXPERT ADVICE
Gavin Gough
Gavin Gough is a
professional freelance
travel photographer who
has the pleasure of working
on assignments all over
the world.
When asked about his
motivation for taking
photos, Gough states: “I’m intrigued with the
world. But then, who isn’t? Perhaps photography
is really only my solution to a nagging need I have
to record what is otherwise so fleeting and
temporary. The Buddhist approach to the world is
that we should appreciate that everything is
transient and accepting that fact will help us
become more content. I guess I’m simply trying to
capture something of the things that I see before
they’re swept away into history, leaving an
impression only in our memory. What happens
when memory fades? It’s just a desire to keep hold
of things that I like.”
Gough currently shoots stock images for Getty
Images, Lonely Planet and Trevellion, as well as
hosting tours and workshops. When he’s not out in
the field, he writes articles about photography and
travel for newspapers and magazines.
© Gavin Gough
1 Photographers should consider
themselves like musicians
If you wanted to play an instrument in front of an ROUND PITS FILLED WITH COLOURFUL DYE ARE USED TO COLOUR
audience, then you’d practise and practise and
practise. It’s not enough to just take out your
ANIMAL SKINS AT THE TANNERIES IN FES, MOROCCO
Colour, pattern and texture are all wonderful tools for creating unique shots
camera once a month – you should be taking Shot details: Canon EOS 1Ds Mark II with Canon 70-200mm at 153mm and f8, 1/320sec, ISO 100
photos every day, setting yourself themed
challenges, and think about learning to use your
camera as the equivalent of a musician practising He continues: “I like to keep things simple. I “I carry a 580EXII flash with an omni-bounce
scales every day. don’t tend to ‘set up’ shots and I suppose my style diffuser to soften the light, but it’s mostly used to
tends towards showing locations exactly as I find fill shadows. I’ll sometimes use it off-camera with
2 Define your photography them, so employing lots of lighting paraphernalia a wireless controller to fill in shadow areas inside
My friend David duChemin (www.pixelatedimage.
com) prompted this suggestion – define what you would interfere with that approach. I think using buildings, and with people I’ll try to bounce the
want to do with your photography in one sentence, diffusers and reflectors would certainly help on light off nearby walls and ceilings.”
then base all your future decisions on it. Only buy occasion, but then you might start wanting to Once you’ve got the lighting sorted,
kit, only travel to places and only do work that carry additional lighting rigs and you’d need an Gough encourages photographers to consider
takes you closer to achieving that goal. assistant to help set it all up, and you’re quickly their composition carefully: “I would study
3 Study other photographers’ work moving towards a more cumbersome setup.” compositional guides like the rule of thirds, the
voraciously Although we often hear advice to do with golden triangle and the golden spiral, and use
Look closely to see what makes an image work avoiding taking photographs at certain times of those as a starting place for your compositions. But
and seek to understand how you can emulate it. day, or under particular lighting conditions, Gough they really are only guides, and useful in so much
Tewfic El-Sawy runs a great blog (http:// takes a slightly more liberal approach, stating: “I as they can give you a place to start from – they’re
thetravelphotographer.blogspot.com) where don’t think you should be avoiding any lighting certainly not ‘rules’. Composition is not something
he regularly features travel and documentary
photographers. It’s a terrific resource for you conditions. There’s a commonly held belief that that can be taught; it’s got to be a reflection of your
to use. it’s a waste of time shooting in the middle of personal interpretation of a scene. I think the best
the day, but why waste that valuable time? You advice is that you vary your approach to a scene.
4 Come on one of my workshops simply need to adapt your shooting style and be Shoot it straight on and then reposition yourself;
Sign up for my newsletter at www.gavingough. conscious of what the light is doing. Shoot indoors crouch down, stand on a chair, go in close, stick a
com/newsletter and you’ll get priority booking. or in covered markets perhaps: seek out the parts wide-angle lens on, keep varying the composition
of your location that aren’t adversely affected by until you start seeing something that works for
5 Have fun with your images
Shoot what you love. Love what you shoot. the high contrast. The light at dawn and dusk are you. It’s impossible to define ‘good’ composition,
obviously the best and if you’re not shooting at but – like the film censors say about pornography –
these times then you’re certainly missing the best ‘I know it when I see it’.”
light of the day, but there’s no need to pack up after Filters are lightweight accessories that – if you
breakfast – just be aware of what the light is like use them in your photography – take up very
and adapt. Similarly, why stop shooting when the little place in your kit bag. When buying filters,
light has faded completely? Night shots can give a Gough advocates going for the best you can
completely different feel to a place and provide the afford: “I always carry a polarising filter and a
opportunity to shoot some long exposures. There’s selection of Lee ND Grad filters. The polariser is
no bad light, just different light.” used very rarely, but the ND grads get used a lot
A flash gun is a handy accessory to have in your for controlling the skies in landscape work. It’s
kit bag, wherever you are in the world. Although definitely worth investing in decent filters because
Website: www.gavingough.com this form of artificial lighting often suffers a bit of if you’re going to stick additional glass in front of
Email: mail@gavingough.com bad press, with a bit of know-how it can be one of your expensive optics, you don’t want to ruin it by
your most versatile assets, as Gough illustrates: using the cheap stuff. You’ll get colour-casts and

36

© Getty
nasty effects.” Gough’s extensive experience has
taught him that a friendly attitude can go a long
way. He makes an effort to immerse himself in
each country’s culture, speaking to local people
wherever possible.
“Mostly, people respond well to a smile and
a friendly gesture and as well as being able to
take some photos [of them] – talking with the
local people is all part of the travel experience,
so why not make the most of it? People are often
as interested in me and my ‘stupidly big camera’
as I am in them, so it’s just a question of give
and take. People will often ask for a copy of the
photo [I’ve taken of them] and I’ve got dozens of
addresses from people I’ve photographed. It’s no
hassle sending a 6 x 4” [print] when I get home
and it will make it so much easier for the next
traveller to arrive in that destination. I don’t pay for
photographs and suggest that it’s something to be
avoided. Always remember that someone else will
come along after you and if you’ve upset or been
insensitive, then the next photographer is going
to have a tough job.” Gough’s proficiency with a
camera is the result of a natural inquisitiveness
about the world, along with plenty of practise.
To help enthusiasts with a passion for travel
photography get started, Gough has this advice:
“I’ve found that joining professional or trade
organisations has been very beneficial. The
Bureau of Freelance Photographers publishes a
yearbook and a regular newsletter containing a
list of photos that people are looking for. The Stock
Artists’ Alliance is a great source of information
for budding stock photographers and has a healthy
online forum. The Association of Photographers is
the best UK group for established photographers
and has a wealth of valuable resources. Other than
that, I think that you have to be conscious that
there’s a big difference between shooting material
for yourself and shooting for commercial purposes,
and it is worth taking time to understand and
appreciate exactly what the differences are.”
ESSENTIAL TRAVEL TECHNIQUES
Strive to capture the colour and
energy of your subjects and
their surroundings
He continues: “It’s very competitive and I know
only a small handful of professional photographers
who make their living from travel photography,
so I’d suggest that anyone trying to break into
the market carefully consider exactly what it is
that they’re trying to break into. I think it pays to
research the market thoroughly, look at the photo
library websites and study the magazines and
advertising brochures.
“It might also be beneficial to consider
specialising in a specific location. If that’s close to
home, then so much the better, as you’ll be able
to make regular trips. With so much competition
around in travel photography, if you can get
yourself known for specialising in a particular
location then people
will come to you when they need images from
that place. You might even want to make it your
home county to start with. Everywhere is a travel
destination to somebody, so don’t discount what’s
outside your door.”
37
ESSENTIALS

EXPERT ADVICE
OIA-SANTORINI
The contrasting tones of the
Rick Sammon orange light against the blue
are extremely striking. The
Professional photographer Rick almost mono-tone image is
Sammon clearly enjoys travel simple yet complex at the
photography, among many same time
other genres, having published
28 books on various
photographic subjects,
including Face To Face, Idea To
Image, Rick Sammon’s Travel
And Nature Photography, Rick Sammon’s Complete
Guide To Digital Photography 2.0, Rick Sammon’s
Digital Imaging Workshops and Flying Flowers – The
Beauty Of The Butterfly. In addition, he gives more than
a dozen photography workshops (including private
workshops) and presentations around the world each
year. In addition, he presents at the Photoshop World
conference, which he says is a “blast”.
Sammon is also the author of the Canon Digital
Rebel XT lessons on the Canon Digital Learning Centre,
and is also a Canon Explorer of Light. When asked
about his photo speciality, Sammon responds, “My
speciality is not specialising.”
Here, Sammon shares a few quick tips to help you
get the most out of your trip and go home with better
photos than ever.

Research your destination thoroughly

I research a site completely on the web, so I know
what gear to bring and what meds I might need to
take with me.

Make the light work for you

I never leave home without a reflector/diffuser kit and
a flash with a diffuser. Controlling the light is the key to
a good portrait.

Know the best time of day to shoot

Avoid harsh sunlight around noon, but that doesn’t
mean you can’t shoot at those hours. Control the light
with accessories, or move a subject into the shade for
a better shot.

When capturing wildlife, preparation

really is key
Be patient! Pray for good luck! Know the subject and
bring the longest lens you have, and a tripod.

Consider your composition carefully

Keep this adage in mind: Dead Centre is Deadly.
Position the subject off-centre for a more
interesting composition.

Experiment with filters, but make sure you

keep your kit bag light
I only carry a polarising filter, to reduce glare on water
and foliage.

Ask permission to photograph people and

always try to put them at ease
I get them to like me by doing magic tricks before I
start photographing.

When you are trying to make money from

your photos, persevere
Show your work everywhere you can, even in a local
coffee shop. You never know who is watching. Never
give up!

Change your perspective

Tell the whole story of a location with wide-angle and
telephoto shots.

Diversify your talents when trying to

‘make it’ in the professional world
Combine writing with photography. That makes an
editor’s job easier!

Website: www.ricksammon.com

38
ESSENTIAL TRAVEL TECHNIQUES

The vibrant colours in this shot of Dubrovnik make

the image standout. The slighty unconventional angle
of the beautiul location really shows off the inviting
Adriatic sea

St. Mark’s San Marco square with San Giorgio

Maggiore church during an amazing sunrise

© All images Getty

39
TECHNIQUES
Shoot and explore the outdoors 42 Adventure in the great outdoors 88
Cityscapes skill guide 52 Extreme weather 94
Photographing landmarks 60 Shooting on safari 100
Shoot stunning seascapes 70 Shooting underwater 104
Faces of the World 76 Go pro with travel photography 110
TECHNIQUES

ALOFT THE QUIRIANG 1

Mountain weather is always unpredictable, but the
sheer power that’s felt when great conditions and
strong shapes coincide is overwhelming. This scene,
an hour after dawn, was the result of low cloud and
fog clearing across the mountains. The sun was
hidden at first, but then broke through the grey
clouds to light up the scene and give great shape
textures to the landscape
Shot details: Canon EOS-1Ds Mark III, with Contax
35-70mm lens at 40mm and f11, 1/5 sec, ISO 100
© David Clapp

42
 SHOOT AND EXPLORE THE GREAT OUTDOORS

SHOOT AND
EXPLORE THE
GREAT OUTDOORS
Expert advice and tips on how to get more from
your outdoor shoots while travelling the world

43
TECHNIQUES

© David Clapp

“It’s fun, it’s free, and above all it’s healthy – outdoor
photography is uplifting to both body and mind”
I
s there any way to introduce the wonder of capturing in the right place at the right time and let nature roll the
the great outdoors? It’s surely the reason you’re reading dice. It’s fun, it’s free, and above all it’s healthy – no wonder FORESTS
this article, and possibly the very foundation of all your outdoor photography is uplifting and beneficial to both body AND
outdoor endeavours. With a world so inexplicably beautiful and mind. WOODLAND –
and our time here so very short, we revel in documenting It can also be utterly spectacular. The true beauties of the IVINGHOE
our journey or defining ourselves creatively. Massive or world can be unveiled to those prepared to seek them out. WOODS, BUCKS
intimate, the sheer heights to which we can soar and depths From a winter sunrise to a majestic dawn breaking over a This simple forest scene in
we can explore with a camera ignites a spark within us all. mountain range, witnessing superb conditions becomes very early morning light relies
on side lighting, which
More often than not, we sit self-absorbed, gazing from the addictive indeed. illuminates the fresh spring
office window, dreaming of escape and planning compelling Once experienced, the mind will reel, conjuring all manner greens. Spring and autumn
adventures – and rightly so. For many, photography is hardly of perfect scenarios while calling us to greater endeavour, all are key times of year for
shooting woodlands, which
an excuse to embrace the world, but the very reason. from the busy commuter train window. The weather and its can create wonderful
So why exactly are we so captivated with shooting the unpredictable nature is the key to this excitement. Never the shooting opportunities. The
outdoors? Firstly, unlike many other forms of photography, it same twice, the true brilliance behind every stunning image diversity of subject matter,
doesn’t involve a great deal of extra special equipment. No is entirely out of our hands. Often raging and wild, subtle or devoid of vistas, makes
them ideal to shoot in
studio, no models and no lighting required… well, not of the still, learning to understand what and where to shoot hinges almost any weather
electrical kind anyway. Outdoor photography feels far simpler on these conditions. If you haven’t already realised it, outdoor Shot details: Canon
than the complexities of other genres. All that’s required is a photography is about understanding the many facets of the EOS-1Ds Mark III, with
35-70mm lens at f11,
bag with a camera, a few lenses, a tripod, a map, a spring in world around us. The experience is also great fun to share. 1/10sec ISO 100
your step and a mind buzzing with possibility. Put yourself Visit a buzzing camera club full of motivated members and

44

LIGHTHOUSE,
ST MARY’S
This is a shot of St Mary’s
Lighthouse at sunrise. It’s
situated in Whitely Bay,
Northumberland, England,
and is an ideal spot to
make the most of rocky
foregrounds and choppy
waters, using the lighthouse
as your main point of focus.
Don’t forget your wellies!
Shot details: Canon EOS
5D with 24-105mm lens
at 35mm and f22, 1.3sec,
ISO 50
© David Clapp
it’s difficult not to become inspired. Learning from others is
the way we improve ourselves, but for many the enjoyment
doesn’t have to be backed up by a community meeting at
all. The online community is all that some need to learn and
enjoy each others’ work. With millions of photographers
sharing imagery from all over the world, it is easier to feel
connected and appreciated than ever before.
The wonders of light and learning to see
Without turning this article into a ponderous philosophy
exercise, it is very important to discuss how we see the
world around us and how the quality of light affects shooting
outdoors. It’s fair to say that the majority of us will have
seen an incredible sunset or similarly spectacular conditions,
usually when we least expect it. Good lighting shapes
our world into a better place and can turn the mundane
into something far more appealing, hence the phrase and
metaphor ‘to be seen in a better light’.
Good light shapes the environment around us by adding
dimension to the subject matter. It’s usual for photographers
to talk about the ‘golden hours’, and this not only refers to the
colour of light, but good periods of shooting. The intensity
is lower, the angle is far more flattering and this makes for
far more complimentary imagery. It’s not just about these
SHOOT AND EXPLORE THE GREAT OUTDOORS
EXPERT ADVICE
Lee Pengelly
Web: www.silverscenephoto.co.uk
Email: Leepengelly@aol.com
Lee is a professional photographer based in Devon. His main
subjects include landscape, travel, architecture and food
photography. His work is used by editorial, advertising,
commercial and private clients in books, magazines, on cards
and calendars and in guidebooks and maps. He also supplies
images to five picture agencies while maintaining his own
image library too. Lee set up Silverscene Photography
Workshops in 2003 and now runs photography workshops
throughout the UK and also tutors overseas workshops for
Tatra Photography.
Although he covers many commercial subjects, Lee’s
passion is in the landscape and he’s happiest when in the field:
“I have a passion for the landscape and it’s the subject that got
me to pick up the camera, I will always love it and always return
to it. I love to be out in the great outdoors in all weathers,
capturing the changing light. Living in Plymouth means I am
fortunate to be close to the stunning scenery of Dartmoor and
the south coast of Devon. I love shooting at dawn and dusk
when the light is at its best, and just being there soaking up the
atmosphere is very special for me – the resulting pictures are
my record of those moments.”
1 Get up early, stay out late
There is no doubting the fact that the best light is at dawn and
dusk, getting there in good time will result in better images.
2 Don’t pack up too soon
Once the sun has set don’t pack up, hang on and keep shooting.
The light can completely change at this time – normally you will
get around a half an hour of afterglow to shoot in.
3 Have a plan
Planning helps to bag the shot – maps, tide tables, recce shoots
and forward thinking will all get you in the right place at the right
time rather than faffing around when the light is good.
4 Slow down
Be more considered and get the image right in camera – once
you have it there is no need to shoot a hundred of the same.
5 Tilt
With wide-angle lenses, try tilting the camera down as this will
make the foreground subject ’loom’, creating that ’walk in’ effect.
windows of opportunity, as good conditions can strike at
any time. Think about the sun bursting through heavy rain
clouds, rainbows, light beams, or the magic of an underlit,
foreboding sky. These qualities can be just the ticket to a
great image and they could happen at any time of day.
Did that last paragraph conjure a spectacular scene in your
mind’s eye? Now apply it to somewhere you know – that’s
fashionably called previsualising. It’s a wondrous thing
and it is the seed of photographic inspiration. Dreaming of
spectacular conditions is the driving force of the craziness.
All that walking around in the dark, the shivering on windy
hilltops and braving the seas at the coast waiting for the
light… it all grows from these dreams and the belief that
something truly epic will happen.
When starting out, remember it takes time to see a
good photograph. The biggest problems are subject matter,
composition, and what lens to shoot it with. It is very easy
to become fascinated by something that doesn’t necessarily
make an obvious photograph, but there’s nothing wrong
with this whatsoever as it shows integrity and determination.
The allure of a strange-looking tree, intricate movement, or
a weird coastal feature may never yield a great shot, but it’s
the ability to not only identify an image but to learn when to
abandon it that leads to strong artistic identity. >>
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TECHNIQUES

Seasons
As the weather changes throughout the year, temperatures,
conditions and light can vary greatly. Depending on
where you are travelling to, the seasons may affect your
Dull day ideas
environment more, but as we progress through the years it Endless dull days are the outdoor
photographer’s hell, so change to a different
seems that the planet is getting more extreme weather. The
subject matter and keep your spirits up,
seasons provide themes of colour and change that can be especially if you are out on a photo trip.
used to great advantage, so get out and about at all times of
year to increase your knowledge. Waterfalls and rivers – Hard shadows do
little to help these images, so if the clouds
For example, the burst of spring usually happens at the diffuse the strong sunlight then head inland
start of May in the UK. The build up is slow and gradual, but and look for a photogenic location.
it then accelerates rapidly into a riot of green. This change is
also seen on the coastline, peppering the cliffs in an array of Plants – Light overcast days can be put to
great effect by turning your back on the vistas
beautiful, colourful flowers. and looking at a more intimate countryside.
Summer is generally a less productive time. The days Learning how to shoot these subjects will
are very long, and as the temperatures climb, so the greens keep your spirits up when on a photo trip.
darken and lose their vibrancy, but there is still a huge
Coastal details – Look for strange sand
abundance of flowers that bloom throughout the summer patterns, weird rocks and coastal life and
months, which can also be featured in the landscape. Don’t get involved with a more intimate landscape.
forget agricultural opportunities like harvest time, where The coast is filled with possibilities if you look
swathes of golden wheat provide simple and subtle imagery. for them.
Autumn’s in effect around October, and there’s a variety of Try super-long exposures – Dull days can
photographic opportunities on offer. As the leaves turn, head actually be some photographers’ dream
for woodlands, rivers and mountains – but let’s not forget conditions. Using the 10-stop neutral density
parks and hedgerows, which can be beautiful in their own filter creates a fantastic fine art feel to
right. Also, dropping temperatures mean a greater frequency seascapes in particular.
of mist and fog, both of which can be captured with dramatic
effect. HEADING UNDERGROUND
Try heading underground when the
But for those seeking truly spectacular imagery, winter weather is poor. These reflections will never
has its own magic that simply can’t be beaten. The sun’s be perfect as water is dripping off the ceiling,
angles are much lower and more flattering, which means but with a longer exposure the effect is
increased considerably. It’s thinking like this
it’s beneficial to shoot imagery all day. Dawn is at a far more that can save the day
sociable time and after an early dusk there is still the entire Shot details: Canon EOS-1Ds Mark III,
evening to get things done. For landscape photographers in with 17-40mm lens at 50mm and f11,
30sec, ISO 400
particular, the winter months contain the most convenient
shoots. The coast is often wilder, the skies more dramatic and
the air clearer, meaning further visibility and clarity.
Look into the area you are travelling to and check to see
what the weather will be like at the time of your visit.

Landscape photography
Wherever you are, it’s likely that there will be some inspiring
landscapes close by. Although powerful imagery is often far
from urban and even rural locations, landscape photography
doesn’t have to be about wild, untouched places – it can be
far more varied than this, comfortably crossing over into the
human world. It’s not always about the grand vistas, either.
It can be far smaller and more localised. Never assume
that everything beautiful is far away. Learning to explore
possibilities close by is very much a part of learning your
craft as a landscape photographer.
So what to shoot? Well, that’s quite a wide question, so let’s
look at a number of possibilities to narrow things down…

Forest and woodland

Forests and woodland are a world of compositional madness,
even for professional photographers, so don’t be surprised
if you can’t see the wood for the trees at first glance. There
are two types of forest to visit: man-made pine forests and
natural ancient woodlands. Both can be extremely beneficial
for different reasons, but both can be messy with tree trunks,
bushes and fallen branches breaking the spell. >>
SEASONAL CHANGE
Exploring tree types can give all manner of possibilities
throughout the seasons. This relatively simple landscape opportunity
was taken on the roadside near the entrance to a house. The large beech
tree seems to stand rather alone among conifers out of the frame to the
left. A quick diversion on the way to shoot vistas to see if the leaves had
turned – it gave a far stronger shot than expected
Shot details: Canon EOS 5D, with 17-40mm lens at 32mm and f8,
1/15sec, ISO 100

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 SHOOT AND EXPLORE THE GREAT OUTDOORS

Weather websites

By looking at a variety of weather websites it is possible to build

up a far clearer picture of the following few days. As the weather
can change so drastically, it’s best not to put too much faith in the
forecasts. Mountain regions push the travelling air upwards and
build cloud unpredictably, so don’t be surprised if the weather
patterns are always unsettled.
The same also goes for the edges of the coastline. Westerly
points like Land’s End in the UK often have slightly different
weather than the forecast predicts, yet a few miles inland the
prediction is accurate.
Finally, just because it’s cloudy on land doesn’t necessarily
mean it is cloudy over the sea. This can mean all manner of
spectacular lighting conditions at sunrise and sunset. In the end,
some good advice is ‘Just go!’, as the most unlikely of situations
could actually turn in your favour.

Top weather websites

Met Office/Ivent
www.metoffice.gov.uk/public/pws/invent/weathermap
Although the small predictions maps can be rather lacking, check
out the new Ivent page as this gives a great range of symbols,
© David Clapp cloud data and satellite imagery.
BBC Weather
news.bbc.co.uk/weather
© David Clapp The BBC makes its own predictions based on the same data as
the Met Office, so it is possible that results could contradict.
MyWeather2
www.myweather2.com
Although it has initially modest-looking symbol-based results,
MyWeather2 has good and accurate mist forecast, so it’s worth
checking specifically for this alone. Dig deeper and you can find
exceptionally good precipitation, cloud, wind and isobar maps of
Europe that show the weather within the last few days, so it’s
possible to see weather fronts and much more moving across
from the Atlantic.
Netweather
www.netweather.tv
Netweather is a competent weather website with an array of
free and subscription-based data. The results can yet again be
contradictory, but one worthy addition is the Michael Fish weekly
forecast, a TV-based netcast of the week’s weather.
Magic Seaweed
magicseaweed.com
The best wind and swell websites are of course surf reports, but
one in particular is very useful to the coastal photographer. Magic
Seaweed is a brilliant website as it gives long-term wind and swell
height predictions that are great for watching approaching
storms coming in from the Atlantic. As the data is based on buoys
positioned out to sea, it is possible to get consistent results over a
week in advance.

COUNTRYSIDE SCENES
Something as simple as a riverbank and a cow drinking water can
be enough to sum up the countryside. Taken on a sunny afternoon with a
polariser to enhance the greens and control reflections, a country
walk turned into a great opportunity. Although it is normal to crave
great lighting and epic conditions, don’t forget about the smell of the
summer air and the tranquillity of summer, as they are just as important
to capture
Shot details: Canon EOS-1Ds Mark III, with 24-105mm lens at 35mm
© David Clapp and f8, 1/125sec, ISO 400

47
TECHNIQUES

Planning your
landscape shoot

When piecing together a landscape shoot, always start with

looking at the sunrise and sunset times. This will give you some
idea of when the best conditions are likely to happen, usually up
to an hour and a half after sunrise/before sunset. There is a lot of
information on weather websites, but if you’ve got an Android or
iPhone, there are plenty of free apps you can use to keep you
aware of this.
Next, use software like The Photographers Ephemeris (TPE),
a free desktop application to work out the sun angles, which will
vary throughout the time of year. Using Google Maps, TPE
enables you to see where the sun will be in relation to certain
geographical features, so you can position yourself virtually at a
given point and assess the sun angles.
Build up a good idea of the weather over the next 24 hours and
ensure you are ready to react accordingly. Remember this list of
essentials before heading out:

Car checklist
• All camera gear
• All wet weather gear and appropriate footwear
• Wellies – you just never know when you need them, so leave
them in the car
• Maps and any relevant computer printouts
• Charged phone
• Food and bottle of drink (it’s funny how often we forget these
simple things!)

Get there well in time

You must have read the stories in photo magazines about turning
up too late for a brilliant sunrise, so be prepared. Think how long it
will take to get there and add another half an hour. No one said
landscape photography was easy, especially at dawn!

It is important to be prepared for every eventuality when on

location and shooting outdoors

IT’S ALL ABOUT PERSEVERANCE

This image was taken in a dull day in light rain. The situation was
born of slight desperation, as grey cloud made it rather impossible
to shoot vistas. With hours to waste, stones were placed in different
positions, using a polariser to see through the water and cut reflection
on the stones themselves
Shot details: Canon EOS 5D, with 17-40mm lens at 17mm and f22,
6sec, ISO 100

48
 SHOOT AND EXPLORE THE GREAT OUTDOORS
“There are ridges, edges, valleys, rivers
© David Clapp
and historical sites scattered all over moors”
Pine forests are always planted with some kind of
uniformity, so this symmetrical arrangement of trees can
create interesting compositions. Ancient woodlands provide
opportunities at all times of year, with beeches and oaks
being present in most forests. It’s a good idea to look for
individual trees and to study them carefully for shapes
and form, because a good woodland photograph can be an
interesting section of a tree rather than the entire tree itself.
Let’s not forget the wild flowers and fungus that grow
in woodlands at different times of year. Many bluebell
woodlands are man-made forests that provide shade
underneath which they grow, so don’t feel like a fraud –
explore them!
Moorland
Wide-open spaces can yield all manner of evocative imagery,
and they can be good places to try out photographing large
vistas in particular. Moorlands like The Peak District or
Dartmoor in the UK give a wide variety of possibilities,
because there is so much diversity for those prepared to look.
The classic moorland mistake is believing good compositions
will crash into the car. You have to get out and walk.
Granite outcrops make iconic imagery as they are usually
found at the tops of hills, so they provide a variety of different
viewpoints and angles all nearby. The same location can
be visited at dawn and dusk, giving completely different
imagery just by turning around. There are ridges, edges,
valleys, rivers and historical sites scattered all over moors
from times gone by. This makes them very good for powerful
black-and-white, HDR and other stylised and toned images.
The abundance of plant life make them ecological gold mines
too, as moorland flora always seems a few weeks behind the
rest of the landscape.
National parks
There are 15 national parks throughout the entire UK,
stretching from Scotland all the way to South West England,
and all provide some of the most breathtaking scenery the
country has to offer. America has 58 national parks for you to
explore, while Australia has a massive 516! Throughout the
world, national parks provide iconic and intimate landscape
opportunities, so it is no wonder that they are popular with
all outdoor photographers.
Although it is easy to assume national parks are
mountainous like the Lake District or the Cairngorms,
there are more undulating and softer landscapes like The
South Downs, and they can be massively varied throughout
the world. They provide some of the most stunning scenery
for you to photograph, so it’s really worth checking out what
© David Clapp
national parks are close by to you when you are travelling.
Learn to follow the months closely and pick a week to get
yourself utterly absorbed in the landscape.
Castles, ruins and Neolithic sites
Using a man-made structure in a landscape photograph
is a great way of adding a different context to an image.
Although landscape purists would rather omit any trace
of mankind in their imagery, there are castles, ruins and
Neolithic sites that provide an exciting feature and a much-
needed focal point.
One of the strongest features to use is a castle. Although
most intact castles are privately owned properties, they
can be shot from a distance with great effect. There are
castles to be explored and photographed around the world,
but the UK has an abundance of old relics for you to shoot.
Wales has a number of castles like Caernarfon and Conwy
to name but two, but let us not forget towers, folleys and
other structures. Glastonbury Tor hosts arguably the most
iconic tower of them all, which can be seen for miles across
the Somerset Levels. Broadway Tower in the Cotswolds
is another superb structure, but you should look for more
elaborate monuments too.
Ruins of castles and other decaying properties also make
great photographic subjects. Icons like Corfe Castle in Dorset
wrapped in cloak of swirling mist makes for some of the
most compelling imagery the UK has to offer. Get access to
the inside of a ruin and there is even more to shoot. Dark
doorways, passages, windows and courtyards give an array
of possibilities to capture in both colour and black and
white, all of which have little to do with the countryside
environment within which they are found.
Stone circles, standing stones, cairns and menhirs are
found throughout the UK, with a large abundance found on
moorlands in particular. Again these make strong subjects,
so look to Wales, The South West and Scotland in particular.
Viewpoints
One of the easiest ways to feel inspired is to climb to the top
of a viewpoint. Nothing beats the overwhelming feeling of
filling your soul with wonder, gazing for hours across the
countryside and listening to the quiet sounds of rural life.
The possibilities they give to the landscape photographer
are only restricted by lens type. Capture the entire scene or
just a small fraction of it, so when you start to look harder
more possibilities unfold. Shooting with longer focal lengths
has a telescopic effect so distances become compressed.
If you are lucky enough to have an east-facing viewpoint,
look out for dawn mist and fog. This can turn the everyday
rural landscape into something spectacular.
Mountains and lakes
Mountains are probably the most prolific landscape subject,
but they’re also tough and complicated to photograph. Just
like moorlands and other high-altitude locations, they
seem to have their own weather systems, which can be
CAERNARFON CASTLE, SNOWDONIA,
NORTH WALES
Taken at dawn on Christmas Day, this epic building is an example of
just how effective a structure can be used in an outdoor context. It
doesn’t always have to be about remote and hard-to-reach locations –
things can be found close to civilisation. Using low light and pre-dawn
purples, the combination of natural and artificial lighting balances the
image very well
Shot details: Canon EOS-1Ds Mark III, Contax 35-70 at f3.4, f11, 30sec,
ISO 400
49
TECHNIQUES

unpredictable. There are many clichés in the mountain

photography portfolio, but this is because of the problems
associated with getting good imagery in the first place.
To pull something unique from an over-photographed
viewpoint, exceptional lighting or weather is needed.
Marching off into the unknown in search of something new
demands photographic confidence, research, integrity and
dedication. Naively, when browsing a coffee table glossy, this
level of effort often goes unseen.
It’s not all about high-altitude photography, as mountains
often have lakes that can provide wonderful opportunities
too. Places like the Lake District and Snowdonia in the UK
have some breathtaking views that are easily accessible, with
some shots almost from the road. Reflect the scene in a still
corrie lake as stunning as Blea Tarn and the moment will
be memorable. But all things can be ruined by the turn of the
wind. Large expanses of water are susceptible to air currents,
which begin to stir not long after dawn. Reflections can be
lost in a matter of minutes after sunrise. Good reflections are
far rarer at sunset, so shoot lakes at dawn and increase your
chances of some superb abstracts.

Rivers and waterfalls

For the landscape photographer, waterfalls and rivers are
great subjects, as movement and water flow can be used
artistically. Although waterfalls make wonderful focal points
when shot from the river bank, rivers alone are just as
compelling.
Water is an ideal subject when learning about shutter
speed. Rivers are often found in valleys, gorges and forests,
where the light levels are greatly reduced. This means you
must use longer exposure times, which can have a flattering
and ‘painterly’ effect on how water movement is rendered.
There are many wonderful waterfalls and rivers
throughout the world, from large to small, so look into the
area you are in and seek out these photogenic beauties.

Seascapes
Do you crave to stand on the coast and shoot crashing waves
pounding the cliffs, or the rich colours of twilight over the make exceptional imagery, which is why this type of image TREACHEROUS
Atlantic Ocean? Then seascapes are for you. The headlands, is so popular with audiences. COAST –
the seastacks, the glistening wet rocks, the dunes and the TREVOSE HEAD,
sand patterns all make wonderful subjects to improve your Cliff tops CORNWALL
Heading to the coast in
expanding portfolio. Viewpoints from cliff tops, looking down into bays and coves extreme weather can bring
The great thing about coastal photography is that you don’t are as much a part of a good seascape as the more dynamic out dramatic imagery. Add a
necessarily need to rely on the seasons to make it work. shoreline work. Positioning the camera to incorporate a man-made element and the
Other than the burst of flowers on the cliff tops in May, it is sweeping coastline takes full advantage of contradictory image not only has a focal
point but also a powerful
only the light angles that change throughout the year, unlike textures, tones and colours. context. The shutter speed
the complexity of the landscape that is driven by plant life. There is plenty of drama to be found from the tops of cliffs, freezes the thrashing
This means the coast can be a highly productive place to yet in spring when coastal flowers blossom, there is calm intensity of the waves and
renders a desperate scenario,
shoot all year round. Whip up some winter storms and and tranquillity too. Flowers like thrift, sea campion, three- far more so than a longer
the drama can increase tenfold, turning bad weather into cornered leeks, birdsfoot trefoil and even bluebells can be and more painterly
wonderful shooting opportunities, while the land stays found in abundance throughout May in the UK, for example, shutter speed
looking relatively bland. with orchids and other diverse plant life on offer too around Shot details: Canon EOS 5D,
with 28-75mm at 32mm and
this same time. f4, 1/200sec, ISO 400
The water’s edge Make sure you take full advantage of sea stacks, which
The most striking and dynamic seascapes will be found make strong focal points in images, as well as headlands.
near the water’s edge. Imagine a receding wave pulling the Look for strong shapes and form, as well as rock arches and
eye into the scene – the rocks glistening with golden light, other beneficial features.
leading to an epic sky – and it’s not hard to see why.
Being close to the water is extremely engaging in Lighthouses, piers and coastal features ISLE OF
photography as it’s not only a combination of colour and Nothing gives a sense of man’s strength against the force of HARRIS
texture, but also about movement and timing as well. nature as well as a lighthouse image. The beauty of these Its not always about rocks
Getting a good image takes a lot of practice and patience, but wonderful structures is firstly the positioning. Often on and jagged shapes – look
for texture and accentuate
the results can be so rewarding so it’s worth sticking with precarious rock outcrops as well as the headlands, that soft this by playing with shutter
and you will soon find yourself enamoured by this type beam spinning in the evening’s failing light inspires feelings speeds. Even compositions
of shooting. of romance and treachery, as well as safety and reassurance. that seem a little sparse
Keeping the camera low and the camera angles wide Some are beautifully coloured, while others are extremely can be used to great effect
Shot details: Canon EOS-
makes the foregrounds brimming with detail. Even the robust – there is bound to be a photogenic lighthouse 1Ds Mk III, 17-40 f4L 32mm
subtle textures of golden sand can hold enough interest to somewhere near you that can be beautifully captured. at f11, 5sec ISO 100

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 SHOOT AND EXPLORE THE GREAT OUTDOORS

Coastal shoot
Although the same approach to a landscape shoot is necessary,
there are a few other considerations to bear in mind. The first is
going to be the tides, both the high and low water times as well as
the height. The high and low water times will be crucial to gauge
incoming and outgoing waves – not only photographically, but
also for your own personal safety.

Easytide
tinyurl.com/easytide
This is a very good free tide
prediction site, which gives both
number-based and graphical
displays of the tides for up to
seven days. They also account
for summer months, adding in
the daylight savings times as
well as accurate adjustment for
the changes that occur
geographically for high and low tide times.

Extras
A few extras are going to be needed for the bag and car checklist,
so add in the following rather unlikely extras:
Dustpan and brush – Yes, putting boots and camera bags
covered in sand directly into the boot of the car can be avoided
or the mess cleared up. Use the brush to remove sand from bags
as well.
Binbags – Keep a roll of binbags in the car. When leaving, put one
in your coat pocket. When shooting on the coast, nothing is worse
than getting sand all over your bag and also even worse inside. Put
your bag inside the binbag on sandy beaches and face the closed
end into the wind. You can also use them to put boots in at the end
of the day, which keeps the car cleaner.
Head torch – A great addition for all number of reasons. Make
sure it has charged batteries. Head torches are great for signalling
as well as another more creative reason – light painting.
Tell others where you’re going – Even if you are out with a
friend taking photos, it’s best to let someone know where you are
© David Clapp going. If the plan changes and you find yourself heading
somewhere more remote, then text that same person as again
your life may depend on it.

© David Clapp

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TECHNIQUES

TIME PASSES
This shot displays light trails
near Big Ben. Use manual mode,
set the exposure time to 4-10
seconds, to ensure more light
and keep a small aperture of
around f10-f14 as well as a low
ISO such as ISO 200
© Getty

C
ities provide amazing shooting opportunities for the enthusiast
photographer. The city’s range of subjects is wide: human traffic
rallying along a sale-infested high street, a rammed commuter path
first thing in the morning, city traffic in full swing during rush hour or
seemingly synchronised taxi cabs and buses weaving in and out of lanes like
a well-choreographed ballet. Whatever the chosen subject may be, the most
important aspect of city photography is the visual translation of energy and
movement, and that’s when the photography gets really interesting.
Living and working in New York City, professional photographer Navid
Baraty (www.navidbaraty.com) has made a name for himself in this pocket
of street photography. “Urban movement photography needs to have flow and
energy. Whether it’s a rush of pedestrians crossing a street, a wave of taxis
weaving in and out of traffic or a subway train racing by, the feeling and
essence of the city needs to be felt and communicated in the photograph.”
Navid has carved a handsome business for himself thanks to his unique
take on the genre, which sees the pro claim mesmerising frames of the city
in motion from hundreds of feet in the air. “I love being above a city,” he
enthuses. “Watching the pace and flow of a city from above is amazing. The
constant stream of vehicles moving by, the waves of pedestrians hurriedly
crossing with the change of traffic signals, little figures disappearing into and
emerging from subway stations underground, the chorus of honking horns
and sirens. It’s all so rhythmic and strangely soothing to watch. In this day
and age, it’s quite difficult to create something that’s entirely original and that
has never been done before. Generally speaking, everything is a reference of

52
 CITYSCAPE SKILLS GUIDE

CITYSCAPES
SKILLS
GUIDE Discover new techniques
to freeze the motion,
excitement and energy of a
city that never sleeps

a reference and because urban and city shots are so common now, I try to
find unusual or different ways to shoot them. One way is by trying a different
point of view. An unusual angle or perspective can turn an ordinary image
into something very interesting and compelling. In my aerial photos, instead
of taking a wide shot of the city showing the skyline with all of the buildings,
I chose to point my lens straight down to capture the life and flow of the city.”
Armed with a Nikon D700, four lenses (Nikkor 14-24mm f2.8, Nikkor
135mm f2, Nikkor 35mm f2, and Nikkor 50mm f1.4), an extra battery,
several CF cards, a lenspen, Ziplock bag, rubber band, shutter release and
occasionally a tripod, Navid will set about finding the perfect location. “So
much can draw me to a location. I look for a scene that has a combination of
visually compelling elements combined with a story waiting to be told. It
>>
53
TECHNIQUES
TOUCHES
OF COLOUR
Remember to look up and
around you when exploring
a city. If you don’t you’ll
definitely miss a great deal
of photo opportunities
© Getty
54
can be anything, really; an unusual character walking on the
street, a wave of taxis rushing by, an angle formed between
the shadow of a building and a person’s stride. I want to
convey an unusual feeling and perspective in the photo. I want
to capture out-of-the-ordinary moments within the ordinary.”
Navid adopts a tried-and-tested method for narrowing
down what is important in the shot and how best to convey
the action in front of him. “When I’m behind the lens I tune
out everything else in the world and focus only on what I’m
shooting. It’s almost a sort of meditation. I see regions of colour,
patterns of light, movements and angles of light and shadow. I
love the constantly changing dynamics of a city; how you can
walk the same street on a different day, or even 10 minutes
later and shoot something entirely different than before.
There’s always something new and fresh to be photographed.”
As with all genres of photography – there are no ‘rules’
when it comes to making a picture work, but there are a
handful of techniques that photographers like Navid employ
to get creatively energetic frames. “I like to take a variety of
shots using my different lenses. Sometimes I like to focus on
a subject and use my 135mm prime lens to create a shallow
depth of field and have the background blurred out. Other
times I use my 14-24mm wide-angle lens to get close to a
subject and show them in the context of their setting or to
capture the vastness of a scene. Sometimes a 35mm or 50mm
is the perfect lens to use to create just the right amount of
framing for the image. I enjoy experimenting with different
angles and trying different settings. For instance, creating
motion blur in a photo requires much trial and error. It
involves a delicate balance of the shutter speed, aperture and
ISO to effectively create the blurred motion in the image while
keeping stationary objects sharp. To capture the motion, you
want a slower shutter speed so that the moving object gets
blurred in the shot. However, because you’re using a slower
shutter speed, you have to compensate by using a smaller
aperture to allow less light to come in. Otherwise, you’ll
overexpose the shot. Also be aware not to frame the action too
tightly, or show an awkward placement of the subject, or over-
process your edits.”
Navid performs most of his editing in Adobe Lightroom
with only a slight touch of Photoshop if extra work is needed.
He starts by transferring his images from Compact Flash
cards to his Drobo storage device and then imports the files
into the editing suite. “I begin by singling out the best shots
of the bunch and then compare them with each other to
narrow down to get the best of the best. I apply any necessary
corrections to exposure, colour, contrast, sharpness, etc as
minimally as possible.” The pro advises against over-editing
 CITYSCAPE SKILLS GUIDE

“I love the constantly changing dynamics of a city;

there’s always something new to be photographed”

urban movements and instead endorses simple tweaks to INTERSECTION

transform what the viewer sees, “If you aren’t happy with the
photo in colour, try converting to black and white. Sometimes
Aerial shots of big
cities are really affective, Navid Baraty
black-and-white processing can really accentuate line or shadow
especially in places like New
York because the streets
Shares his secrets for securing a
and give the image a new feel. I personally find monochromatic follow such a grid-like successful shooting location
structure. Use a drop or
images of rainy cities to be very effective in portraying mood
and feeling. Black and white creates an almost poetic feel to an
shoot from a tall building.
Remember to ensure all 1 Get inspired Research
places like Google Earth for
finding ideal spots to shoot
colours. Scout out a night
location in the daytime and
become familiar with the
image, stripping it down to its core elements,” he advises, “If of your kit is secure before
you just can’t get the photo to feel right no matter what you do, shooting from such a height. and look at inspirational setting, and remember to
We’d reccomend taking off photos that have been posted factor in the weather.
step away and come back to it later. I don’t know how many anything loose like your lens on social network sites such as
times I’ve spent hours trying to edit a single photo, becoming
frustrated and then coming back to it the next morning and
hood for safetly
© Getty
Behance or Flickr to help stir
ideas. Much of my inspiration 3 Explore Most
importantly, explore
nearby towns and cities as
finishing it in ten minutes. Sometimes you just need fresh eyes comes from other
photographers and their work. much as you can. Grab your
and a clear mindset.” camera and open your senses.

2
One of the biggest problems amateur photographers can face Time it right Determine
with this genre of photography is the inability to snap away at the right time of day that
people and buildings with a carefree attitude. The fear of being you should go for the shot you
asked to stop can be almost crippling. “Photographing others want. Maybe you want an
image during rush hour with
in public can be intimidating for some,” Navid concurs, “Urban maximum people and traffic,
photography is about capturing candid moments of everyday life or perhaps you want twilight or
and existence. It’s a showcase of the human condition and what sunrise to capture amazing
it means to be alive in a city. Urban photography enables you to>>
Seek out and create stories,
don’t wait for them to come to
you. I make it a point to walk
down streets or alleys that I
haven’t been down before. I’m
always trying to find new and
interesting places to shoot.
Just remember – safety first!
55
TECHNIQUES

Your tell so many stories with your photographs. So my advice is

to just relax, act natural and be quick. The more you try to
explains. “The settings I opt for differ depending on the
situation, time of the day, location, velocity of the moving
photo rights hide the fact that you’re taking a photo of someone, the more
attention you’ll draw to yourself. That will just make the
thing and so on. Generally speaking though I work with: a
focal length of 105mm, a small aperture between f11 to f22,
The issue of what a roaming situation all the more awkward.” an exposure time between 1/25 and 1/60, and ISO 200. I like
photographer can and
Like Navid, fellow city enthusiast Fernando Matoso’s to vary not only the technical settings, but also the viewpoint
cannot shoot has been a hot
topic in recent years and the images (www.blurreal.com) have struck a creative chord, or perspective.”
legal wrangling in terms of displaying original scenes of the city in motion in a unique The technique of zoom bursting is perfect for generating
changing the law are still fashion, “I recognise that I have developed a ‘Blurreal’ a creative energy to infuse movement and action through
ongoing. In the UK, personal style,” Admits Fernando. “I think it has become my urban shots. Ideally enthusiasts use a camera with a manual
photographers on a public trademark. I realised that life does not always stand still, it zoom and some method of support such as a tripod or
right of way can photograph
for personal and commercial
goes on frantically, peacefully or systematically; I became GorrillaPod, but a ledge or park bench often suffices when
use as long as the shooter is aware that visual perception is limited by the human eye, one isn’t available. Metering should be set to spot and
not causing any obstruction. and that there is motion in between the still frames of life focus centralised, with a low ISO and a small aperture of
However, those wanting to that we cannot acknowledge. So I then started to see myself around f16 dialled in. Shooters zoom in as close as possible
photograph certain as an expressive part of the scene.” to the subject which will usually be framed in the centre
landmarks or buildings for The ‘Blurreal’ series of images taken by the Angola-born, of the shot. The shutter button is activated and enthusiasts
commercial use will often
need to seek permission England-residing photographer show a central figure or simultaneously unwind the lens so it is zoomed out as far
from the relevant authorities. vehicle in focus surrounded by a zoom or pan burst, which as possible. Photographers can experiment with the speed
Generally speaking, you creatively displays movement with a long exposure. at which the zoom is conducted and different effects can be
can photograph anyone in a “The technique I call Blurreal, uses slow shutter speed, achieved by tilting the camera at an angle or by rotating the
public space, providing you combined with creative zooms and induced displaces,” he lens inwards as well outwards.
do not cause alarm or
distress amounting to
©Getty
harassment, which is a
criminal offence. Former
Home Office minister Tony
McNulty has previously
commented on where the law
stands: “There is no legal
restriction on photography in
public places, and there is no
presumption of privacy for
individuals in a public place.”
There are a few grey areas
within the status quo that can
affect photographers’
conduct in public. In
particular photographers
should be aware of the law in
regards to: child protection
legislation, invasion of privacy,
harassment, trespassing,
prevention of terrorism and
national security protection.

© Thinkstock

“Look for places of contrast...

with both light and shade or
motion and tranquillity”
56
 © Thinkstock

For this unique strand of urban photography Fernando shots that incorporate a range of subjects using slow-shutter
urges enthusiasts to take time getting to know the techniques. “I love shooting on the street, be it street portrait
surroundings and to study the characteristics of the backdrop, or cityscape; candid or long exposure shot, I just want to CROSSING
in addition to spotting interesting moving subjects to focus show the city in different ways. The one thing that remains Look for patterns in
the environment that you
on. “Look for places of contrast, whether it be light and the same is my desire to have my photos look like cinematic can mix with movement
shade or places with both motion and tranquillity. I focus stills, allowing the viewer to explore the story behind each and the people around you
on people’s behaviour and the flux of crowds in contrast photo. I am lucky enough to live in Hong Kong, which
with the forces of the surrounding architecture and urban provides me with a lot of urban themes.”
landscapes. I suggest walking around the scene and look at Some may think that having a dazzling metropolis that
the structures, textures and colours, in a location with both harmoniously blends Chinese and western cultures on your
static and moving subjects, then stop in different spots so doorstep as an advantage, yet Bryan adamantly doesn’t
you can understand the flux of both transport and people. subscribe to that. “Any street will do and you can photograph PARIS
You may detest
Pay attention to the flow, its different directions, its cycles the same place over and over again as you will always get a traffic on a normal day, but
or any recurrences. I personally like to experiment with different experience every time. A great city photograph isn’t busy roads full of lights and
different perspectives, angles and a variation of slow-shutter about the location, it’s about making the viewer feel like they packed with cars can create
interesting shots
combinations with zoom bursts and long exposure pans. I have experienced the crowds, transport or rush of energy in
don’t use much equipment when doing my photography; that place.”
instead I like to walk light, carrying my Nikon D90 camera Sourcing a suitable location can seem like half the
and 18-105mm lens around my neck and a backpack challenge to getting a good shot but Bryan insists that
containing a note book, a pen, maybe a snack and some photographers should just look for somewhere where there
water to keep me going. At home I’ll perform five simple is a rush of traffic; whether it’s human or vehicular. “I
actions: crop, resize, adjust levels, convert to ICC profiles personally like shooting the street from footbridges, but
and save. People often look at my Blurreal photography and crossroads, traffic lights, zebra crossings and undergrounds LEADING LINES
Look for lines that will draw
think it is Photoshopped and actually, it has been a challenge all work well too. I’d say that the views from above lend a viewer into your image,
convincing them that there’s no post-production or any sort themselves for shooting with greater scope, which allows whether you create them
of manipulation, it’s just reality as we can’t see.” me to incorporate my three essential elements for urban with a long exposure or
Hong Kong born-and-bred photographer, Bryan Leung movement photography: people, transportation and buildings they are naturally occurring,
they will ground your image
(bryaniceman.500px.com), has gained quite a fan base for – making a crowded street with heavy human and traffic flow
his accomplished, almost cinematic-styled city-in-motion the perfect subjects.” >>
57
TECHNIQUES

58

© Thinkstock
DOWNPOUR
“I want my sense of wonder and curiosity for the Earth to show
in my work. This image was taken at the intersection of 6th Avenue and
49th Street in New York City”
Shot details: Nikon D700 with 135mm lens at 135mm and f2,
1/1000sec, ISO 1600
Opting to travel light, Bryan chooses to carry either his
Nikon D700 or Sony NEX-3 with the choice of two prime
lenses: one wide and one telephoto, he’ll also store a
selection of memory cards, backup batteries, his iPhone, a
remote shutter and a lightweight tripod. “Before I go out
taking photos, I will research some locations and plan a
route first to minimise my travel time. When I get to a good
shooting spot I always like to remind myself of two things:
safety first and respect other people. Next I will spend some
time observing the environment, and take a few test shots
from different spots and angles. Only then do I find the very
best location to set up my gear. Sometimes I may find it hard
to set up my tripod in the middle of the street or put up your
camera in front of people, but I have learnt how to overcome
this awkwardness.”
Once on the street and in a good spot, Bryan is ready for
action, “I usually start with a wide-angle lens and support
the camera with a tripod. I’ll start by capturing people
crossing the road using a slow shutter – usually around half
a second to two seconds, the motion blur effect creates a
great sense of hustle and bustle of the city.” When it comes
to photographing transportation in traffic the photographer
becomes more adventurous, taking up a post in the middle of
road. “Again using my wide-angle or fisheye lens and tripod,
I’ll press the shutter when the vehicles start to pass by me
on both sides. This is perfect for capturing car light trails at
night. I always shoot in manual mode, and set the exposure
time to over ten seconds to ensure there is enough light in
the scene, and opt for an aperture between f10 to f14 and ISO
200. My advice for fellow photographers is simple,” urges
Bryan, “Start by finding a place with lots of people, transport
and buildings. Slow down and take a few minutes to observe
the environment, not forgetting to look for places higher up
or lower down to get a unique perspective on things. Try
taking a few test photos from different angles or locations
in the same area to discover what works best. Once you are
happy, set up your camera on a tripod and dial in settings for
a long exposure. A remote release is ideal as it avoids camera
CITYSCAPE SKILLS GUIDE
Capturing light trails
Nothing sums up the buzz of a city more than light
trails and this effect is actually easier to achieve than
most people think. Look for a safe location either
above the traffic, such as on a bridge or from a
window in a tall building, or between the traffic
directions such as on an island or central reservation.
Remembering to be safe and legal at all times. Set the
camera on a tripod or support it on a stable surface
and depending on the quality of your image sensor
plant the ISO somewhere in the 100 to 400 region. If
the traffic is heavy and fast-moving, set the exposure
time for between 10 and 20 seconds, but make it
longer if the traffic is sparser. For a wobble-free frame,
start the exposure using the camera’s self-timer or
use an external shutter release. Check the LCD for
results and amend the shutter speed and ISO as
required. Coloured gels can be incorporated for
variation in hues or experiment in an editing app with
the colours of your captures at home.
©Bryan Leung
shake but you can always use the camera’s self-timer if you
don’t have one. It’s also a good idea to take a second series of
shots with different camera, with alternate settings dialled in
for a longer or shorter exposure plus you can vary the white LIGHT TRAILS
Motion and trails of
balance and other camera settings to give you a different light can add interest to even
result of the same scene. Make use of your equipment and the most mundane of night
don’t be afraid to take your camera into the crowd.” time captures
Intent on re-creating a cinematic vibe in his work, Bryan
insists on incorporating Photoshop to glam up his original
photographs. “I love imposing that movie-still quality on
my pictures. To do this I will add a layer mask to reduce the
saturation, add a layer mask of curves to adjust the contrast
and colour tones, add a layer of photo filter and finally add
black borders to finish up. In urban movements photography
it is worthwhile remembering that contrast and colour tones
play a very important role in producing strong feeling, so be
sure to be creative and experimental with curves.”
City shooting is a thrilling genre, which can stretch
you as a photographer. Skills from other genres are more
transferable than you might think – landscape photographers MOVEMENT
Show movement and
can apply their compositional skills to picking out the best add dynamism to your
viewpoints of a city, whilst portrait lovers can use their imagery in the city by
skills to pick out characters going about city life. It’s an shooting with a long exposure
exhilarating experience immersing yourself in the hub of a
busy metropolis, so get out there and capture the buzz.
59
TECHNIQUES

PHOTOGRAPHING
LANDMARKS
The pros reveal how to capture landmarks around
the world for monumental photographs

60
PHOTOGRAPHING LANDMARKS

CITY SAILS
Look at a landmark differently to make your photo
stand out from the thousands others take, and
don’t be afraid to crop in close for a visual punch.
Remember that parts of a monument or building
can be just as effective as the complete structure
© Alamy

61
TECHNIQUES
I BURJ AL ARAB
t’s not surprising that architecture is one of the most
hotly pursued sub-genres of travel photography.
One memorable shot has the power to conjure
up the smells, the sounds, and the vibe of a place
through a chemical reaction of light and composition.
The problem with capturing a unique image of the
landmarks of the world, however, is the very reason
they are photographed in the first place – they’re
famous. There is a fraught balance between an image
that’s identifiable as the subject it’s supposed to be and
one that has been seen so many times before it has
become cliché.
Pro photographer Peter West Carey (peterwestcarey.
com) says the first positive step to a successful
architecture shoot is research. “One of the tools I use
most often is called The Photographer’s Ephemeris
(www.photoephemeris.com),” he reveals. “It allows me
to look at a location I have never visited with Google
Maps and an overlay showing the direction of sunrise,
sunset, moonrise and moonset. This tool really helps
me to visualise the location before I get there and to
plan accordingly.” Peter also trawls through Flickr
uploads and Google Earth for images of the location
in order to familiarise himself with the foreign locale.
Travel books, online sites such as TripAdvisor, and even
62
© Thinkstock
social networking sites can arm you with important
information about what time of year to plan your trip IN DUBAI, UAE
This image features the famous Burj al Arab,
and where the most interesting places are to visit. “I viewed from a nearby hotel resort. This offers
use Twitter, Facebook, Google+ and my blog to ask for a unique perspective and puts the monument
input,” he adds. “I have found my audience thankfully in context with its surroundings, contrasting
traditional design with extremely modern
diverse in location and interests and I often receive
advice from unknown or unlikely sources, and that’s
the beauty of using those resources.”
Getting a feel for the culture and customs of a place
is crucial so as to avoid causing offence while you are
there, and prior research will give you some knowledge
of what to expect. Bear in mind that it is also worth
wandering off the beaten path that guide books have
mapped out for you and your fellow tourists in order to
discover hidden sides to a city. “I ask locals, as much as
I can in their language, about the ‘other’ sites to see,”
says Peter. “Finding the Taj Mahal is no large effort but
asking one of the caretakers where to find a good place
to eat or a nearby market to photograph is key. Simply
asking, ‘What do people do for fun around here when
they aren’t working?’ is an easy way to opening out
possibilities in a foreign land.” Subjects such as the Taj
Mahal are so photogenic that there is a ‘classic’ view
that most people conjure up in their mind’s eye; the
marble mausoleum standing at the end of the reflective

CASE STUDY
Eiffel Tower
France
If you wish to climb the Eiffel Tower and avoid
long waiting times, make sure you’re the first in
line when the gates open in the morning or
arrive in the early evening. Avoid weekends and
summer periods if possible for fewer tourists,
but remember that including people in a shot
can give a sense of scale to the building. The
best place to capture a full-view image of the
Tower is the Place du Trocadéro across the
Seine River. You should be able to see the Eiffel
Tower from most of the city as it stands at over
1,000-feet high. You could even photograph its
reflection in a puddle or through the lens of
someone’s sunglasses, which can make for
artful, creative shots.
© Alamy
Top tips
Silhouette
A silhouette image complements the wrought-iron
structure. If the sun is behind the Tower, your camera will
expose for the lightest part of the image (the background).
Zoom in
Zoom in close for an image of the Eiffel Tower that won’t
be instantly recognisable by the viewer.
Avoid cliché
Take photos of the Tower from the actual Tower for a
different perspective.
Sense of scale
Convey the sheer size of this landmark by including some
tourists in the frame..
Black-and-white
Experiment with converting your colour images to black
and white for a classic, timeless look.
PHOTOGRAPHING LANDMARKS
blue pool and the walkways that would serve as the
ideal leading lines in any composition. “If I’ve done
research, I know where most people take their photos,
again, the Taj Mahal being a prime example,” he adds.
“I usually take those shots as well, then I let curiosity
and intuition take over. I look to place other objects in
the scene and force perspective to change the normal
view.” To capture a unique image in this instance, he
used a fish-eye lens to bend reality in its characteristic,
bubble-like manner.
Sometimes, the typical view is what is needed to
fulfil the client’s wishes, as Peter points out, “How I
compose a shot depends on where the image will end
up and what I want to highlight. The Eiffel Tower? Get
one wide shot but then get some details close up. Get
under it and look from various locations. Back off again
and maybe get passers-by in the picture to show how
it fits in with the landscape. I have seen hundreds of
shots of the Treasury at Petra, but what is opposite it
are lots of vendors most of us don’t want to see while
fantasising about the timelessness of the architecture.
I would shoot both because you likely won’t have a
chance to return if an editor decides they want a long
shot instead of the classic shot.” Shoot from every
angle and try using a telephoto lens to isolate parts of
a structure that catch your eye, such as a gargoyle or a
patterned window pane. Old architecture in particular
is riddled with textures that are visually arresting when
photographed up close. Every photographer will have
their own personal taste, and Peter’s preference is for
sites that are saturated with history. “I really enjoyed
Morocco for architecture,” he says. “It has such a mix
from centuries of people moving through the area. The
three major religions in the area (Islam, Christianity
and Judaism) each have put their stamp on the country,
with some ancient Roman ruins thrown in here and
there. If someone is looking for variety, Morocco is
certainly an option outside of classic European choices.”
However, architectural images needn’t stop at the
door if it’s a public building with no photography
restrictions. Indoor shots present more of a challenge
but impressive structures such as cathedrals are just as
extraordinary on the inside, too. There is less available
light so a wide aperture and a slow shutter speed will
be required, as flash photography is usually prohibited.
Find something to rest the camera on to reduce camera
shake and bracket your shots with different exposures, >>
TAJ MAHAL, INDIA
The archway frames this vibrant
shot of a widely photographed
landmark beautifully
©Getty
63
TECHNIQUES

especially if there are bright windows or doorways

in the frame. “Light will be an enemy at times,” says
Peter, “if the sun is out contrast will be a killer as all
the windows will likely get blown out while metering
for the interior. There are two choices here: one is to
let it be. I took an interior shot of the Agra Fort Queen’s
Quarters in India and the left is blown out because the
light is not the focal point, the ceiling details are. The
second option is to use High Dynamic Range (HDR)
techniques to expose for the highlights and for the
shadow, then combine them artfully in the computer.”
It is this contrast of light and dark that Peter looks out
for when composing a shot, “I love contrast,” he says,
“whether it is actual photographic contrast by moving a
slider in Lightroom or if there are heavy dark and light
areas in a scene. I also love contrast of ideas or ideals. I
took an odd picture in some Inca ruins in Peru of a spot
where the local staff hid full garbage bags. It didn’t fit
in with the pristine nature they were trying to convey
with the restoration work and to me it makes for a good
laugh in slideshows. Showing what people expect and
then mixing it up by finding something unique.”
Like most pros, Peter chooses to shoot RAW
files and then carry out post-production work in
Adobe Lightroom or Photoshop, but, as most travel
photographers will agree, it’s best not to alter the reality
of an image too drastically. “I typically don’t remove
much unless it is a big distraction, such as the birds
in my Taj Mahal photograph,” says Peter. “I prefer to
do as little editing work as I can because I’d rather be
out shooting. I add in contrast and will richen colours,
as RAW files can come out bland.” Perspective is
also something that he will use Photoshop to correct;
a problem that all architecture photographers face
without the use of a tilt-shift lens. “The cost of such
a lens is prohibitive for many,” he adds. “Therefore,
Photoshop or GIMP photo-editing software can go a
long way to correct perspective. It also means I need
to shoot a shot wider than I plan to allow for cropping
while editing.” Perspective distortion occurs when a
camera has been pointed up at a building in order to
fit the entire structure in the frame. This causes the
top of the building to appear as if it is receding into
the distance, which can be used to creative effect
when the photographer wants to generate an imposing
feeling. However, if you are trying to capture a more
accurate, literal interpretation of a place, simply retreat
to a distance that will enable you to shoot the building
straight on without tilting your lens at all and a
telephoto lens will help to bring the building closer.
As well as a change of lens, there are a few essential
items that a serious enthusiast should invest in.
Photographer Grant Sheehan (grantsheehan.com)
brought his kit bag for us to have a rummage through.
“As well as the usual equipment most photographers
take on assignment,” he says, pulling out a spare
body (he shoots with a Nikon D300), a laptop and a
wallet full of memory cards, “I always take a tripod
for night shots, a ten-stop ND filter for long exposures,

SPRING SUNSET, NORWAY

The landscape surrounding Reine, Lofoten islands in Norway
makes the perfect subject for dramatic © Thinkstock
landscape photography

64
 PHOTOGRAPHING LANDMARKS

LUTHERAN CATHEDRAL IN
HELSINKI, FINLAND
Lighting is vital when it comes to outdoor
architectural photography and the sun in
this image has cast interesting shadows that
highlight the shape of the building. The lamppost
adds foreground interest
© Thinkstock
a small tripod clip-on umbrella or camera weather
protection so that I can still shoot if it’s raining, and
if I am visiting remote areas I usually hire a satellite
phone.” It’s important to travel as light as possible when
roaming outdoors for long hours, however, and a tripod
can sometimes get you into trouble with authorities
as it can look suspicious. There may also be rules that
tourists would be unaware of, as Grant found when
photographing the Lake Palace in Rajasthan India. “I
was on an official tourist viewing platform when a
policeman arrived and informed me that the platform
was not to be used before 10am and that I must leave
immediately and not return until 10am. Rules are rules
and must be observed, but the sunrise had just started
and the view was stunning. I kept shooting anyway,
copping a fine but getting the shot I had travelled to
Rajasthan to get.” It’s worth remembering that not all
buildings can be photographed for commercial use, so
this is something you must look into if you are hoping
to sell your photographs. In a bid to stand out from the
competition, Grant uses the following techniques, “If
I can I try to increase the drama of the monument,”
he shares, “using a silhouette approach perhaps or an
interesting sky via a wide-angle lens. Or I might use my
NDx10 filter to have a static monument with blurred >>

“Ask locals about

the ‘other’ sites
to see to open up
the possibilities”
CASE STUDY

Punakha Dzong
Bhutan
Bhutan, the land of the Thunder Dragon, is found in the Himalayas. The Punakha Dzong is the second oldest and second largest Dzong (ancient fortress) in Bhutan, shrouded in history.
The Kingdom of Bhutan is protected from too many tourists by strict policies that regulate the number of visitors, so it’s an ideal location for secluded shots. The Kuenrey (assembly
hall) in Punakha Dzong is open to tourists to explore and the traditional wooden staircase that leads to the temples inside the central tower are very photogenic. Make sure to carry out
research before visiting as there are rules to acknowledge, such as removing hats and umbrellas before entering the Dzong. It is also frequently visited by His Majesty, His Holiness and
other members of the Royal family because of its importance, so respect must
be shown. It takes about three hours to get there by car from Thimphu, with
regular tours running to and from the site.

Top tips
Visit midday
During the afternoon, when the sun is at its highest in the sky, is when the
bright colours of the paintings really come alive.

Look out for religious festivals

Punakha Tsechu is the special religious festival held on certain days of the
year, usually in spring. This is the best time to capture colours and culture.

Shoot wide
The setting of Punakha is so beautiful that it is worth using a wide-angle
lens to include the surroundings.

Get up close
Use the telephoto end of the zoom to pick out the careful details dotted all
over the fortress.

Pick the best spot

Just across the river is the best place for capturing a classic shot; head
© Thinkstock
there early in the morning for the best angle with the available light.

65
TECHNIQUES
people and give a feeling of time passing. I also look for
a nearby hill or tower that can give me a view of the
building in the context of its surroundings. With these
and other techniques you can visually build a narrative
around the monument or subject, making your photos
more interesting.”
Lighting is key for taking aesthetically pleasing
images and outdoor photographers are unfortunately
left at the mercy of Mother Nature. To maximise his
chances of success, Grant sets his alarm early. “Usually
I will arrive at the location at sunrise and return to it,
at different times of the day, including sunset, to get
a good range of different light situations,” he says. “A
good example of this is the Guggenheim in Bilbao,
Spain, where the titanium cladding of the building
reflects the changing colours of the sky.”
Another notable photographer in this field, Dario
Endara (darioendara.com), follows this rule of thumb.
“Play with the ambient lighting and see what moods
you can create,” he advises. “Shoot during the so-called
‘blue hour’ for colour and depth and see if this will
generate better images.” The ‘blue hour’ is the patch of
twilight each morning and evening where it is neither
daylight nor dark and the quality of light is superb
for photos. It works particularly well with cityscapes,
where starbursts can be created from street lamps by
using a small aperture such as f16 or higher.
Dario also offers this advice for composing your
shots: “Framing buildings is a great way to draw the
viewer towards the subject,” he says, “and use leading
lines to lead your attention to the main subject. This
can be an assortment of objects such as a fence, light
posts, or a road and including the surroundings will
give a sense of place for the building and can tell a
story.” Above all, it takes persistence in order to capture
an impressive image. “I remember in particular one
shot I took in Paris of the Arc de Triomphe,” he says.
“I shot it all around and at different times of the day. If
you’ve been there, you know how busy that roundabout
is with vehicle traffic and so I wanted to get the
monument at dusk and without any traffic. It took me
several dozen tries to get the final shot I wanted but it
was well worth the effort.”
The time spent analysing a monument for what
makes it stand out pays off in the final image. Take
a notebook while you wander through the streets to
record your first impressions and the feel of the place;
the smells, the weather and the atmosphere. This will
help you to summon inspiration to convey these initial
thoughts in a photo, as well as being a valuable tool for
recording shot lists and sunset/sunrise times. A typical
shoot for Paris-based photographer Christiane Michels
(aphotographerinparis.com) revolves around these
vital points in the day when the light is at its best for
illuminating architecture. “I also follow opening hours
to avoid crowds at busy times,” she adds, preferring to
capture landmarks with as few people in the shot as
possible. “I love early mornings when the air is crisp
and the place is quiet, it fits my own energy.” Of all the
places in the world that Christiane has travelled, she
“Take advantage of bad weather. The Eiffel
Tower in fog, Pyramide du Louvre at sunrise,
Arc de Triomphe from a side street”
66
CASE STUDY © Alamy
Sydney Opera House
Australia
The iconic Sydney Opera House with its spherical, shell-like roof
is extremely photogenic. It’s also so large that it’s difficult to
capture the entire structure unless you’re a good distance away
from it. As any local will tell you, the best place to photograph
the Opera House in its entirety is from the Royal Botanic
Gardens that you’ll find next to it. Locate the peninsula where
Mrs Macquarie’s Chair – a sandstone carving dating back to
1810 – is situated for views of the Sydney Harbour Bridge as
well as the Opera House. You can also walk across the Harbour
Bridge for alternative views, or catch a ferry across the harbour.
Once you have taken some images in context, experiment with
different focal lengths and crop into certain parts of the building
for more abstract shots.
Top tips
After dark
Be prepared to head out after dark and experiment with low-light
photography because the Opera House comes alive at night.
Be steady
Low light calls for long shutter speeds and high ISO settings, so
always use a cable release and a tripod to ensure sharp shots.
Add context
When photographing part of the building so that it may not be
instantly recognisable, you can add context by including part of
the Sydney Harbour Bridge.
Avoid tourists
Head to the Sydney Opera House early in the morning or late at
night so that there aren’t as many tourists milling around the
bottom of the structure.
Include starbursts
Photograph starbursts of light like the one in this image by using
as small an aperture as possible. These can provide extra interest
in nighttime shots.
regards Paris as her favourite city for this genre. “The © Alamy
buildings are beautiful,” she says, “there is a harmony
in the architecture that you do not find in London or
Brussels, for example. Haussmann planned Paris well.
It also has modern architecture and historical sites; you
can cover 1,000 years in one day.”
The challenge for the millions of visitors that flock
to Paris every year is taking original photos, but
Christiane has a strategy. “Walk around the monument
you are photographing,” she says, “look back as
you’re walking, try to find a different perspective from
a rooftop, stairs, a window, a narrow street. Take
advantage of bad weather. The Eiffel Tower in fog,
Pyramide du Louvre at sunrise, Arc de Triomphe from
a side street, Notre Dame from the top of Institut du
Monde Arabe. When I take visitors on photo walks
we often look at postcards and then go to a particular
monument and try to photograph it in ways that we
haven’t seen on postcards. Not that postcards are bad,
you can duplicate them too, but you have to use your
imagination and own creativity.” An architecture image
is essentially a portrait of a building.

CASE STUDY
Statue of Liberty
Manhattan
When photographing buildings or statues,
take into account what they represent and
try to convey this in a shot. In this instance,
the Statue of Liberty shows the Roman
goddess of freedom, carrying a torch and a
tablet bearing the date of the American
Declaration of Independence in 1776. A
broken chain surrounds her feet; a symbol
of freedom.
Think about how the weather and the
light could help show this in a photo. A
sunrise or sunset image would best
complement her form and reflect the
meaning: the dawn of a new day. Check to
see if a ferry service is running from Liberty
State Park to Liberty Island for closer
captures and new angles. A wide-angle lens
will help you to fit the entire monument
within the frame and don’t be put off by
bad weather, as a stormy sky will provide a
dramatic backdrop fitting for an iconic
figure such as this.
© Thinkstock
SHANGHAI
SKYLINE, CHINA
A wide angle lens is the ideal choice for
capturing skylines.
PHOTOGRAPHING LANDMARKS
Top tips
Lighting
Go early or stay for the sunset to capture the
statue in her best light. During the day, she can
appear washed out.
Zoom in
Pick out a particular part of the monument that
stands out to you and sums up the meaning,
perhaps the torch or her face.
Firework displays
Every 4 July you can count on stunning firework
displays that provide an amazing backdrop.
Get creative
Try capturing a silhouette of the statue at
sunset, or convert the image to black and white
for a timeless feel.
Add a frame
Photograph the statue from a distance and
include natural frames from overhanging trees
or foreground interest such as tourists to give it
a sense of scale and context.
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TECHNIQUES

TOP TEN
LANDMARK TIPS
Your quick-fire guide to shooting landmarks
© Getty © Alamy

2 Shoot silhouettes
Silhouettes create mystery and drama so try photographing a building with the sun behind it with a
bright blue sky. This technique works well with churches because of their interesting shapes.

3 Head indoors
Buildings such as cathedrals not only appear striking from the outside so it’s worth taking note of the
architecture on show beyond the front doors. Flash photography may be prohibited so boost the ISO
and slow the shutter speed.

4 Look for textures

Old buildings with peeling paint and crumbling walls are perfect for photos full of texture. This derelict
diner is packed with contrast, helped by using the HDR technique.
© Edo Medicks

1 Think abstract
Keep an eye out for stunning structures such as this (taken at the
Corn Exchange, Leeds) and zoom in to give an abstract effect.
Rotating an image can also add to the mystery.

68
5 Go modern
New structures that you’re likely to come across
in big built-up areas like cities are great for
architecture shots because of their bold lines.
Glass buildings provide interesting
reflections, too.

6 Break the rules

Don’t be afraid of distortion when shooting at a low angle.
The receding lines can actually make a building look
imposing and create an atmosphere.

© Alamy

7 Focus 9 Spotting patterns

on details Pay close attention to anything that could make a great pattern and therefore
Look closer at a great close-up shot. Windows, doors, or even lampposts can appear
your subject interesting when captured at the right angle.
and use your
camera’s zoom
to focus in on
those fine
details that
make the
building visually
arresting. This
graffiti creates
more of an
impact
because the
framing is so
very tight.

© Alamy

8 Go out at night
© Getty

Architecture is transformed when the lights are

illuminated so find a nearby wall or post to lean
on for some slow shutter speed shots once the
sun goes down.

10 Leading lines
Whether it’s a pathway, a river, or even a road – use
leading lines to draw the viewer’s eye to the main
focus of the image: the building.
© Simon Hewitt

69
TECHNIQUES

ROCKY SUNSET
The last glow of light at Clavell’s
Pier on the Jurassic Coast
Shot details: Canon EOS 5D
Mark II with an 18mm lens at
f16, 2.5sec, ISO 100

“Exceptional seascape shots are all about

getting the right light – which often means
getting out of bed very early!”
70
SHOOT STUNNING
LANDSCAPES
Discover the secrets of capturing beautiful coastal scenery with
expert photo advice from Mark Bauer and Jonathan Critchley

Where to shoot
Any coastal location will work for
coastal scenery, but the best results
will be obtained when there is plenty
of foreground interest to be found
such as rock formations and piers

T
he coast is without a doubt a favourite
haunt of landscape photographers wherever
they happen to be in the world. The rugged
beauty, tempestuousness and sense of isolation that
is offered on the edge of the ocean is a very hard
formula to beat. This love of the horizon is shared
by many of the world’s top photographers, with
countless galleries and websites lovingly dedicated
to the art of coastal landscape photography.
The sea itself has been both a friend and foe
of mankind throughout our existence, carving
centuries of maritime history into the cliffs. Being
on the coast creates a potent feeling of liberation,
looking out into the vastness of the ocean and
considering our own place in the grand scheme of
things. This feeling is reflected in the huge selection
of evocative, atmospheric and inspiring photos
taken by enthusiasts and professionals alike. >>
71
TECHNIQUES
MORNING COLOURS
Watching the sun come up over
Swanage harbour in Dorset
Shot details: Nikon D7000 with an
11-16mm lens at 16mm and f11, 1sec,
ISO 100
Time matters
Check the tide times for both
safety and for aesthetics; some
locations look better at high tide,
others look better at low tide
Capturing the coast perfectly requires dedication and
perseverance – a willingness to get cold and wet is
also a plus. In general, the first hurdle to jump with
a coastal landscape shoot is the need to get out of
bed “bright and early,” as Mark puts it. Our day with
pro landscape photographer Mark Bauer begins in
Swanage at 4:50am. This is essential if you want to
be ready to capture the very first glows of the sun as
it rises.
Once the sun has begun to peer over the horizon
the colours change quickly and dramatically, so it’s
no good waiting until this time to set off from home.
We were extremely lucky that, after days and
weeks of terrible weather, we were met with what
was clearly going to be a very pleasant day. Coastal
scenery can be shot in most weather conditions as
there’s no rule that dictates the sea must always look
tranquil and serene; however, it certainly made our
job easier not to have to battle with downpours of
heavy rain. In fact, we almost found ourselves with
the opposite problem with Mark frequently gazing
skywards to check that we had enough cloud! One
of the first lessons that Mark had for us was how
72
to balance our exposures using graduated neutral-
density filters. This means that individual frames are
as close to perfect as possible, without the need for Hyperfocal focusing
much use of Photoshop to blend frames together. Hyperfocal focusing enables you to achieve maximum
Although, if you don’t have graduated filters then depth of field in your images. For each combination of
sensor size, lens focal length and lens aperture there
merging two exposures in post-production is a is a precise distance – the hyperfocal distance – that
great alternative. One advantage of using graduated can be focused on to obtain front-to-
neutral-density filters over merging in Photoshop, back sharpness in your landscapes. There are mobile
however, is that you can capture an extra little bit of apps like Hyperfocal
movement to rapidly moving clouds. Calc by Venkatramanan
Krishnamani available
Mark also explained compositional principles and
for download online, or
ensured that our focusing skills were up to scratch. you can print out a
When including foreground interest in the scene, it’s custom chart from
vitally important that sharp front-to-back focus is various websites (try
achieved by using a small aperture (large f-number). www.johnhendry.com/
He also went on to demonstrate how to use gadget/hf.php)
hyperfocal focusing correctly, which can help you
to achieve this desired effect. It didn’t take us long
to start experimenting with long exposures using
a Lee ‘Big Stopper’ filter that slows the exposure Hyperfocal distance
by ten whole stops. This is a key tool that enabled ...charts help you work
photographers to produce smooth, elegant waves out precise focal lengths
and capture the movement of the clouds. >>
 SHOOT STUNNING LANDSCAPES

“Using graduated neutral-

density filters lets you
capture a tiny bit of
motion in the clouds”

ALONG
THE PIER
The deserted
pier in Swanage
looks excellent in
monochrome
Shot details: Nikon
D7000 with an
11-16mm lens at
12mm and f16,
25sec, ISO 100

73
TECHNIQUES

Focus on your subject “Keep an eye out for elements of the

Use foreground interest such as boulders or rock
pools to help add a sense of depth and lead the eye
landscape to use as foreground
into the picture. However, careful focusing in order
to get enough depth of field, is critical if you have an interest, to lead the viewer into your shot”
object close to the camera, so learn how to use the
hyperfocal distance

Three types of filter

Polariser A polariser can be used to reduce glare
and reflections. It also makes colours look punchier,
particularly blue skies. Be careful when using this
filter with wide-angle lenses as vignetting can result.
Neutral density filter A neutral-density (ND) filter
reduces the amount of light that reaches the sensor,
greatly extending the exposure time. A ten-stop filter
is the most extreme ND filter and is a great tool to
have, but be aware that you have to focus and
compose without the filter attached.
Graduated neutral density filter Available with a
hard-graduated edge or a soft-graduated edge,
these filters are great for exposing elements of the
same scene differently. For example, balancing a
bright sky with a relatively dimly-lit foreground.

THE TELEPHONE BOX AT

STUDLAND BEACH
Shot details: Nikon D7000 with an 11-16mm
lens at 15mm and f11, 1/60sec, ISO 100

74

OLD HARRY ROCKS
These towering white rocks off the
Dorset coast make a striking image
Shot details: Nikon D7000 with a
11-16mm lens at 11mm and f11, 30sec,
ISO 100
Try new setups
Experiment with minimalism. Try choosing a
single object, and isolating it in the frame and
don’t be afraid to give it plenty of space.
Groynes, rocks and boats all make good
subjects, although there are no rules here. This
works extremely well with long exposures
LULWORTH COVE BASKING IN
LATE AFTERNOON SUN
Shot details: Nikon D7000 with an 11-16mm
lens at 12mm and f11, 1/30sec, ISO 100
In terms of timing, the hour or so after the first rays of
the sun appear represents one of the best periods of the
day for shooting. The light is often at its most magical at
this point. Once this phase has passed, you’ll find that the
light becomes a little less dramatic. This is an excellent
opportunity to take a breather and perhaps grab a little
breakfast, which is precisely what we did!
After you have revived yourself, it’s definitely not
necessary to pack your camera away at this point – there
is still plenty that you can capture throughout the entire
day. Instead of focusing your attention on the light itself,
don’t be afraid to explore and take a closer look at your
location. You’ll very often find that there are many points
of interest around you that can be utilised for some great
photographs.
One such landmark Mark showed us was the local pier.
We were able to get some really interesting shots here,
since it had strong foreground interest and leading lines.
Throughout the day, keep an eye out for black and white
options. Coastal locations often have scenery with strong
lines and weather-beaten elements with some fantastic
textures. All of these things have excellent potential for
really beautiful black-and-white images. As we walked
along the pier, we found that the boarded walkway and
lampposts made ideal foreground elements.
As well as the cloud coverage, you should also be aware
of the position of the sun during the day. When the sun
gets to its highest elevation point (around midday or early
afternoon, depending on the time of year) you may find
SHOOT STUNNING LANDSCAPES
that this is a good point at which to take a break from
shooting and have some lunch for an hour or two. If there
is enough cloud coverage to diffuse the bright, garish
sunlight and create some interesting skies then you might
be able to continue shooting.
However, if the sun is at full blast then you’ll definitely
want to wait until at least mid-afternoon when the sun is
slightly lower in the sky again. Mark suggested that we
make good use of the lunch break by reviewing the images
that had been taken that morning, giving tips on what to
improve on in the afternoon, as well as seizing the chance
to recharge the all-important camera batteries so we
weren’t caught short later.
Speaking of power sources, it’s worth keeping in mind
that if you are doing lots of long exposures (particularly
if you are also using Live View mode) then you are
very likely to use lots of battery power. As such, it’s
recommended to have at least one fully-charged spare with
you; failing that, bring your charger along to the shoot so
you can utilise any power points you come across along
the way.
As the sun continues its descent you’ll notice that the
light gets softer and warmer. This is great for shooting
the coast.
It’s still important to remember to keep an eye on those
clouds if you want to stay out in the field until sunset.
Cloud coverage is really the key to capturing coastal
landscapes. Too little cloud can mean that the horizon
becomes rather lifeless and flat.
75
TECHNIQUES

CHINA
Sharing lunch with this
charming man in Yunnan
Province, China quickly
bridged the gap between
photographer and subject,
prompting an amusingly
friendly response
Shot details: Canon EOS
5D Mark II with 16-35mm
f2.8 lens at 35mm and f2.8,
1/100sec, ISO 100
© Gavin Gough

76
 FACES OF THE WORLD

FACES OF
THE WORLD
We explain why rapport is
just as crucial to achieving
stunning portraits on
location as photography
techniques themselves

77
TECHNIQUES
CAMBODIA
You just have to grin
when you’ve just been given
a photograph of yourself
wearing your best yellow
dress, as this Cambodian
girl demonstrates. Her
family, waiting nearby,
were so impressed that
they all asked to pose for a
similar photo
Shot details: Canon EOS
5D Mark II with 85mm f1.2
lens at 85mm and f1.2,
1/8000sec, ISO 100
78
W
hen it comes to creating memorable images of
people on location when you are touring the
world, it’s not all about the travel, and, perhaps
surprisingly, it’s not all about photography either.
During workshops and in classes at the Bangkok Photo
School, there is one question that is asked more frequently
and with deeper frowns than any other. It’s not about depth
of field or focal length, and it’s not about camera gear or the
technical aspects of our art. It is this: “How do I take pictures
of people in public?”
No matter what our destination, we realise that it is
probably images of the local people that will carry the
greatest interest for our audience back home. While the Taj
Mahal is majestic and inarguably photogenic, it is more likely
to be our photo of the boy selling postcards on the bustling
Agra street that our friends will ask the most questions about.
The ancient Khmer temples of Angkor Wat, for example,
are marvellously enticing and certainly worthy of our best
photographic efforts, yet the rickshaw driver who transports
us through the jungle scenery to reach the temples might
provide a greater insight into the local culture.
It’s human nature to be interested in other people’s lives.
Where do they live? Do they have a family? What do they
eat? Where do they work? What do they wear? Essentially,
we want to know how different – or even how similar – their
lives are to our own.
So it’s natural that intrepid travellers with cameras will
want to return home with images that convey the details
of the culture they have visited, and it’s inevitably the local
people who will provide the greatest insight into the local
customs, habits and ways of life.
However, photographing people we don’t yet know can
be quite a challenge. Unlike the Taj Mahal and Angkor
Wat, people move around. They show emotions in their >>
 FACES OF THE WORLD

© Gavin Gough

BHUTAN
Lenses with
wider apertures will
allow you to work in
low-light situations,
such as this temple
in Bhutan, and will
throw potentially
distracting
backgrounds out
of focus. Prime
lenses can be an
inexpensive way of
getting the widest
apertures
Shot details: Canon
EOS 5D Mark II with
24-70mm f2.8 lens
at 70mm and f2.8,
1/60sec, ISO 200 © Gavin Gough

79
TECHNIQUES

© Ami Vitale

BUDAPEST
It takes a genuine
interest in people to
establish the kind of
rapport that allows
photographer Ami Vitale
to make these bathers feel
comfortable enough to chat
and be photographed at the
same time
Shot details: Nikon D3 with
17-35mm f2.8 lens at 17mm
and f7.1, 1/250sec, ISO 200

NEPAL
Nepalese villagers
enjoy seeing photographs
in the LCD screen of Gavin
Gough’s camera. Sharing
the results can succeed in
making travel portraiture
a more collaborative effort
between photographer
and subject
Shot details: Canon EOS
5D Mark II with 85mm f1.2
lens at 85mm and f1.2,
© Lesley Fisher
1/1000sec, ISO 100

80
 FACES OF THE WORLD

© Gavin Gough
they have work to do and don’t necessarily want us
interrupting their day. Equally, unlike the Taj Mahal and
Angkor Wat, access to local people isn’t managed by the
local tourist board. We can’t buy tickets, giving us a right to
photograph them, and they might actually care if we turn up
and start photographing without so much as an introduction.
Ancient temples and tourist attractions don’t care if we smile
or not. People do. It won’t come as a surprise but, unlike
buildings, people have feelings.
Photographing people in public is not like photographing
tourist attractions. The first mistake that many visiting
photographers make is to treat their potential subjects as
if they exist solely for us to take photos of them that might
attract awards and applause back at our local camera club.
While it might seem obvious to point out that people are not
dressed and placed for amusement, you might be surprised
to discover how many photographers act as if this were the
case as soon as they arrive at their far-flung destination.
Fortunately, the route to engaging travel portraits is an
easy one that each of us can remember. Although it might
seem a little counterintuitive at first, we urge you to try this
approach and we promise that you will soon be delighted
with the results. Get ready for your step-by-step golden rules to help us narrow the depth of field and compress perspective.
for successful travel portraiture: They are simply compositional aids, not secret sniper devices
First, put your camera away. It sounds counterproductive, that allow photographs to be made surreptitiously without VARANASI,
but allow us to explain. If the best photography is about our subject realising what we are doing. Leave the long INDIA
The golden rule ‘Don’t
communicating an experience – and it is – then you need lenses to the paparazzi and just concentrate on getting to shoot into the sun’ just
to have had the experience in the first place before you can know your subject. begs to be broken
begin to photograph it. Consider the vocabulary that we use: we ‘take’ occasionally. As with this
rainbow-coloured umbrella
Successful travel portraits are not defined simply as a photographs, we ‘capture’ images and ‘grab’ shots. Successful shielding a man reading
photograph of a person wearing clothes different from our travel portraiture requires that we first spend a moment beside the sacred River
own. While an image of a man wearing a turban or a woman redefining our approach. Ganges in Varanasi, India
in a colourful sari might be vaguely interesting as a record New photograpohers often complain of feeling somewhat Shot details: Canon EOS
5D Mark II with 16-35mm
shot, a photograph showing them laughing with friends intrusive when they try to create travel portraits. The truth is, f2.8 lens at 26mm and f4.5,
or shopping in the local market will contain much more if you feel that you are intruding then you quite probably are. 1/3200, ISO 400
humanity. If you want to test whether your travel portraits Remember: have the experience first and the photographs
are filling this brief, imagine your subjects in the same will naturally follow.
pose and the same composition but place them in a street in Good travel portraits are the result of a collaborative effort
Surbiton or Solihull and replace the clothes with jeans and a between photographer and subject. One-sided transactions
T-shirt. Still interesting? If not, you have work to do. will never feel satisfying, and if you have simply ‘taken’ a
The most useful tool in a travel photographer’s kit bag is photograph then your subject might feel as if they have lost
not a long lens – it’s empathy. Long zoom lenses are designed something as a result. >>
“Remember: have the experience first and
the photographs will naturally follow”
EXPERT ADVICE Ami’s top five tips for getting your portraits right first time
Travel Photography
Ami Vitale It’s not about travel; rather, it’s about being intimate with the culture, the people and the
Website: www.amivitale.com environment. Learn as much as you can about the culture and place before you take your
About: Ami Vitale is more than just a travel photographer or camera out. Know why and what it is that you are trying to convey with your images.
photojournalist – she is a visual storyteller. Her work transcends Listen first, photograph last
the typical ‘blue skies and smiley faces’ travel photography and Put your camera down and talk to the people/community you intend to photograph first.
moves into a realm where her audience can appreciate the subtle Explain why you want to take a photo/photographs and hear what is important to them.
differences between cultures with greater empathy. Ami achieves Often they will reveal something far more interesting than you could have known or
this depth of appreciation for the cultures that she documents by imagined and they will feel more connected to you.
investing a great deal of time and patience, spending time getting to know her subjects
before even lifting a camera to her eye. Ami’s motivation is not simply to capture images
Quality, not quantity
Slow down and spend time with one subject instead of trying to photograph everyone
of people, but to illustrate the stories of lives that ultimately reveal something of the
and everything. The quality of your work will improve if you immerse yourself in your
human condition.
subject’s environment and find the unusual in the usual.
Ami’s work has attracted many accolades and awards, including World Press
Photo prizes, the Lowell Thomas Award for Travel Journalism, Lucie awards, the Daniel Light is critical
Pearl Award for Outstanding Reporting and the Magazine Photographer of the Year Wake up at least an hour before sunrise and stay after the sun sets at least an hour for
award. Her work has appeared in galleries around the world and in international really magical images. Scout your locations and be ready when the light is perfect, which
publications such as National Geographic, Adventure, Geo, Newsweek, Time and often does not last long.
The Smithsonian. Leave a legacy
Now based in Montana, she continues to travel the world, documenting evocative and Bring copies of your portraits to people or send them when you get home. It’s the least
engaging stories that might not otherwise reach the public eye. you can do when people open their lives to you.

81
TECHNIQUES

© Gavin Gough
EXPERT ADVICE

Gavin Gough
Website: gavingough.com
About: Gavin Gough is a
freelance photographer based
in Bangkok. He works on
assignment, creates stock
images, leads workshops and
teaches at the Bangkok Photo
School, which he founded.
Great travel portraits only come as a result of
sharing. Not only will sharing create equality between
you and your subject, paving the way to great photo
opportunities, it will create a good impression for
photographers who follow in your footsteps. However,
sharing should be done responsibly and there’s a
crucial difference between sharing and just giving.

Top five things successful travel

photographers share with others
Prints
Giving out instant ‘polaroids’ to your subjects is a
great way to give something back to the people you
meet. Fujifilm makes a series of small instant cameras
and there are compact and portable printers that can
quickly produce a 6 x 4 print to give away. Failing that,
use a local print shop and return to locations where
you have photographed or take addresses and mail
prints once you are back home. However, if you
promise to do this, you must make sure that you do so.
Postcards
The people you meet will probably be just as
interested in you and where you come from, so
sharing postcards of your home town will allow them
to learn something about you.
Cash
Not to give in return for photographs, but to buy
produce from market traders and to take rides in
rickshaws and tuk-tuks. It is so much better to
purchase goods or a service at the going rate than it is
to just give money for photographs. Paying for your
images in this way builds a dangerous precedent and
does not build respect in either direction. Don’t do it.
Camera gear
Your camera might be just as fascinating to others as
it is to you. If you’re prepared to show people how you
use the camera, allowing them to take photos too, it’ll
become less intimidating. Posing for other people to
take photos of you builds up that collaborative
atmosphere, and you might even come away with
some decent shots of yourself.
Time
There’s nothing better for showing that you respect
the people you meet than to share your time with
them. Show that you value the people you wish to
photograph by not snapping and running. Better still,
if the opportunity arises, return to the same location a
second or third time. Some of my favourite
photographs of chai sellers in India were taken at the
end of a week where I visited their chai stall each day
for my morning cup of tea.

“Show that you

value the people
you wish to
photograph” © Gavin Gough

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FACES OF THE WORLD

INDIA
Remember to create
compositions that show the
surrounding environment
and provide important
context. Spending time
getting to know the barber
and his customers allowed
the photographer to work
without being intrusive
Shot details: Canon EOS
5D Mark II with 16-35mm
f2.8 lens at 25mm and f8,
1/20sec, ISO 200

83
TECHNIQUES

© Matt Brandon
point where you are both enjoying this new connection so
much that you will instinctively want to record the moment.
And that’s when you’ll remember that, fortunately, you are
carrying a camera. At this point the taking of a photograph
has become a collaborative effort, and the market trader,
chai seller or rickshaw driver wants to record the moment as
much as you do.
Now your skill as a photographer will come to the fore as
you make the most of the opportunity. Placing that big lump
of a camera up to your eye can potentially create a barrier
between you and your subject: eye contact is lost, rapport
disappears and both photographer and subject stiffen into
‘taking a photo’ mode.
Compose, focus, keep your camera steady and your
finger poised, then look around the side of the camera to
re-establish eye contact, giving your biggest grin. The change
in expression will be reflected and the awkwardness will be
diffused. This simple action will remind the person in your
viewfinder that this is a collaborative effort and that you’re
still there, the camera did not swallow you up.
Having worked hard to create the opportunity – and
hopefully enjoyed the process along the way – don’t be
tempted to rush. Don’t fire off one frame and give up. Making
the most of this golden opportunity is where your skill as
So, with your camera well out of the way, spend time a photographer becomes apparent. Some might argue that
with the people you meet. Even if you don’t speak the you have a responsibility to show your subject in the most
INDIA same language, a smile, as pro photographer Matt Brandon favourable way and that process could take ten or twelve
Using a wide-angle
lens will enable you reminds us, can go a long way to building rapport. Body frames – maybe more. Showing your images in the LCD
to include important language is universal, and it’s not that difficult to mime screen of your camera is a great way to reassure people that
contextual information, as questions to a trader in the local market – ‘How much are you are creating something you can both be proud of.
in Matt Brandon’s image of
the doorway to this mosque
these apples?’, ‘Are these chillies hot enough to burn my When it comes to the practicalities of photographing on
in New Delhi, India tongue?’. Pretty soon, a conversation of sorts will emerge and location, less is definitely more. If you are encumbered by
Shot details: Canon EOS laughter will soon follow. a weighty bag crammed full of equipment then you cannot
5D Mark II with 17-40mm Remember that you may be just as fascinating to the chai move easily and your mobility will be compromised. A
f4 lens at 17mm and f4,
1/30sec, ISO 320 seller on the street in Delhi or Kolkata as he or she might be camera and a wide-angle lens is sufficient.
to you. Carry some postcards from your home town to show If possible, take a lens with a wide maximum aperture to
where you come from and share them liberally. It’s the things reduce the depth of field, allowing distracting backgrounds
we find in common that unite us, so show pictures of your to fade into blurry bokeh. Wider apertures will also enable
own family and you’ll soon be swapping information about you to work in the low light that is often encountered in
how many children you each have, how old they are and covered markets, temple interiors and when the sun has set.
whether they’re married. If you are schlepping around like a walking advertisement
Perhaps you will share knowing looks about the joys for Warehouse Express then not only will your presence
and trials of raising a family. Once found, that common be more intrusive, taking you longer to blend in, you’ll be
humanity will bring you so much closer to your new-found struggling more and potentially losing out on those golden
friend than if you had stood on the far side of the street, opportunities. Dial in default settings on your camera and
casually wielding a 300mm lens (if, indeed, it is possible to practise working one simple setup. Your goal is to interact
casually wield a 300mm lens). Eventually, you will reach a with people, not with your camera. Don’t fall into the >>
EXPERT ADVICE Matt’s essential rules for taking portraits on location
Get in close Shoot with a 16-35mm up to an 85mm – no longer. I feel like a predator
Matt Brandon when I use a telephoto to do travel portraiture. I become detached and feel like I’m
Website: www.thedigitaltrekker.com stealing the image. I’m sure when the subject sees you shooting a photo of them from a
About: It can be argued that something of a photographer’s distance they feel the same way about you.
personality is reflected in the images that they create. Matt Smile It’s amazing what you can get away with if you flash those pearly whites! A smile
Brandon’s engaging travel photographs are no exception and opens doors and disarms people and puts them at ease. I never go anywhere without
reveal him to be a photographer who appreciates the humanity one. A smile communicates, ‘I am your friend and you can trust me.’
shared by people of different cultures and varying backgrounds. Seek permission Do this whenever you can and most certainly when the subject is
His portfolio shows a love and respect for cultures found in such diverse locations as camera aware. I see this as an act of respect. Just like a smile, respect can endear people
India, Tibet, Indonesia, Thailand, Malaysia and right across the Indian subcontinent and to you and open doors.
South East Asia.
Whether he is photographing in a remote monastery on the Tibetan plateau or Slow down Don’t be in a hurry. By taking your time you are not only able to work the
around the ancient temples of Angkor Wat in Cambodia, Matt strives to build a rapport scene and photograph every angle, you also let the dust settle around you. When we
with his subjects and clearly enjoys the personal interactions as much as the arrive at a scene as outsiders we cause ripples and can make people feel uneasy. Take
photography itself. your time. People will soon get used to you and they will eventually go back to what they
Matt’s skill at bringing out positive and uplifting aspects in the stories he finds has were doing before you arrived. Real life will unfold before you.
allowed him to build positive relationships with various NGOs who wish to show their Know when to stop Not doing this is a common newbie mistake. Even though you
projects in an optimistic light. Matt’s images have promoted the work of organisations want to take your time, you have to know when enough is enough. Learn to read people
such as Partner Aid International, Neighbourworks, the BBC, Honda and the Bombadier and sense when they are starting to feel uncomfortable with you sticking a camera in
Transport Corporation. their face. Be willing to quit just before they reach their limit. Quit ahead of this moment
For travel photographers looking for inspiration, his portfolio offers a charming and and you will be invited back. Don’t and you will have lost any other opportunities you
captivating collection of travel portraits. might have had.

84
 FACES OF THE WORLD

“Compose,
focus, keep your
camera steady
and your finger
poised”

TIBET
Maintaining eye contact as you
photograph will avoid the stiff
poses that many photographers
encounter when they begin to
photograph, and it’s hard not to
return a big, genuine smile
Shot details: Canon EOS 5D Mark II
with 85mm f1.2 lens at 85mm and
f1.6, 1/1250sec, ISO 200
© Matt Brandon

85

INDIA
By visiting this
Indian chai seller each day,
photographer Gavin
Gough got more than a
morning cuppa, creating a
friendship that is reflected
in the warmth of the
subject’s expression
Shot details: Canon EOS-1Ds
Mark II with 70-200mm
f2.8 lens at 150mm and
f2.8, 1/60sec, ISO 400
“Seek out the locations where
light is filtered and diffused”
86
© Gavin Gough
trap of competing with fellow photographers who seem to
think that image quality has a direct relationship to the
number of kilos they are lugging around. The opposite is true,
so make your life easier by carrying less.
Follow the light, not the subject. It’s possible to make the
most appealing subject look boring and ordinary in harsh
light, and equally it’s possible to bring out the very best in
any subject when the light is soft and golden. Avoid the bright
sunshine and seek out the locations where light is filtered
and diffused. While your eyes can interpret a wide dynamic
range of shadows and highlights, perhaps 15 stops, the
camera is limited to just five or six and won’t cope with the
contrast nearly as well.
When you have a great opportunity for a memorable
portrait, don’t waste the chance with a single exposure
BALI, INDONESIA
“Drink tea,” is Gavin Gough’s advice. “It’s common to almost
every culture, and sharing a cup of tea is a great way to put you and
your subject on the same level. It also allows you to take time to begin a
conversation and great photo opportunities will invariably follow”
Shot details: Canon EOS 5D Mark II with 70-200mm f2.8 lens at 125mm
and f2.8, 1/125sec, ISO 100
© Gavin Gough
setting. Bracketing by plus and minus one or two stops either
side of the camera’s suggested reading will give you greater
flexibility when you begin the editing process.
Better still, learn different metering modes and become
familiar with Spot and Partial metering so that you can take
readings from specific parts of the scene where the correct
exposure is crucial.
When an opportunity to create a portrait presents itself
there can be a temptation to crop tightly. Head and shoulders
compositions can tell us something about a person, but a
wider perspective will allow you to show the environment.
Including context in your images is important for setting
the scene and will provide a greater amount of information.
When viewing photographs our eyes are naturally drawn
to human figures first, so create compositions that will take
advantage of this fact. Your subject will be no less prominent
and you will be providing your audience with more of an
opportunity to understand the location.
Travel portraiture is one of the most challenging genres
of photography. Perhaps that is why it’s also one of the
most rewarding. Establishing relationships with the people
you meet is great fun and will allow you to enjoy a deeper
understanding of the places you visit and the people you
meet during your travels.
With practice, time and patience you will return home
not only with photographs to be proud of but with delightful
memories of personal encounters that will remain with you
forever. Leave the long lenses to other people and concentrate
on enjoying the experience as fully as possible. Not only
will you see the rewards, but the people you encounter will
appreciate the gesture too.
 FACES OF THE WORLD

Be inspired Let yourself be inspired by

these fantastic travel portraits
© Zaw Zaw Tun

ZAW
ZAW TUN
“There is the Chin
nationality in Myanmar, and
many of the women have
tattoos on their faces. They
also like smoking”
Shot details: Canon EOS 5D
Mark II at 145mm and f2.8,
1/640sec, ISO 200

RUSSELL ROBERTO © Roberto Ojeda

CLARKE OJEDA
“These girls were “Walking in the old side
begging outside a shop in of Quito I spotted this
Kenya and I felt for them gorgeous indigenous
so I went next door and woman while she waited
bought them food. I then at the bus stop. I was
asked the girl if she minded inspired by the exquisite
me taking their picture – combination of colours and
she said it was okay” her features. She reminded
Shot details: Nikon D200 me of the Inca queen of old,
with 18-135mm lens at f4.2, Ñusta Pacha, mother of
ISO 200 Atahualpa, Emperor of the
Inca Empire”
Shot details: Nikon D5000
with 70-300mm lens at
300mm and f5.6, 1/160sec,
ISO 200

© Russell Clarke

BRETT FORD
“This shot was taken
in Ambalavao, Madagascar.
These kids had noticed me
taking photos, so I squatted
to their level and took
one shot. I looked up and
smiled, ready to show them
the picture, but they ran
away giggling! The whole
experience only lasted a
few seconds”
Shot details: Canon EOS 5D
Mark II with 70-200mm
lens at 200mm and f5.6,
1/200sec, ISO 200 © Brett Ford

87
TECHNIQUES

DREAM RIDE
Husky Sled Dogs in Lapland, Finland

88

ADVENTURE
IN THE GREAT
OUTDOORS We uncover all the adventure behind
action photography and speak with the
pros for some expert shooting advice
T
ravelling can provide some fantastic action-packed
photography adventures. Whether you’re shooting
high up in the mountains or trekking across scenic
landscapes, there are endless opportunities to shoot. Many
professional photographers are drawn into the challenge of
photographing adventure and will cross continents in a bid
to capture some of the most breathtaking images of extreme
sports in action.
Ryan Salm (www.ryansalmphotography.com) is a pro
photographer who has spent the last 15 years travelling the
world, capturing diverse cultures and exhilarating action
through his camera lens. “With action photography I find
myself hanging out with some amazing characters,” he says.
“These people that do all the crazy stuff like jumping off
cliffs and climbing walls, they have the most unbelievable
personalities and I feel inspired every time I go out to
© Alamy
ADVENTURE IN THE GREAT OUTDOORS
shoot.” He adds, “Photography has always put me in the most
amazing locations. It usually starts off as a dream to go to a
certain place and shoot, that then quickly manifests itself into
reality.”
Adventure can be embraced anywhere, whether you
want to shoot skiing down a mountain or paddling through
a fast-flowing river, there are endless adrenaline-fuelled
opportunities. Preparation prior to any shoot, however, is
important and particularly if it’s a paid commission, as Ryan
points out: “With research comes fresh ideas, which make it
easier to make a plan.”
Looking at others’ work can be a great way to put your
own in context and get some initial inspiration, as Ryan adds:
“If you are shooting a specific activity it’s always important
to know what makes a good image and also know what
>>
trends are in style. This can also help with the possibility of
89
TECHNIQUES
© Alamy
getting your own work published.” However, avoid spending
too much time going over what has already been done, as
Ryan warns: “If you do too much research, you may find your
photography of that place has been heavily influenced by
the work of others. Showing up somewhere without as much
knowledge can make things interesting, it can also help to
make your photography more original.”
Professional travel photographer Chris McLennan (www.
cmphoto.co.nz) has spent the past 25 years shooting
adventure in over 45 countries around the world. He says,
“Every location is different and has its own unique qualities
that make it special. I think you should always go into a
location with an open mind and no preconceptions based
on what you have already seen. I always try to look at things
differently and aim to capture how I see a subject or location
in terms of my experiences there.”
To some extent, expecting the unexpected goes with the
territory in this field of photography, but you should never
90
set off unprepared. Basic planning of your trip is vital to UNDERWATER
your own safety, especially when it comes to shooting Get creative and take
outdoors. You should always check recent weather reports cool pictures under the sea
for warnings and search for any important news updates on
your destination, prior to setting off. This will give you peace
of mind, knowing you have packed all the necessary camera
equipment, food supplies and clothing for every eventuality.
As with any trip, also check that you have an up-to-date
insurance policy that covers you not only for any medical
costs but also your camera kit against accidental damages,
thefts and loss. Adrian Trendall (www.deadlylightshade.
com), an experienced adventure photographer, remarks,
“Having pro level gear (and insurance) means I am not too
worried about using my kit in appalling weather conditions
such as torrential rain or snowstorms. Think of it this way,
if you are not out there shooting you will never get the shot.
Often shots in poor weather can be more atmospheric even
if allowances have to be made for technical imperfections.”

FLIPPIN OUT
Getting as close to the action as possible will ensure your action shots are
dynamic and memorable
© Alamy
Adventure photography is unique and not an easy genre
to shoot. To get some of the best shots, it can require
you to get stuck in with all the action and often shoot
from the same perspective as your subjects. This makes
safety a crucial factor to consider when planning a shoot.
Experience in the field you’re photographing can help
you to prepare as Adrian explains: “From my work as a
climbing instructor, I am experienced at making dynamic
risk assessments and have learnt to adapt to changing
situations with the odds hopefully stacked in my favour.
Also being trapped underwater and dislocating my
shoulder in a kayak accident has given me a healthy
respect for the power and danger inherent in a river.
Nowadays I factor in a large margin of personal safety
before a shoot.” Ryan Salm agrees and makes a point
of putting his safety before the getting of a photograph.
“There is always a danger when shooting extreme sports.
The key is to do everything to keep yourself and the
ADVENTURE IN THE GREAT OUTDOORS
EXPERT ADVICE
Chris McLennan
Web: www.cmphoto.co.nz
Chris McLennan is a pro photographer with over 25 years of
experience in travel and adventure photography. Based in
Auckland, New Zealand, Chris has visited and photographed in
over 45 different countries around the world.
Over the years, his photographs have won numerous awards
and seen him get recognised by some of the industry’s leading
brands. With an incredible portfolio of work and a clear passion
for what he does, Chris also shares his knowledge with others
and runs regular photo workshops around the world. He also
shares some fantastic photo tips and information online via
social media sites, www.facebook.com/Chris.McLennan.
Photography and search Chris McLennan on Google+.
Chris McLennan’s top ten tips for shooting
travel and adventure photography
1 Shoot subjects that you love
If you enjoy what you’re doing then you’ll continue to be inspired
and motivated and will become much better at what you do.
2 Camera equipment
Use the best quality gear that you can afford to avoid
disappointments with your results.
3 Plan ahead
Always research your subjects and the locations you are going to
shoot beforehand.
4 Be responsible and safe
Not just for you but also for the safety of the culture/
environment or activity that you are photographing.
5 Expect the unexpected
Be prepared and make it work for you.
6 Know your equipment inside out
Using it should become second nature so that you can
concentrate on the creative process.
7 Add your own flavour to your work
Don’t be afraid to be different! After all you don’t want your work
to be lost in the masses of similar photos of the same place.
8 Always treat your subjects with respect
Remember you are the visitor!
9 Always back up
Save your images in several locations to avoid losing them.
10 Have fun and be passionate about what you do!
This is the most important tip to remember!
model safe. I have been out on days with high avalanche
“Every
danger where the best move was to abort the shoot and
think safety first. You can always ski another day.”
Ryan shoots a range of adventurous and extreme
sports around the world. He says, “I really love to
shoot anything that gets people excited whether it be
skiing, climbing, cliff jumping, you name it.” When out
location
photographing action, Ryan points out that you need to
remain agile, particularly if you are positioned to shoot has its
own
at awkward angles. “I use a Canon EOS 5D Mk II, which
I like because it’s a small DSLR. The main thing for
me is to keep my kit simple. I try to envision my shots
beforehand so that I am not lugging anything I don’t
need. I always take a 200mm lens and a wide angle
(16-35mm), extra batteries, extra memory and the right
unique
camera bag.” Adrian Trendall also recommends packing
light and with a passion for white water kayak shooting,
he also aims to keep his kit dry. “A combination of >>
qualities”
91
TECHNIQUES

CASE STUDY
White water
kayaking
White water kayaking is not always easy to shoot but being
prepared with the correct camera settings can go a long
way to ensuring you get your shot. In order to capture as
much of the action as you can, set your camera to its
continuous burst mode setting and select a fast shutter
speed that will help freeze all of the action and prevent
motion blur. You should also take a few quick test shots to
check your exposure settings are correct before the action
begins. Now find a safe location to shoot from that gives
you enough clear space to get a wide-angle shot of all the
action unfolding. Using a zoom lens, get in close to your
subject to capture some great expressions during the more
exhilarating moments.

Adrian Trendall (www.deadlylightshade.

com) shares his top five tips for shooting
white water kayaking
Get ahead of the kayakers
This means you will have plenty of time to get in position
before they begin to descend the waterfall.
Set your exposure
Get all the necessary exposure settings dialled into your
camera so you can just blast away once the action kicks off.
Set your drive mode
Select the highest frames per second setting as the action is
likely to last only a few seconds.

Work with experience

Shoot with experienced paddlers who can look after their
own safety and carry out dangerous tasks with ease.

Keep it colourful
Most kayak gear is pretty bright and photogenic but a few
things can detract from a good photo such as white helmets
and paddles, which can get lost in the white water. If you can
have any artistic input then bear this in mind.

ABOVE AND BEYOND

Young man rock climbing close to
Thakhek, Khammouane, Laos

92

weather-resistant pro gear and quality waterproofs work well.
I will often wear an oversize Goretex jacket while waiting for
kayakers to arrive. It’s large enough to zip up with my Nikon
D3s and 70-200mm lens underneath so the gear stays dry and
can be instantly deployed once the paddlers come
into view.”
Remarking on what draws him into shooting white water
kayaking, Adrian says, “Even relatively easy rapids and
waterfalls can look spectacular and when everything comes
together and the light is right, then the effect can be magical.”
Adrian points out, however, that the logistics behind each
image can vary massively. “Some of my best shots have been
taken from riverside footpaths which are available to anyone.
At the other extreme, I have abseiled into gorges or secured
myself hanging over waterfalls with a climbing harness and
ropes.” Preparing for a shoot in advance, Adrian adds, “I try
to research potential sites during good weather and take note
of any access issues that may involve specialist gear and then
try to spot the best angles to shoot from. This throws the dice
in my favour since with all outdoor activity there are enough
variables, what with the wind, rain, sun and so on and the
more things I can sort out before the day of the shoot the
better.” Adrian also points out that safety is his first priority
on any shoot: “I am meticulous about safety and always try
to work with pros at their sport that can look
after themselves.”
As with most adventure and action photographers,
subjects can overlap and, like Adrian, many photographers
shoot more than one or two sports. Alongside white water
kayaking, Adrian is a keen rock and ice climber, something
he enjoys to photograph from a participant’s perspective, “To
get most good climbing shots you need to be a climber. Most
good climbing shots require the photographer to be off to one
side and usually higher than a climber so a good knowledge
of abseiling techniques is usually a prerequisite.” He adds,
“Rock climbing is perceived to be a high-risk activity but
© Alamy
with today’s safety gear and a thorough knowledge of its
use, climbing is actually a lot safer than people think. The
biggest danger to a photographer would be falling objects
such as rocks so a helmet is essential.” Even so, heights aren’t
for everyone but that doesn’t mean you have to miss out on
© Alamy
getting a great shot, as Adrian points out: “There are places
where you can get great rock climbing photographs and you
don’t have to leave firm terrain. Over the last few years, there
has been a huge growth in the number of indoor climbing
walls and climbing competitions so there are chances for the
keen photographer to shoot in safety.”
Ryan Salm is also a keen rock climber and points out
that when shooting any sport, it’s important to build a
good relationship with your model beforehand. “The most
important thing in my mind is to be on the same page with
the athlete. I always make sure I have open communication
and a plan. It’s key that we (the athlete and myself) use
the same lingo. That he or she knows where I want them
to be and vice versa. I always talk to my models before the
shoot and go over body positioning and shot ideas.” This
is something Chris McLennan also advocates, particularly
when shooting skiers in action, as he remarks: “Work with
expert skiers who have had photo shoot experience – ski
photography is not about sitting on the side of the mountain
and waiting for something to happen. You have to plan your
locations and the action for each shot. A professional skier
will be able to follow your directions accurately.” However,
Chris warns, “Be responsible and be cautious of young skiers
with ‘Kodak courage’ – your skier should never be doing
things for the camera that they would not normally do.”
The exhilaration of travelling and shooting adventure
has hooked many photographers into this genre. With the
freedom to explore new locations and experience different
cultures, it is as much a lifestyle as it is a living. However,
ADVENTURE IN THE GREAT OUTDOORS
CASE STUDY
Trekking
A landscape can look entirely different from a new vantage
point. Trekking to a new location can be a great way to ensure
you capture a more original shot of the landscape scene.
Before setting off, pack a lightweight bag with all of your
necessary camera equipment. Stick to taking wide-angle
zoom lenses and avoid carrying extra weight with lenses that
you won’t use.
Depending on the season, ensure you are dressed correctly
for the weather conditions and have layers that you can adjust
depending on temperatures. A waterproof camera cover and
jacket will also be handy to have in case the weather changes.
For safety and if you are going alone, don’t rely on a mobile
phone; make sure you have let someone know when you intend
to leave and what time you will return. That way if they haven’t
heard from you by that time, they can contact the appropriate
authorities on your behalf. Pro Ryan Salm (www.
ryansalmphotography.com) suggests creating a safety plan if
you are trekking as a pair or in a group, “Always pick a meeting
place in case you lose your partner. It has happened to me
before. It’s important to come up with a ‘just in case’ plan so you
all know how to get out fast in case of an emergency.”
Ryan Salm shares his top five tips for
shooting while trekking
Travel light
That has always been the key for me. If you carry too much you
won’t enjoy yourself.  
See what is around you
Sometimes the best photos are taken in the mountains in your
backyard. You probably already know the good spots to go to.
Experiment with composition
There are infinite angles in which to get the shot. Don’t settle for
the first thing you see.
Get out early for first light
The photos will be better and if you can stay a few extra days, do.
You never know what weather or events will make the perfect
shot. With more time comes more opportunity.
Dress correctly
Always make sure you have the right clothing for the season.
The last thing you want is to be too cold and have to leave before
that perfect moment.
making good money in any field of photography can be
difficult, as Chris points out: “It takes a lot of experience
and hard work to make a career out of travel and adventure
photography. I’ve been doing this for over 25 years and I
still learn new things on nearly every project.” He adds,
“Always remember that photography is a business and you
should never be expected to work for nothing. Those that do,
unfortunately, don’t stay in business for long.”
Ryan Salm recommends aspiring photographers start
building up their own portfolio and embark on an internship
with a professional, “That way you can learn what works for
you on someone else’s time.” He adds that breaking into the
industry, however, takes time. “Be patient and keep shooting.
It is a rough business at times but persistency and hard
work pays off. The key is to follow your dreams. You are the
photographer and you have your own goals, keep them in
your mind and always go back to them.”
Getting involved with the sport community is a great
way to start shooting, something Adrian Trendall suggests:
“Learn and participate as much as possible in the sports
you wish to photograph to gain an understanding of the
subject and make friends with participants in the various
sports. There is a lot of crossover in the outdoor community
so new opportunities to shoot will always be appearing if you
are ready to grab them.”
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TECHNIQUES
Techniques

EXTREME WEATHER
We explore some of the most extreme environments
known to man and speak with their avid explorers to find
out exactly what it takes to get the perfect shot
F
ar from the tame landscapes of the Lake District or Scottish Highlands, storm. To top things off, we’ll also be taking a trip to the South Pole to find
in this feature we’ve gone in search of some of the most extreme out what the challenges are when shooting in the plummeting temperatures
environments on earth. You’re not only challenged physically out there, of Antarctica. Along the way, we’ll be speaking with top field professionals
but your camera kit and shooting skills are put to the ultimate test too, and to uncover all the dangers that lie ahead and share not only their incredible
every second counts. Join us as we explore some of these incredible locations experiences but also some expert shooting advice. Follow along over the next
and unveil all the secrets behind shooting there. We’ll first be exploring the few pages and discover what drives these photographers to risk their lives in
extreme desert heat and then delve into the dangers of shooting in a ferocious search of the perfect shot.>>

94
94THE TRAVEL PHOTOGRAPHY BOOK
 EXTREME WEATHER
Extreme weather

© Thinkstock

THE TRAVEL PHOTOGRAPHY BOOK 95

95
TECHNIQUES
© Getty
Shooting storms
Storms are the epitome of extreme weather
and have the power to evolve rapidly into other
natural phenomenons including tornadoes and
hurricanes. These formidable forces are not for
the faint hearted to photograph, as they pose a
very real risk to your safety. Extreme weather
photography pro Scott McPartland says, “When
I’m documenting hurricanes, I always seek out
shelter that I feel can withstand the full force of
the storm. I also ensure it’s far enough above
sea level to avoid a possible storm surge. During
Hurricane Katrina in August 2005, we took shelter
in a steel-reinforced parking garage. The ground
level of the garage was a good ten feet above sea
level already, and we were another 25-30 feet up
from that. This proved to be the perfect shelter
and we not only remained safe during the storm,
but we also managed to get decent video footage
and still photographs as well. In situations such as
these, you should always plan for the worst-case
scenario so that you’ve covered all your bases.”
Once a storm rolls in it can quite literally be
a race against time to get out there and capture
some of the incredible occurrences as the action
unfolds. Scott says, “Doing your research and
having a firm understanding of the weather, and
more specifically, severe weather is critical. As an
extreme weather photographer I need to assess
what areas I feel hold the best chance of severe
weather when I’m out chasing storms. Without a
96
firm knowledge of weather forecasting, you would
be hard-pressed on finding these storms to begin
with, and then there is the challenge of navigating
around them so you can find the best position to
photograph from. From a safety standpoint, it’s
also crucial to know your exact position in relation
to the storm so you know which way it’s heading.”
Scott uses software that feeds live radar images
of the storm as it develops, he can then overlay
his GPS signal to find out which ways it’s heading.
“When you are up-close and personal with violent
storms things can change in a heartbeat, so you
cannot rely on radar alone. You also need to be
able to assess the situation with your eyes, and if
need be, quickly adjust your position, not to just
get ‘the shot’, but to also stay out of harm’s way.”
During a storm, extraordinary cloud formations
can appear quickly, so be prepared to shoot before
they disperse. Scott says, “My favourite cloud
formations to photograph are associated with
“When you are up-close and
personal with violent storms
things can change in a heartbeat,
so you cannot rely on radar alone”
ACTION BUILD-UP
An incredible storm cloud can
look a little dull without some
perspective. Balance the
composition by including both
land and sky
supercell thunderstorms. The striated bases of
these storms to the corkscrew appearances of the
updraft all amaze me. The cumulonimbus clouds
are spectacular but I also love to shoot mammatus
clouds. These are most often in association with
severe thunderstorms and take on the appearance
of lumpy lobes hanging down from the underside
of the anvil of a thunderstorm.”
When working in a storm, you’ll need to be
aware of sudden changes. Funnel clouds for
example are fantastic to photograph but it’s not
uncommon for them to transform into intense
tornados. “Tornadoes are very short-lived for the
most part so if you are lucky enough to see one,
you have got to be ready to shoot at a moment’s
notice!” says Scott. “The window of time to get
these shots can be very small, so have a plan in
place so that when that time does come, you’re
ready to go!” Light and weather conditions change
continually during a storm so be prepared to
 EXTREME WEATHER

adjust camera settings while you shoot. Extreme

weather photographer Sean McCormick advises,
“Storms equal high winds so aside from using a
heavy tripod to stabilise my camera, I also use
fast shutter speeds to minimise movement. If
however, I’ve been caught with just a camera and
the wind is up, I’ll use high ISO settings (ISO 800
or thereabouts) and shoot as wide as possible to
minimise problems from camera movement. I
may even underexpose by a stop and bring the
exposure back in RAW processing just to get
the extra shutter speed I’ll be needing. In these
situations however, I never use a telephoto lens
about blur or overexposure. Scott says, “It’s better
to photograph lightning at night, away from city “From that day
forward, I make
lights as you’ll be able to do longer exposures
without overexposing the image. I have, however,
captured a good number of lightning shots at dusk,
and in areas where light pollution was an issue,
but during those times I’ve had to use a shorter
exposure time.”
sure the camera
Sean McCormick (mccormickphotography.
com) is an avid extreme weather photographer is outside with
the lightning
who has had plenty of practice capturing lightning
and even some pretty close calls. Sean says,
“When I’m photographing lightning and it’s bright

and I’m inside a

as strong winds buffeting the lens will ruin the
majority of my images.”
Striking lightning
Lightning is a truly spectacular sight during a
raging storm. Capable of completely transforming
the landscape as it lights up the sky, this
extreme electrical force of nature commands
both respect and awe. Being unpredictable
however makes it a real challenge to shoot.
Extreme weather photographer Scott McPartland
(severeweathervideo.com) regularly risks
the elements to get incredible shots of storms,
hurricanes, tornados and lightning. He says,
“What I love most about lightning is you’ll never
capture two bolts that are exactly the same. Every
single one of them is unique. Plus there’s the thrill
of capturing such a fleeting moment in time.”
Due the sporadic appearance of lightning, it’s
impossible to predict exactly when or where it will
strike during a storm, so a long exposure is crucial
to capturing the shot. The speed of fork lightning
and the powerful source of light that is produced
is not dissimilar to a flash, so you needn’t worry
out, I’ll stop down to the smallest aperture and
stick to a low ISO setting. I also lock my shutter
open and set my camera to high-speed capture
mode. If it’s too bright, I’ll add a ND filter to the
end of my lens. Generally, I’ll keep my captures
between 10 and 30 seconds as under that, you’re
likely to miss lightning strikes while the camera
cycles between shots. Once the camera is then set
up, I’ll point it toward the lightning activity, focus,
lock the manual focus then release the shutter
and retreat to safety. If I’m shooting after dark
however, particularly when there’s no moon, I’ll
use the bulb mode and leave my shutter open for
up to four or five minutes at a time.” Patience and
perseverance is without doubt key here, as it’s not
uncommon to miss what could’ve been a great
lightning shot.
Safety is also paramount and should be
carefully considered when exploring this area
of extreme-weather photography. This is not a
lesson you want to learn the hard way, as Sean
McCormick points out, “I was once shooting a
storm that was ten miles away, when lightning
struck very close to me. One minute I was with
vehicle or
a building”
my tripod and the next both the tripod and I were
on the ground. The flash had left me temporarily
blinded and the thunderclap left me deaf. I knew I
was on the highway but couldn’t locate my camera
or van. I crawled around in circles until I found
both and had to wait over half and hour
before I could see well enough to drive. I am
incredibly lucky.”
It’s a message of warning to extreme weather
enthusiasts. McPartland certainly learnt his
lesson, “From that day forward, I make sure the
camera is outside with the lightning and I’m inside
a vehicle or a building.” Setting up your camera
and then using a remote shutter release is ideal >>

STRIKES TWICE
The lightning acts as a flash, so you are
able to use longer shutter speeds

FRAMING FORK LIGHTNING

It’s impossible to be certain exactly where
lightning will strike. To increase your chances of © Thinkstock
capturing it, shoot in landscape orientation

97
TECHNIQUES

and will help to ensure you get some great lightning shots
safely. Scott McPartland suggests, “Set your camera up on a
tripod outside the driver-side window. You can remain inside
Heatproof your kit
The extreme heat can play havoc with your
the vehicle and still adjust the camera settings if needed by camera equipment so it’s important you take
rolling down the window. My main rule of thumb is if I find precautions. As Dean highlights, “A hot image
myself questioning my safety, it’s time to pull back.” sensor means noisier images and such extreme
heat is not good for the electronics. Keep your
Desert heat camera inside your bag when it’s not being used.”
Changing your lenses inside the camera bag is
Sprawling desert landscapes baking under the blazing sun also a great way to avoid dust, dirt or sand from
can be a real challenge to shoot. These arid environments, getting in and scratching the sensor. It’s always
although seemingly barren, are full of abstract forms, important to zip up your bag too: “Fine sand will
textures, vibrant colours and strong, contrasting light. always find its way inside a camera bag that is left
Capturing this extreme environment on camera is not unzipped. It may be inconvenient to keep When you’re all set up, be aware that the black
opening and closing the zipper, but once inside camera body will absorb the heat too. Dean
without its difficulties though. Nature photographer Dean M.
sand will pollute every piece of equipment you suggests, “Something as simple as a small
Chriss (www.dmcphoto.com), who’s a keen desert explorer put in the bag until you empty it and vacuum it white towel put over the camera is enough to
points out, “During the summer there are the least amount out thoroughly.” keep it cool.”
of photographic opportunities for the most amount of
hardship. The sun can be up for more than 15 hours per day,
but it spends very little of that time near the horizon. That
means the light is very harsh most of the time. Temperatures
can also be unbearable.”
If you’re working in these blistering conditions, safety is
paramount. Dean says, “In hot locations I try to carry only
the camera equipment I think I will need. That lightens the
load so I can carry plenty of water.” Avoiding the midday
sun is also essential as Dean says, “I try to get out well
before the sun is up. This is the coolest time of the day, and
light on the landscape is at its best before sunrise and a
couple of hours afterward.”
Light is one of the most dominant features in this
landscape so the practicalities of shooting differ somewhat to
your standard landscape shoot. “Brightly lit sand dunes can
require two stops of overexposure while chocolate-brown
sandstones may need significant underexposure. I always
have my camera set to blink overexposed pixels on its LCD,
as you’ll need to use the histogram to determine the best
exposure. I like to bracket exposures too for an extra
margin of safety, particularly in situations where exposures
are tricky.”
Using the right camera equipment and settings is also © Thinkstock
essential. “A good sturdy tripod and low ISO settings are
great for producing sharper images that have less noise. This
way you can preserve the textures and fine details found in MANLY BEACON SUNRISE GOLDEN SUNLIGHT
The rising sun illuminates clouds above Large clouds are illuminated by a bight
the desert. A polariser filter will also help to render rocks the mountains orange glow
and plants in their proper colours, eliminate atmospheric
haze, darken blue skies and make clouds stand out.” Dean
adds, “Just remember that too much polarisation of the sky
can look unnatural. Polarising filters are most effective when
your lens is perpendicular to the direction of the sun.” Don’t
be afraid to experiment with equipment either, as telephoto
lenses are a great alternative to wide-angle as the extended
focal lengths compress the scene and bring the
background in.
Aside from the vast landscape opportunities, the
topography of this kind of environment offers plenty of
fantastic abstract forms. Dean explains, “Without much
vegetation, the forms, patterns and textures of the earth
itself are revealed in the desert. I look for interplay between
the various shapes and textures. When the sun is near the
horizon, the light helps to accentuate these forms. I also
enjoy creating softer and more intimate images in diffuse
light when it’s available. These tend to reveal the desert in a
way that many never see.”
Desert environments should never be underestimated
either. “Research the weather before you visit. It’s not
always hot and the difference between high daytime
and low nighttime temperatures can be more than 40°F
(22°C). Winter nights can dip far below freezing.” Dean
recommends visiting desert locations during autumn
© Thinkstock
months when there’s some respite from the heat. He says,

98

“The shorter days and cooler temperatures make
it possible to take longer hikes, which puts more
photo locations within reach. The sun also spends
[more] time near the horizon in autumn, giving
more good low-angle light, so your time is a lot
more productive.”
The lack of bad weather during this season
is also a bonus, as Dean adds, “The dramatic
thunderstorms of summer become less frequent
as autumn progresses. Such storms can add some
real drama to a grand landscape image, but they
are no fun to be under. These storms tend to
produce lots of lightning too, which can
be deadly.”
Sub-zero climates
Photographing in the extreme cold is another
intense challenge for photographic explorers.
Up against severe minus temperatures, you
can never be over prepared. Alexander
Kumar (alexanderkumar.com) and Erick
Bondoux (antarcticaonline.org) are both keen
photographers who are currently stationed at
Concordia Station in Antarctica – the coldest place
on earth. As temperatures can drop below -80°C
in winter here, it’s essential for any photographer
to have planned for every eventuality prior to
setting off.
This is something both Alexander and Erick
strongly advocate, remarking, “Planning is
everything when working in extreme cold
environments. You have to first ensure your own
safety – be sure that the equipment and clothing
CHANGING LIGHT
The time of day you opt to
shoot at can completely
transform your photographs.
Early mornings or late
afternoons provide a
much more vibrant light to
complement the landscape
© Thinkstock
you’re using are suitable for the worst conditions
you may expect.” Alexander adds, “Frostbite
can occur to any area of the skin that’s left
exposed. Adequate and appropriate clothing such
as a Canada Goose parka is essential and will
offer protection to your body as well as camera
equipment and accessories.”
Protecting your camera from the elements is
essential. It’s important to note that even the most
durable models are still susceptible to breaking
under these conditions. Alexander explains,
“Autofocus mechanisms and diaphragms can
freeze easily in extreme cold temperatures. If you
force this mechanism once it’s frozen, it can break.
We recommend you use manual focus and avoid
changing the AF/MF switch on your lens. You
should also try to limit the use of the aperture
diaphragm and optical stabilisation technology.”
Setting up your kit and selecting the best-
possible camera settings prior to stepping outside
is the best way to reduce the risks of damaging
your precious camera equipment. This includes
changing your lenses as Alexander points out,
“the snow and humidity changes can damage
internal mechanisms.”
Of course, when working outside in the cold
there will still be things you’ll need to watch out
for, as Alexander and Erick explain, “Batteries are
the greatest technical limitation when it comes to
shooting in cold environments.” Once a camera
battery is exposed to colder temperatures it can
lose its charge extremely quickly. Alexander
suggests, “Any spare batteries should be kept
EXTREME WEATHER
inside your clothing and up against your body.
Lithium-ion batteries generally provide longer
life but only will last around 15-30 minutes or so
when exposed to -50°C and below. Use a DSLR
grip, this way you can use additional batteries
simultaneously, increasing your shooting
time, autonomy outdoors and provide greater
control when handling the camera with large,
cumbersome gloves.”
Naturally, shooting in these conditions, you’ll
be challenged by the light and the landscape.
Setting your exposure correctly is key to avoiding
overexposed images that have burnt-out highlights.
Alexander says, “Because of the high light
intensity and reflection and refraction off the snow
in the Antarctic winter, you’ll need to continually
measure the light when setting or changing your
exposure. Polarising and UV filters can be useful
to help reduce glare.”
ND filters like the Big Stopper are also great for
preserving some of the highlight details in your
image and give you a little more flexibility when it
comes to setting just slightly longer exposures.
It’s important to remember however that this
can still have a damaging effect on your kit as
Alexander and Erick point out, “You should try to
avoid using the mirror-up function as prolonged
exposures in direct sunlight can damage your
camera’s sensor.”
Between shooting, always ensure your camera
is out of the elements and ideally within an
insulated camera bag. Most importantly, always
put yourself before the shot.
99
TECHNIQUES

ZEBRAS
Balancing the exposure can be
tricky, especially when it comes to
photographing high-contrast subjects
like Zebras
© Getty Images

100

Let’s take a walk on the wild side of travel photography
T
eeming with wildlife, and guaranteed
incredible light, Ruaha National Park in
Tanzania is a photographer’s dream. With
a wildlife behavior expert and renowned African
photographer to help you push your photography to
the next level – whether you’re a beginner or a pro –
this really is the ultimate spot for a workshop safari.
Ruaha National Park is about as untamed as
the African bush gets and offers a photographer
every opportunity (and every possible challenge)
SHOOTING
ON SAFARI
to take superb wildlife and landscape images. For
most tourists, including keen photographers, the
Serengeti or the Ngorongoro Crater are the most
obvious destinations in Tanzania.
Very few visitors consider the southern circuit
of reserves, but Ruaha’s spectacular scenery
provides an iconic backdrop for a photo-focused
workshop safari. Its remote location also means
you won’t have other safari vehicles spoiling your
captures. Ruaha is also one of the few national
SHOOTING ON SAFARI
parks in Tanzania to allow certain qualifying tour
companies ‘special camping rights’. That means
that footprintless camps can be set up in locations
chosen for that specific time of year and the interest
of the visitor.
In the case of a photographic safari a spot near
the main concentration of game and within easy
reach of particular landscape viewing points is
ideal, and you can still have beds, hot showers
and electricity!
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TECHNIQUES

BUFFALO
Herds of buffalo make for interesting
landscape shots

SILHOUETTE
Head out early in the
morning to ensure that you
get the most interesting
animal captures
The Ruaha river, which runs through
the park, gets very low in August and
September, during the dry season, and
dry river beds provide perfect locations
to capture thirsty animals in search
of water. “Each area is very different,”
explains Sven Liebchen, a Tanzania
guide and animal behavioural expert
(authentictanzania.com). “I know that
certain environments suit certain species
so I can often find specific animals
for guests. I encourage people to ask
questions – the more they understand
what an animal is doing the better
equipped they are to anticipate the
behaviour for the best shot.”
One of the greatest difficulties with
wildlife photography is exactly as Sven
says – anticipating behaviour, in terms
of where to position your camera and
what settings you need. It’s easy to risk
missing the shot entirely. These subjects
move fast and will disappear almost
immediately, leaving you with nothing
but a blurred animal backside captured
on your screen. By learning a little about
the animals, it does get easier.
Challenges every photographer will
face in Ruaha are numerous. Workshop
tutor and photographer Paul Joynson-
Hicks, has a huge range of tips to
help handle every awkward situation.
When it comes to moving subjects,
Paul advises that you work with the
movement, either using the panning
technique or by pre-setting your camera
for faster shutter speeds to capture
sharp action.
To pan, set your aperture to a low
f-stop, in aperture priority mode, then
track the movement of the animal
to blur the background and get an
artistic interpretation of the subject.
Alternatively, shutter speeds of between
125 and 500 do generally mean you can
have more control of the exposure and
get a sharp image in spite of the camera
being hand-held (as long as the driver as
turned the engine off to
avoid vibrations!).
Tripods are not an option when
shooting from inside the safari truck,
and so here the bean bag becomes king!
There are spots where it is possible to
be out of the vehicle and you’ll almost
certainly want a tripod to capture
landscapes, night skies and even hippo
action from the river banks, but for the
most part visitors stay in the vehicle.
That also means it’s important to be
aware of your angles – when you’re
travelling in a high-suspension vehicle
you could be shooting very nearby
animals from above, which is generally
not an ideal situation. By taking shots
from further back, or crouching to a

“The most striking issue in

Ruaha, and indeed any safari
© Getty Images

location, is the extreme light”

102

© Getty Images
© Getty Images
lower window, this can be overcome.
The most striking issue in Ruaha, and
indeed any safari location, is the
extreme light. For the majority of the day
ISO is firmly at 100 and avoiding harsh
shadows becomes the name of the game.
Where a subject is in a pool of shadow
(as animals often are, avoiding the worst
heat of the day), try to get in close so that
the camera sees only shade light and can
meter accurately. Resulting cool light
can be warmed up in post-production
later on.
As the sun rises and sets over the
plains there is perhaps an hour of
slanting light bookending the day,
making the land seem to glow from
within, but this is fleeting and it’s
important to be ready. The speed of the
changes are due to Tanzania’s proximity
to the equator, and this also means that
optimum shooting times change very
little from season to season. The rest of
the day is likely to be spent shooting in
bright sunlight.
The ideal kit for a specialist holiday
in Ruaha would include more than one
camera body for instant lens changing,
a wide-angle lens for landscapes, a
large-range zoom lens (eg 150-500mm)
as game is often at some distance, and a
mid-range lens (70-200mm). A soft carry
SHOOTING ON SAFARI
MOTHER AND BABY
Capturing animal behaviour, rather than
simply the animal itself, is often what
really makes a safari shot exciting
Shooting advice:
animal portraits
© Getty Images
© Getty Images
A huge focus on an African safari is bound
to be animal portraits. There will be plenty
of opportunities to get close to wildlife, but
it’s very easy to find that photographs are
bag for dust protection and dust-cleaning not as exciting as the experience of seeing
kit are crucial, as are spare batteries, them was in reality.
BIG CAT
chargers, and a digital storage device. A
tripod and cable release are also useful,
BASKING
A lioness relaxes in the
molten orange glow of the
1 Catchlights in the eyes of a wildlife
subject bring the portrait to life, these
are easiest to achieve during the golden
while flash equipment is less so.
evening sunshine hours of sunrise and sunset.
A photographic workshop safari
provides an exceptional learning
experience. One where you have 2 For close-up animal portraits it’s
important to get the right balance with
depth of field; too shallow and it’s hard to
experts on hand, the subject matter find the focus on the eye, too deep and too
is compelling and magical for every much of the frame is sharp.
moment you are there and you are
absolutely free to try new things, make
mistakes, ask questions and ultimately
3 If you’re photographing an animal
through long grass, switch to manual
focus to avoid focusing on the grass.
do your best work.
103
TECHNIQUES

SHOOTING
UNDERWATER
Shooting beneath the waves is one of the hardest
challenges in travel photography, although hugely
rewarding, as we explore

104
 MANGROVE SNAPPERS,
THE THREE SISTERS
CRYSTAL RIVER, FLORIDA
A split-level picture, shot by immersing
the camera so only half of the lens is
submerged. It’s an effect best achieved
with a DSLR in housing fitted with a
dome port, although you can get a
good result
with a compact camera in
calm waters
© Alex Kirkbride

105
TECHNIQUES

Dive into the deep with our tips on taking

stunning underwater photography

I
PYGMY
SEAHORSE,
PAPUA
NEW GUINEA
Make sure you get in close
and fill the frame with your
subject. It’s a common
mistake among novice
underwater photographers
to shoot from too far away
f you’ve ever seen images from
the Wildlife Photographer of the
Year exhibition, or marvelled at
David Attenborough on the BBC, then
you’ll know just how spectacular the
underwater world can be when it’s
captured on camera. As land mammals
we are very removed from what is
happening under the waves, although
scuba diving has gone from a minority
interest to a hugely popular sport over
the last ten years. Almost anyone can
learn to dive nowadays, and snorkelling
is a cheaper and easier alternative in
shallow waters.
For any photographer though, diving
presents a problem: once you’ve tried
it you’ll want to go back down with
your camera, we guarantee it. But
you can’t pick a more difficult genre
of photography. Light changes all the
time, there are new technical skills to
be learned, and new equipment to buy.
You also have to be pretty handy as a
diver to get the best images. But don’t let
us put you off – everyone needs to start
somewhere and we have some essential
advice that will let you avoid those
classic mistakes.
In warm waters that are home to coral
reef and tropical fish, you can see so
much by snorkelling that you’ll wonder
whether fully-fledged scuba diving is
worth the hassle. Swimming over the top
of fish and coral gives you a great view,
enabling you to dive down deeper if you
see something that’s of interest. You
won’t be diving too far, of course, which
means you don’t need very specialised
kit. There are compact cameras on the
market that are waterproof to depths of
5-10m – perfect for snorkelling! You’ll
get better results the more light you have,
so try to shoot in areas where the sun
is shining in through the water. Light is
scattered by small particles in the water,
meaning there is less of it the deeper
you go. Objects will also be darker the
further you are from them, meaning it’s
a good idea to get as close to your subject
as you can, using the wide-angle end
of your camera’s lens. Avoid zooming
in from a distance, and never use your
camera’s built-in flash. All you will do is
light up all of the particles in the water,
which will look like snowflakes. It’s a
problem know as ‘back scatter’ in
diving circles.
As well as getting darker, light also
gets bluer as you go deeper. In the days
of film, divers used to correct for this
problem by using a magenta filter over
their lens, though nowadays this is done
digitally with white balance adjustments.
If you are using a compact there may be
a preset for underwater shooting on the
device. If you don’t, try the flash
preset or see if you can adjust white
balance manually.
To go further down in the water, you’ll
need a tank of air and a scuba diving
qualification, which can be earned >>

Split-level pictures
An impressive shot to get with your newly purchased
underwater camera (no scuba gear required) is the
split-level photograph, often known as a ‘half and half’.
Here the photographer positions their lens halfway out
of the water, thereby simultaneously recording what is
both above and below the waterline in one go.
A half and half can be tricky to get the hang of. You’ll
need a small aperture to get enough depth of field to
render the two halves of the picture in focus, and that
can necessitate high ISO settings if light levels are
anything less than bright and sunny. You’ll also need to
look for subject interest both above and below the
waves, which isn’t always easy.
Getting the waterline central in the frame is easier
when using a DSLR and housing equipped with a dome
port and wide-angle lens, but it’s possible to re-create
with a compact providing the water is not too choppy.
Use the camera’s viewscreen to preview the effect, and
try turning it upright to allow for a little bit more
movement. Don’t be afraid to crop the image
afterwards, either.

KEMA THE WAVE, GRAND CAYMAN

A split-level image – sometimes known as a ‘half and
half’ – grabbed while floating on the surface of the water © Alex Kirkbride

106
 SHOOTING UNDERWATER

© Alex Kirkbride
PRO INTERVIEW

Alex Kirkbride
We speak to an
experienced
underwater pro
When and where did you first
start shooting underwater
photography?
It was in 1982, when I was in my early twenties. I’d become
a scuba diving instructor and dive master, firstly in Jamaica
and later in the Bahamas. I’d lived in London before then,
but really wanted to travel and work abroad. It was a great
experience: I must have dived about 1500 times before I
picked up a camera.
I began working at places that offered underwater
photography courses, or where part of my job was to
photograph the guests underwater. I had no real
photographic experience up until then, but those
opportunities gave me the chance to experiment after
hours and shoot with free film and processing.
What is it about the underwater world that fascinates
you so much?
I know it’s a clichéd thing to say, but it very much feels like
you are in another world. I’ve grown up always loving
animals and wildlife, and I think as land animals humans find
the underwater world intriguing. It’s so different. Plus, of
course, back in the Eighties not many people knew about life
under the waves, so there was an element of education
about photographing it. That’s become even more
important now, with all of the environmental concerns
surrounding marine wildlife.
How worried are you about the state of the seas?
I have to be honest – I’m not a happy person right now. I try
to be optimistic, but Homo sapiens have unfortunately
done some very serious damage to the world’s water
environments, by over-fishing and pollution. Things are not
in good shape. It’s infuriating, because environmentalism
isn’t as new as people think it is. Robert Kennedy was talking
about it in 1968, but since then politics and big business
have got in the way of any progress.
We’ve had 40-50 years to do something, but we are
extremely close to the point of no return. Many specialists
have said that the sea will be dead if we continue what we
are doing.
Through my photography, I hope I can show people what
is down there and what we are in danger of losing. I want to
show people things that will trigger them into doing
something about it.
Who are the major customers for your images?
I supply stock libraries but I’m also selling fine-art prints
now. They are popular with both fine-art collectors and
underwater enthusiasts. I think it’s important to price
them affordably, too. I’ve just started a series of 20 x 14”
prints in editions of 250, which I’m selling for £125 – they
are popular.
I’m trying to focus on future projects at the moment, too.
More environmental stuff, and perhaps some trips to the
Arctic and Antarctic to shoot some stuff under the ice. I still
do lectures and talks too, which I enjoy, especially when I’m
talking to children. It’s vital to get the next generation excited
about the underwater world.
What kit do you currently shoot on?
I’ve actually only just gone digital. There is such a huge
investment in gear in underwater photography, with the
housings, strobes, etc. I was shooting a big project called
American Waters between 2001 and 2005, and I didn’t
want to switch over from film halfway through it. I’ve
recently bought a Nikon D3X, though, and can’t wait to get
started with it. I’m just getting a housing sorted out now. It’ll
be so nice to be able to shoot more than 36 exposures in
one go!
You can see more of Alex Kirkbride’s amazing
photography on his website at www.alexkirkbride.com.

107
TECHNIQUES

“Search out light and try as hard as Gear

Not sure which
you can to get this into your picture” equipment you need to
take the plunge with
you? Read our guide…
in less than a week from a reputable scuba school – learning the ropes. At deeper depths, the problems
Choosing the right gear for
although the more diving experience you have, the with low light and blue colour temperatures are underwater photography is difficult
easier you’ll find it when taking pictures. You will also exacerbated, and you’ll need to be clever to avoid at the best of times, and can be an
need a camera with more waterproofing to withstand running into trouble. A classic beginner’s mistake is to expensive game. It’s vital to match
the higher pressures at increased depths. Underwater look downwards at a subject, where it is much darker. the kit you buy with your experience
housings for compact cameras are available for If you can, always look upwards; the results will be level, but where do you start? Well,
having taken advice from Dave
relatively little money (from £100 to £200/$150 to much better. Search out light and try as hard as you
Glanfield from Cameras
$300), although the same thing for your DSLR will can to get this into your picture. Shafts of sunlight Underwater, here is the top kit for
almost certainly end up costing more than the camera piercing the surface of the water look spectacular beginner, intermediate and
itself. Best stick to the compact option while you are as they travel down into the depths, or try looking advanced aqua snappers.
Whatever your level of water
worldliness, you don’t have to
JACKS & miss out…
BARRACUDAS,
Snorkelling
LAMA SHOALS, One of the many out-of-the-box
PAPUA NEW waterproof compact cameras that
GUINEA are on the market is a good choice
Wide-angle lenses are here. Look for models from
the optic of choice for the
underwater snapper.
Olympus, Pentax and Panasonic.
They’ll let you get in close Most are certified to depths of 10m,
to your subject to minimise although some only withstand
the effect of particles in pressure to 3m. Dave says: “It’s
the water Canon’s newcomer, the Powershot
© Alex Kirkbride D10, that is making an impression.
Picture quality is excellent, and it
has the all-important manual
white balance.”
Beginner diver
You’d think there’d be loads of
choice in this area, and there is – to
a point. There are only a few
compacts that will perform really
well at depth, though. Dave says:
“Again Canon, with its great manual
white balance, steals
the show. The Ixus 100 package,
which delivers great-quality stills
and HD video from a tiny package,
is good value.”
Experienced diver
Taking your DSLR underwater is
worth it if you want complete
control over your images. Canon
and Nikon dominate the
underwater scene, although
Olympus do also get a good look in.
Dave says: “There are various
housings available for DSLRs –
check out models from Ikelite, Sea
& Sea and Aquatica. We are very
impressed by Aquatica’s latest
offerings, in particular the AD90 for
Nikon’s D90.”

Visit www.camerasunderwater.
co.uk for more information.
© Alex Kirkbride

108

directly up at the surface, silhouetting
MOBULA RAYS, BAJA, MEXICO a fellow diver or snorkeler, or even a
Always try to look up at your subjects if you can. Light boat, against the sun. Again, wide-angle
levels are greater at the surface than they are at depth
lenses are the name of the game here,
© Alex Kirkbride
and you’ll find accessory ultra-wide-
angle lenses available on many compacts.
To correct for the ever-increasing
RIO NEGRO AMAZONAS blueness of the light underwater, we’d
Looking up through the surface of the water and recommend you investigate if your
including details back on dry land. This kind of shot is possible compact can be set to shoot with a white
to achieve just as well when snorkelling too
balance, measured from a white or grey
card, and do this underwater at the
depth at which you are going to shoot.
Alternatively (if your camera offers such
a function) you could always capture the
picture in RAW and worry about white
balance and colour casts later.
When your diving gets better, and
you are able to control your buoyancy,
hovering in front of corals and rocks
confidently without touching them,
then it’s time to try some underwater
macro. In much the same way as
macro photography on dry land can
be an infuriating game, doing it
underwater is even worse. As well as
your subject moving around, you, the
photographer, are also prone to drifting
about. You’ll need a small aperture to
© Alex Kirkbride
ensure everything is in focus but, in
such dim conditions, this is going to
result in some long shutter speeds. As
we’ve already said, your built-in flash is
SHOOTING UNDERWATER
not an option, but there are waterproof
external flash guns (or ‘strobes’ as
they are known beneath the waves)
available for compacts and DSLRs that
allow you to illuminate subjects from
an angle, and eliminate the back-scatter
problem totally. Look for units from
manufacturers like Sea & Sea and Ikelite.
Taking your DSLR underwater will
take your sub-aqua photography to the
next level, although this is an altogether
more complicated and expensive game.
You’ll need a custom housing that
will cost upwards of a grand and take
different lens ports depending on what
optic you are using. Of course, you’ll get
a lot more creativity with a setup like
this, so if you have been well and truly
bitten by the underwater bug, then this
is the kit to aim for. You’ll be able to use
ultra-wide-angle lenses and multiple
flashes. Some divers even take tripods
down with them when shooting at
depth or inside wrecks. The underwater
world is a fascinating place and we defy
anyone not to feel inspired to capture
it on camera once they’ve dived or
snorkelled in fish-filled waters. However,
it’s important to treat this world with
respect, as the seas are currently under
enormous ecological threat. Coral reef
takes decades to grow and seconds to
die. Your presence should be invisible.
109
TECHNIQUES A masked dancer at the Tamshing
Monastery Tsechu festival,
Bhutan. Shot at 70mm and f2.8,
1/50sec, ISO 200
© Gavin Gough

Without many of the constraints of other genres, a successful

travel photographer can shape their own routine provided they
remember the basics, as we explain right here
110
 GO PRO WITH TRAVEL PHOTOGRAPHY

B
uy a camera, book a cheap flight to Paris,
grab a shot of the Eiffel Tower and another of
a baguette and you’re ready to order business
cards with ‘travel photographer’ embossed
under your name. Perhaps more than any other
photographic genre, travel photography initially
appears to be easily accessible. It doesn’t require
a studio or the inconvenience of hiring models
and stylists, you don’t need a vast array of kit or
numerous assistants and you might not even need
clients when you start off. While some of these
things may be true, expecting travel photography
to be your shortcut to a life of jet-setting to palm-
fringed beaches where you’ll sip Piña Coladas in
the bar while you wait for the right light is likely to
lead to disappointment.
In an oversaturated market with tumbling
prices, travel photographers need to work very
hard, livw e very cheaply, or do both. Browsing
through a glossy travel brochure and admiring the
images of a sun-kissed Taj Mahal or the smiling
face of a demure Polynesian girl might leave you
wondering how the lucky photographer of such
delectable scenes landed the job. In actual fact,
that photographer was probably struggling to
hold a camera with one hand while fighting off
mosquitoes with the other. They may have just
arrived in town after a bone-shaking, twelve-hour
bus ride with their concentration waning as they
wonder whether their hotel is double-booked and
if they remembered to pack their spare memory
cards that morning.
In the same way that the best fashion
photographers in the business are style aficionados
and award-winning sport photographers can
recite the names of every player in the Premier
League, successful travel photographers must
be travellers first and photographers second.
The desire to seek out new experiences and to
embrace cultures and lifestyles that are frequently
very different from your own is a prerequisite.
Travelling for extended periods can be hard work,
so the fully-fledged travel photographer is one who
has learned to turn discomfort into comfort and
long delays into periods of meditative reflection.
A travel photographer needs to be able to pull out
all the stops and create engaging images when
under pressure, while retaining the hard-headed
approach that will allow them to stay in business
amid fierce competition.
The first and perhaps most crucial step you can
take when setting out is to hang on to your main
income for as long as possible. If you have a nine-
to-five job, then shoot at weekends and plan your
holidays around travel photography opportunities.
Make travel photography your second source of
income and keep a separate account, where you
can begin to build up resources for the future.
Employ the services of a reputable accountant
to keep you straight with the taxman and secure
any investments so that they are not tied into your
new business.
Although travel photography generally conjures
up images of exotic, far-flung destinations, it is
important to remember that every destination
is far-flung to somebody. It is not necessary to
immediately book an around-the-world ticket
in order to begin building your portfolio. There
will be potential in your local neighbourhood, so
before you start packing your bags and checking
the renewal date on your passport, it makes
financial and practical sense to concentrate on
photographing your own country.
Professional travel photographers know that
clichéd images of tropical beaches actually have >>

Charitable creativity “In an oversaturated market, travel

photographers need to work very
Working as an NGO photographer
can allow you to support many
worthy causes
There are a huge number of non-governmental
organisations engaged in charitable work around the
world. While the majority appreciate the benefits that
hard, live very cheaply, or do both”
good photography can bring to their fund-raising
endeavours, budgets are necessarily tight, so a
photographer hoping to work for an NGO must be
creative in their approach. Working for an NGO will
give you the opportunity to enhance your portfolio,
while producing work with a tangible benefit to
those in need.
David duChemin is a humanitarian photographer
based in Vancouver. He has worked with some of the
biggest charitable organisations and has earned a
reputation for delivering exquisite photographs. David
has also founded the ‘Vision Collective’, an online
forum for ‘World and Humanitarian Photographers’
(see www.pixelatedimage.com).“Travel photographers
looking to work for NGOs need to go in with eyes wide
open,” advises David. “I started shooting for clients that
work with orphans and vulnerable children about four
years ago, when I finally discovered the stories I was
most passionate about telling. That change in
direction has taken me around the world, shooting for
organisations like World Vision, but it’s not easy. The
pockets that pay photographers to gather photo-
graphic resources are the same ones from which they
draw other expenses, and while great photography
dramatically increases the pull of advocacy, it’s often
difficult to convince these organisations to allocate the
necessary budget. You can certainly make a living
doing this but it requires some creative funding, like
sponsorships or working commercial jobs that pay
well enough to subsidise the NGO work. More than
that, working with NGOs requires an intimate
understanding of the client’s needs, a great deal of Wat Yai Chai Mongkhon,
patience and diplomacy, and the ability to communi- Ayuthaya, Thailand.
cate cross-culturally. Expect long hours in rough condi- Shot at 200mm and f16,
tions, dodgy food, the odd bit of malaria, and some of 1/125sec, ISO 400
the most rewarding moments of your life.” © Gavin Gough

111
TECHNIQUES

a limited market, but that photos of well-known

locations shot in new and creative ways can pay
the bills. Photographing locally will give you the
“Make travel photography your
opportunity to hone your technique and to learn
what images are attractive to prospective buyers.
Examining recent publications will give
second source of income and
you a sense of the subject matter and style of
photography that is popular in the current market.
Before you set off, make a list of the shots that
build up resources for the future”
you want to get for your portfolio. You will need
to show the popular tourist destinations, so check
opening times to see if you can arrive early and
leave late in order to shoot in the best light. It is
also a good idea to see what restrictions apply
to photography in these locations, to avoid any
disappointment occurring later down the line.
Can you take pictures inside a historic building
and, if so, are you able to license them for sale
afterwards? Contact the person responsible for
marketing a location to see if they will give you
access out of hours and if they would be interested
in purchasing the images that you take. It is this
sort of relationship that will allow you to take
images that vary from the norm and which will,
hopefully, stand out to buyers.
When you are sure that you have compiled a
comprehensive list of the locations you want to
photograph, begin to consider what other shots you
can take to depict the unique or unusual aspects
of your destination. Check to see if there are local
festivals or events that might provide eye-catching
images and don’t forget the little things. Images
of local cuisine, for example, will contribute to
a comprehensive catalogue of the place you are
photographing and give editors and buyers greater
choice when you begin to market your work.
Step into any gathering of photographers and
you will hear the conversation quickly turning
to gear. There are a multitude of online forums
dedicated to discussing the latest gadgets, and gear
envy has afflicted many a photographer. Investing
in reliable, good-quality gear will indeed bring you
rewards, but it is important to get the gear that fits
your photographic style rather than the other way
around. Decide first what sort of images you want
to produce and then tailor your gear accordingly.
Invest in the best-quality optics that your
business can justify and worry less about pixels
and frames-per-second. High-end advertising
photographers might need high resolutions
and sports snappers may demand rapid frame
rates, but travel photographers generally benefit
from quality lenses and lightweight gear. With
manufacturers consistently fighting for market
share by introducing new products, it might be
sensible to consider renting your gear instead of
buying it outright. This enables you to select the
gear you need for specific jobs and means that you
can stay up-to-date without tying up vital capital.
If you can rent when you arrive, you also avoid the
struggle through customs and the fight for space in
overhead lockers when you fly.
Once you reach a position where you can
accept a commission or can afford to self-fund
a photographic trip, you might want to consider
what to do with your assets at home. If you are
planning on an extended trip then letting your
home can bring in valuable income, but you
want the rental to be a benefit to you and not a
burden. For that reason, it is worth renting your
home through an established letting agent. They
will handle the deposit and inventory checks and
will usually make regular visits to inspect your
property. They will vet prospective tenants and
check references. Most will also handle minor
repairs and employ reputable tradesman to work in
your home if the need arises. Agents will expect a
commission, but for the ease of mind that an agent
offers, it can be well worth it. If you do let your
home out, don’t forget that there
is a potential tax liability from rental income. An
agent can advise you how best to deal with this
and will usually help you with the initial Inland
Revenue paperwork.
Assuming that you will be on the road for
extended periods of time, a website can serve as
a great marketing tool when you are unavailable.
The internet has brought great opportunities and
a whole new way of advertising your product,
which you should remember consists of both you
and your images. Remember that a poor website
will drive potential clients away for good, so it is
worth investing some time into making your
online presence elegant, informative and easy to
navigate. The old adage that you don’t get a second
chance to make a first impression is never more
accurate than when applied to websites, so avoid

Top five non-

camera essentials
GPS device
Clients are increasingly asking for geodata to be
part of the embedded information in photos. A
GPS device will record your exact location
throughout the day and can be synced to your
photos during post-production.
Compass
A compass will not only determine where the
sun is going to rise and set, but it will also to
help you navigate your way out of labyrinthine
markets and point you in the right direction in
unfamiliar cities.
Laptop and external hard drives
When the light isn’t great, you can catch up on
your captions and back up your crucial RAW files
securely.
Business cards
You never know who you’re going to bump into,
so carry professional-looking cards everywhere
you go. A girl in traditional costume
prepares for the main
Travel Insurance procession at the Phi Ta
Check the small print on your policy, as you Khon (Ghosts in Masks) A Buddhist monk at
invariably get what you pay for. Omitting festival in Dansai, Loei Dechen Phodrang,
Province, Thailand Thimphu, Bhutan
comprehensive travel insurance is not an option..
© Gavin Gough © Gavin Gough

112
 GO PRO WITH TRAVEL PHOTOGRAPHY

unnecessarily flashy bells and whistles and let the

content speak for itself.
One of the most tempting mistakes to make
when setting out is to accept an offer of free
publicity in exchange for images. The desire to see
anything in print with your name alongside it can
be overwhelming and it can be difficult to refuse
when an editor contacts you with a promise that
your free images will bring their readers flocking
to your website. However, remember that your
images are your stock, and when you give any
away you are setting their value at zero and setting
a dangerous precedent that you will find it difficult
to climb out of. It is important to put a realistic
value on any licences you might sell, base your
prices on the specific usage that the client needs,
taking into account the print run, distribution and
period of time that your image will be used for.
Giving your images away might get you a nice
byline, but it won’t pay the rent and it undermines
the market for all photographers.
Make sure you give yourself a secure foundation
by maintaining second sources of income and set
aside the time to plan properly, and your career
will get the right start that it needs. Setting out
on a career as a travel photographer will not put
you on a shortcut to fame and riches, but with
good research, astute marketing and a determined
attitude, you might just find yourself on that palm-
fringed beach one day. Just don’t forget to pack the
mosquito repellent.
A novice Buddhist monk
leans out of a classroom
window at Wangdichholing © Gavin Gough
Dzong, Jaker, Bhutan

On location
Your email inbox is glowing with a message
from a commissioning editor confirming a paid
assignment. After the initial euphoria has died
down, usually after just a few seconds, the sense
of triumph gives way to an overwhelming feeling
of trepidation and uncertainty. Now you actually
have to deliver the photographs that the editor
needs. The time has come to make good on
your promise.
While you will find it justifiably reassuring that
an editor has shown faith in your abilities, you will
have quickly shouldered a lot of responsibility and
will inevitably feel the pressure of not wanting to
disappoint. A lot rests on your success at producing
your best work. You will be contributing to your
portfolio, which will help when you approach
future prospects, and if you do well then you are
much more likely to see repeat commissions from
the same client. Every assignment is a learning
opportunity and the experience gained will prove
to be invaluable as your career progresses.
The thrill of a first assignment can be
intoxicating, so it is important to take a deep
breath and remain level-headed. Firstly, it needs to
be profitable. It may seem strange to point out such
an apparently obvious prerequisite, but there are
many photographers who seem willing to accept
work that won’t actually make them any money
on the basis that it will open doors. It is a fine line
and there may be cases where accepting ‘pro bono’
(not for profit) work can be to your benefit but you
are, ultimately, running a business and you won’t
“Accurately calculate your expenses,
including time for post-production”
be running it for very long if you operate at a loss.
Your next step should always be to accurately
calculate your expenses; include your time,
any kit you need to buy or hire for the job, your
incidental costs and, most importantly, time for
post-production, which can easily be as long as the
shoot itself. Travel and accommodation expenses
should be met by the client but very few will be
happy for you to fly first class, hire a limo and stay
in five-star luxury. Be practical – clear your likely
expenses with the client before travelling, and
keep all of your receipts.
When you have reassured yourself that the
project will be profitable, you should take the time
to carefully examine the client’s brief, clarifying
anything that may seem ambiguous. Do not be
afraid to ask for confirmation on even the smallest
points. Better to get it right when you can easily
make contact than to find yourself on assignment,
a day’s walk from the nearest telephone, and
wondering whether the client wants RAW or
JPEG files.
Then it’s time to deal with admin. Make sure
your passport is not only up to date but has at
least six months beyond the planned duration
of the trip before it expires. Check local visa
requirements and make an appointment with
your doctor to update your vaccinations. Plan to
obtain some local currency before you leave and
get some small denomination notes for the bus or
taxi on arrival. Make hotel bookings and arrange
transport, not forgetting to ask the hotel manager
whether they have a need for promotional photos,
which you could take during your stay, providing
it doesn’t interfere with your main project. This
kind of ‘piggy-back’ project can offset other costs
and will help you establish helpful local contacts.
Contact the organisation responsible for promoting
local tourism to see if they have any outstanding
photo requirements or, failing that, at least
make them aware of your trip and ask for their
support. Tourist authorities will sometimes supply
introductory letters in the local language that
can smooth your ongoing travels. Make copies of
important documents and carry them in a separate >>
A boy cycling
along a street
in India without
hands on the
handlebars
Shot details:
Canon EOS
1Ds Mark II
with Canon
24-70mm L
f2.8 lens at
60mm and
f5.6, 1/20sec,
ISO 100

113
TECHNIQUES

bag. Uploading scanned copies to a secure
location on the internet means that they can be
downloaded and printed if the worst happens and
you arrive in Dubai while all your gear has been
mysteriously re-routed to Delhi.
Knowing that the assignment will be profitable
and with the brief clear in your mind, you can
begin to decide what equipment you will need to
take with you. Travelling with kit can be one of
the biggest challenges facing the working travel
photographer. Kit is heavy, bulky, expensive to
replace and yet often fragile. It’s a dangerous
combination, so you’ll want to spend some time
making sure that the gear you pack is
appropriate for the job and that it will be well-
protected in transit.
Check out www.thinktankphoto.com for
protective and durable bags and cases specifically
designed for travelling photographers.
Firstly, a spare camera body is essential. Even
pro cameras suffer from meltdown occasionally
and there is always the possibility that your gear
will fail at the most inconvenient time. You need to
travel with a backup that’s ready to shoot should
you need it. Coming home with excuses in place of
the images that the client is waiting for won’t win
you any popularity contests.
You will probably need a variety of lenses, but
take care that those you select will give you the
range that you need. If you are shooting interiors
of hotels and restaurants, for example, then you’ll
probably want a wide-angle lens but will also
know that a perspective control or ‘tilt and shift’
lens is going to be pretty much essential. You may
decide that fast lenses will help you shoot in low
light and will also give you the narrow depth of
field that allows you to concentrate attention on
your chosen subject. A bag full of lenses won’t
necessarily solve all your problems – you need
to know how, why and when to use them – but
a reasonable selection will certainly extend your
shooting capabilities.
Lenses, however, are expensive, so consider
renting them on arrival. Not only will this reduce
your capital outlay, but it will also reduce the bulk
and weight of the gear that you have to squeeze
onto an aircraft and justifiable rental costs can
often be charged back to the client. You will
probably also want a selection of reflectors and
secondary light sources. Off-camera flashes with
a Pocket Wizard or some other form of remote
trigger will give you greater control of the light
but remember to take flash gels to match your
flash output to the ambient colour temperature,
especially where you will be shooting under
tungsten or fluorescent lighting.
With the client’s brief in hand, you’ll want to
make a comprehensive ‘shot list’. Knowing in
advance what images you need to come home with
will help you prepare and you will be able to see
how the logistics best fit together. Group certain
shots based on their location and the best time of
day to shoot them. Don’t just rely on the client’s
brief, however. Include your own interpretations
if time allows and you will often find that clients
appreciate seeing things from a perspective that
they might have otherwise overlooked. Giving a
little extra is what will set you apart and if a client
feels that you have taken time to understand the
requirements of the project, then they are far more
likely to think of you when the next job comes up.
If the opportunity arises, you may also wish to
include a list of potential stock images, either to
include in your own portfolio or to market through
a reputable stock agent. This can be another
important income stream and in a market where
competition is fierce, it pays to make the most of
every photo opportunity.
Sometimes you will work on your own and this
requires a dedicated approach with lots of self-
discipline. When you are on assignment you may
have to be your own travel agent, tour operator,
porter, translator and guide. This gives you a lot of
flexibility but at the cost of added responsibility.
Local guides can be a great source of information
and not only will you be supporting a local person
by hiring their services, but they will often get
you into locations that might otherwise pass
you by. More often, you will liaise with a local
representative of the company that hired you.
Sometimes it will be a field operative who can
show you around or you might meet up with
an art director or an editorial writer. Building

A holy Swami standing

Travel security on his head during his

morning yoga session
beside the river Ganges
Experienced travellers know that the vast majority of the world is
at Varanasi
friendly and hospitable. However, it pays to be conscious of your safety Shot details: Canon
and taking precautionary steps will leave you feeling more confident in EOS 1Ds Mark II with
unfamiliar surroundings. Canon 70-200mm lens
at 150mm and f5.6,
1 Always purchase adequate travel insurance for you and your gear and 1/200sec, ISO 200
check the policy carefully to see what is covered.
© Gavin Gough
2 Invest in solid locks and anti-theft bags like those offered by Pacsafe
(www.pac-safe.com).
3 Keep a small amount of local currency in an easy-to-reach pocket and
the rest of your cash elsewhere, to avoid exposing all your money when
you pay for something.
4 Keep a list of emergency numbers and a spare credit card in a
secure location.
5 Try to blend in. It’s not necessary to adopt the local dress, but
donning shorts sporting the union jack will possibly attract the wrong
kind of attention.
6 Be conscious of your surroundings and try to present a confident
manner at all times.

Men at the
Mandi spice
market in Udaipur
Shot details:
Canon EOS 1Ds
Mark II with
Canon 24-70mm
L f2.8 lens at
42mm and
f2.8, 1/200sec,
ISO 100

© Gavin Gough

114
114THE TRAVEL PHOTOGRAPHY BOOK

contacts with colleagues can prove to be greatly
beneficial as your career progresses.
Projects might come to you as commissioned
assignments, or you may decide to self-fund
a trip in order to produce photographs of
something or somewhere that you think you can
market back at home. Either way, your business
needs to keep running in your absence. Modern
communication allows us to stay in touch even
when we’re many miles from home, but it is
worth making sure that you can respond to
emails promptly. You won’t want to miss that
big client, so make arrangements for a friend or
partner to deal with your messages while you’re
away. An online storage service like Photoshelter
(www.photoshelter.com) will enable you to give
your clients access to high-resolution files even
when you’re on a different continent from your
own file storage system.
The time consumed by post-production in the
digital age can be costly if you aren’t prepared.
As well as a good supply of digital memory
cards, you will probably want some kind of
Post-shoot
Jet-lagged, weary and weighed-down by a month’s
dirty laundry and goodness knows what other
alien objects that you have stowed away in your
luggage, you arrive home at the end of your
gruelling photo expedition promising never to
leave the safety and comfort of your own home
ever again.
Ask many people to describe the life of a
travelling photographer and the odds are that
they will conjure up images of a dapper fellow
dressed in khaki, sporting a Panama hat and
stepping jauntily along a sun-kissed, tropical
beach, occasionally flicking a Leica to their eye to
snap another award-winning frame before retiring
to the bar for a Piña Colada. The truth, sadly, is
somewhat different from this idyllic fantasy.
Travel photography is hard work. Travelling
through strange locations where the language,
customs and social habits are unfamiliar can be
portable storage device. Epson (www.epson.
com), Hyperdrive (www.hyperdrive.com) and
Jobo (www.intro2020.co.uk) all make excellent
devices that allow you to download and back
up cards in the field. However, it is worth
remembering the old adage that you should
prepare for the worst and expect the best. If you
rely on a single storage solution for your digital
files, then you can be sure that it will fail at
the worst possible time. Take duplicate storage
devices and separate your portable drives into
different bags so if one goes missing, your
images won’t disappear with it. A notebook
computer will allow you to review and caption
your images while on location. Although the
lure of the local bar can be tempting at the
end of a long day, try to find one with a power
outlet so you can at least review the day’s work
while you sip the local brew. Planning and fully
understanding your client’s requirements will
make your job far more enjoyable when you
hit the ground. Devote your time and energy to
taking great photos when on location.
challenging at the best of times and downright
tough at the worst. Travelling while working as a
photographer demands a unique blend of stubborn
determination and unflinching optimism. But
nowhere is that prerequisite more thoroughly
tested than at the moment you arrive home. You
may think that with a hard drive bursting with
delightful and engaging image files your work is
complete and your goal achieved, but the truth is
that the hard part is just about to begin.
Post-production and the subsequent marketing
and promotion is going to take a lot of your time
and energy and it’s as well to budget just as long
for these essential activities as you did for the
original trip. So when your diary has a week
blocked off for you to photograph the exotic views
on offer in sunny Rajasthan, it should probably
also show the following week blocked off for you
to view the somewhat less exotic views on offer
from your office and computer screen. Consider it
the yin and yang of travel photography.
Your first task is to secure your image files.
Those precious digital files are now, literally,
your raw materials and it’s from these that you
will craft and promote your final product. You
will, of course, have made backups of those files
during the course of your expedition and, ideally,
kept mirror versions of external hard drives in
separate bags. Treat them with at least as much
care as you would your passport and perhaps even
consider keeping one hard drive filled with your
essential travel documents. As soon as you reach
home, archive the original RAW files and keep a
copy off-site from where you can quickly recover
them if disaster strikes. Consider using an online
storage system. RAW files are probably too large
to send over a standard DSL internet connection in
any great number, so make high-resolution JPEG
A girl from Beijing dance troup during
Chinese New Year celebrations
Shot details: Canon EOS 1DS Mk II at
125mm and f4.5, 1/2500sec, ISO 200
GO PRO WITH TRAVEL PHOTOGRAPHY
Camels on Essaouira
beach in Morocco
Shot details: Canon
EOS 1Ds MK II with
Canon 16-35mm L f2.8
lens at 23mm and f8,
1/60sec, ISO 100
versions of your best images and upload these to
a remote location. Once your files are secured, the
fun can begin. You will need some kind of Digital
Asset Management (DAM) software to manage
your library of images. This can be as simple as
a carefully organised file system, but you will
probably benefit from using software specifically
designed for the purpose. Photoshop Bridge,
Lightroom, Aperture and Expression Media all
contain elements that will allow you to organise
your library and offer functions that will allow
you to search and filter image files based on your
chosen criteria.
When your images have been imported into
a software catalogue you can begin to make
your initial selections, reviewing images one at
a time and picking out the ones with the greatest
marketing appeal. All of the above software
solutions contain various flags, rating stars and
colour codes that you can use to indicate which
images will require further work.
It is important at this stage to try and remove
your own experience gained when producing the
images. There’s no point submitting a mediocre
image of Annapurna Sanctuary at dawn on the
basis that you had to climb a mountain in order
to shoot it. If the image doesn’t stand on its own
merit, then you need to be ruthless and leave it
in the rejects pile. The input from a neutral and
objective editor at this point can be valuable and if
you can join forces with another photographer and
swap editing tasks, then your final edit selection
will be all the stronger. Loved ones don’t make
good editors for the very reason that they’re loved
ones. They will want to be supportive and offer
encouraging comments about your hard-won
photographs, but this is no time for misplaced
sentimentality. There’s not a magazine art editor
on the planet who will select your image for the
front cover of their next edition on the sole basis
that you had to work ‘really, really hard’ to
get it. With the selections made, you’re probably
reduced to a much more manageable number >>
115
TECHNIQUES

© Gavin Gough

The Grand Palace in

Bangkok, Thailand
Shot details: Canon EOS 1DS
Mark II at 85mm and f2.8,
1/1600sec, ISO 50

Portrait of a boy Hassan II

in the shekhawati
town of Nawalgarh in
Rajasthan, India
Shot details: Canon EOS
© Gavin Gough 1DS Mark II at 170mm and
f2.8, 1/1000sec, ISO 800
Mosque,
Casablanca
Shot details: Canon
EOS 1DS Mark II
at 16mm and f8, © Gavin Gough
1/80sec, ISO 100

“You can make your captioning and keywording

exercise far less stressful if you have managed to
note down location information at
the time of shooting”
of files. These should be captioned while you
still have some chance of remembering exactly
where they were taken. It is important to caption
accurately. There’s no need to be overly verbose,
so think in terms of being both concise and yet
comprehensive. A caption should tell the viewer
the ‘what’, ‘where’, ‘when’ and ‘why’ of an image.
For example, short but to-the-point captions such
as: ‘A Muslim man walking towards the Hassan
II mosque in Casablanca at dawn for morning
prayer’, or ‘A masked monk dancing during a
tsechu (festival) at Tamshing monastery in Bhutan’
are fine. Accurate captions will help you locate
and identify your own images many years after the
shot was taken and, more importantly, will help
buyers locate the images that they require. If you
submit your images to a stock library then captions
will form part of the metadata that potential clients
will search under, so including the important
information can help boost your sales.
The addition of relevant keywords will support
your captions, but be aware that including too
many keywords is as counterproductive as
including too few. There are various software
solutions that will produce a mountain of
synonyms to add to your keyword list for any
image, but these are rarely necessary. Add the
words that you would use to search for the image
being keyworded and try to resist the temptation to
go overboard. Twelve to twenty keywords are more
than sufficient for the vast majority of images.
You can make your captioning and keywording
exercise far less stressful if you have managed
to note down location information at the time of
shooting. Recording salient details in a notebook
or on a handheld voice recorder will jog your
memory when you’re back home. There are also a
variety of GPS geotagging devices available on the
market now. These will record your exact location
when a photograph was made and can be used to
produce co-ordinates that will allow your buyer to
confirm exactly where you were when the picture
was taken. It’s a great way to avoid any possible
confusion and image libraries are increasingly
asking for this kind of information to be included
with each image’s embedded metadata.
Finally, and crucially, you’ll want to bring
out the best in your images with a little post-
production work. You don’t need to be a pixel freak
spending hours fine-tuning every file, but you
will want to view the image at 100% resolution
to check sharpness and remove any dust spots.
Adjusting the white balance, tweaking exposure
and straightening leaning horizons will all help to
bring the RAW file closer to the original scene. Pay
attention to skin tones in portraits and remember
that the histogram is your very best friend during
this exercise.
There are various software solutions that
will make the job much easier: Lightroom and

116

Man selling onions and potatoes at the
Mandi spice market in Udaipur, Rajasthan
Shot details: Canon EOS 1DS Mark II
at 51mm and f2.8, 1/250sec, ISO 100
© Gavin Gough
Aperture are currently the most popular, with very
good reason.
With a carefully edited batch of images, all
captioned, keyworded and looking impressive in
their post-production Sunday best, you now have
a product ready to present to your chosen market.
Marketing can be a dark and puzzling art to the
uninitiated, but there are several approaches you
can take to reduce the mystery and to give you
the best chance of securing sales. Firstly, it is
important to promote your work to the appropriate
markets. Research the magazines, libraries and
agencies who regularly use images similar to your
own in terms of style and content and put those at
the top of your list.
A portfolio of work will inevitably be judged
on the weakest image in the collection, so be
ruthless in your editing and remove any photos
that don’t quite make the grade. Better to have
a small portfolio of compelling images than a
wide-ranging library of mediocre shots. Less,
in this instance, will definitely be more. If
marketing isn’t your strong suit then link up with
a marketing expert who will know how best to
present your work. It may require an investment
on your part, but it is likely to be a loss-leader
that will eventually bring greater returns than if
you struggle to produce something yourself that
doesn’t have that ‘wow’ factor. The old adage that
you only get one chance to make a first impression
holds especially true with marketing, so try to
ensure that your promotional materials will be
memorable for all the right reasons.
Art directors are, by definition, more likely to
respond positively to good, clean design than they
are to run-of-the-mill or ill-conceived material.
Test your designs on impartial friends and
colleagues and ask them to honestly appraise your
marketing efforts before you commit to sending
them out.
There is often a temptation to try and be too
clever with marketing material. Snazzy graphics
and whizz-bang websites are all very well, but
buyers don’t want to have to work too hard to get
GO PRO WITH TRAVEL PHOTOGRAPHY
to see your images, so make your photography the
focus of your marketing emails, literature and web
design. Follow up emails and postal mailers with
an introductory phone call, where you can take
the opportunity to ask if any of your material is of
interest. If it isn’t, then ask what sort of material
is currently needed and whether there are any
specific outstanding needs.
Post-production and marketing form
an increasingly large part of the modern
photographer’s job, so don’t make the mistake of
thinking that they will take care of themselves.
This side of your job can be as time-consuming
as any other, so make sure you factor this into
deadlines, budgets, etc. However, once your
images have been judiciously edited and carefully
processed, you should have a portfolio of work
that you will be proud to bring to the attention of
potential buyers.
When you’ve started the marketing snowball
rolling it will gather momentum and you can
begin packing for your next trip.
117
LOCATIONS
London 120 Shanghai 160

New York 124 Norway 164

Las Vegas 128 Delhi 168

Canadian Rockies 132 Trans-Siberian Express 172

Peru 136 Krakow 176

Scotland 140 Madagascar 180

South-West France 144 Kenya 184

Rome 148 Morocco 188

Prague 152 Sydney 192

Japan 156
LOCATIONS
LONDON
Pro photographer David Clapp uncovers
why London is one of the most amazing
cities to explore and shoot
G
etting out and about with a
camera in the summer holidays
always seems to be a foreign affair,
but back in 2012 the world came to
England. The Olympics and the Queen’s
Jubilee shined a spot light on the capital
city and highlighted some of the most
photogenic parts. The buildings creak
with history, making architecture a
must-shoot, but there are so many places
on the Tube map to uncover that you’re
never short of subjects.
Greater London is an exceptional place.
As one of Europe’s most cosmopolitan
cities, it spans 25 miles and has a
population of around 7.5 million people.
During weekdays this can reach to
over 10 million, as commuters fill its
roads and tube stations, but since the
congestion charge was brought in (a
daily vehicle tax for access to the centre),
preconceptions of endless traffic jams
can now be cast aside.
If you think camping is just for the
countryside, think again. If you own
a camper van or a tent then you might
© All Images by David Clapp
120
TOWER BRIDGE
Tower Bridge is a
marvellous place to shoot
from the South Bank. There is
nothing more British than this
superb landmark. Wait around
and the bridge will lift, which
provides some excellent and
unusual photo opportunities
Shot details: Canon EOS 5D
with a 24-105mm lens at f11,
5sec, ISO 100
be surprised to learn that there are
campsites within Central London. Most
are situated in quieter residential areas
of the city with easy train or tube access
to the centre. Some trains allow bicycles
to be taken on board so with London’s
reduced congestion it’s never been a
better time to experience the city using
pedal power.
The area of walkways alongside the
River Thames between Parliament and
Tower Bridge is known as the South
Bank. This wonderful stretch of riverside
is brimming with photographic potential
and it’s easy to get some great images at
all times of year. In one brisk walk it is
possible to take fantastic photographs of
the Houses of Parliament, The London
Eye, the Millennium Bridge, the Tate
Modern gallery, the South Bank Theatre,
City Hall, the Gherkin, the Tower of
London and Tower Bridge to name a few.
Low-light photography has a narrow
window of opportunity that can last up
to an hour depending on cloud cover
and the time of year, so a well-thought-
out route (made in the daytime perhaps)
is essential. It is a good rule to begin the
evening looking east and finish looking
west. The eastern skies darken faster,
and the twilight blues are lost to the
distasteful glow of sodium orange.
Start by planning to capture the
sunset, so choose a west-facing spot near
to your starting point to make the most
of any evening colour. As the light levels
drop, move to the beginning of your low-
light route and wait until there is a nice
balance between artificial and natural
light. This can be frustrating for the
eager photographer, but shooting images
too early will just look like daylight.
Take a few test shots and examine the
histogram to help. If it’s cloudy, it may be
better to concentrate on fewer subjects
each day; capture a few scenes by
waiting for just the right moments.
Central London’s attractions will repel
many of its resident photographers
TOWER OF LONDON
Steeped in history, the Tower of London
can provide an atmospheric subject at dusk
Shot details: Canon EOS 5D with a 70-200mm
lens at 135mm and f11, 10sec, ISO 200
LONDON

121
LOCATIONS

Local knowledge RED TELEPHONE BOX

If you spot a phone box, see what
and advice: is around to include in the frame.
Borough Market St Paul’s Cathedral has one phone
box in particular that can be used
Borough Market in Southwark as great foreground interest
Shot details: Canon EOS 5D with
offers a wholesale food market
a 17-40mm lens at 29mm and f16,
each weekday morning and a 1/50sec, ISO 400
retail food market from Thursday
to Saturday. As you’d expect,
Saturdays can get particularly
busy so you’ll need to keep a close
eye on your gear as it’s easy for
things to go astray. However, the
crowds themselves add to the
shooting potential on offer.

1 The market is largely under

cover – so you don’t need to
worry about excessive contrast
and can achieve evenly lit photos.

2 The market has food from

all over the world. As one of
the largest food markets in
London, there is plenty of
potential for striking textures and
colours to capture.

3 Keep an eye out for facial

expressions among
shoppers and stall holders, but
be sure to ask permission to take
photographs of them.

Local knowledge
and advice:
Brick Lane
Brick Lane in the trendy East
End of London has a fascinating
and rather murky history, so
there’s plenty of photographic
potential here. It’s a vibrant,
multicultural area with a wide
range of shops, restaurants and
striking historic buildings like
The Old Truman Brewery.

1 Ensure that you have a wide

range of focal lengths
available as there is a very
diverse range of subjects on offer.

2 Keep an eye out for

interesting street art as this
lends itself well to gritty,
reportage-style images.

3 Try to say something about

the range of cultures in the
area through your images.

122

CHANGING OF THE GUARD
Squash up against the railings for some
superb shots of the Changing of the Guard and
the Royal Marine Band – jostling is all part of
the fun
Shot details: Canon EOS 5D with a 24-105mm
lens at 60mm and f5.6, 1/250sec, ISO 400
“With the
Olympic build-
up now at fever
pitch, there
has never
been a better
time to wave
those flags so
furiously”
PARLIAMENT
The wonderful façade of the Houses of
Parliament makes an ideal spot for a summer
sunset as the views from the opposite side of
the river towards the buildings are superb. Don’t
stay fixated on longer focal lengths, get on top
of the bridges and shoot traffic trails with Big
Ben providing the focal point
Shot details: Canon EOS 5D with a 70-200mm
lens at 200mm and f8, 1.3sec, ISO 100
LONDON
LONDON TOWN CRIER
As well as Beefeaters, look out for some
other London characters. Sadly, this smiley
Town Crier, Peter Moore died in 2009
Shot details: Canon EOS 5D with a 24-105mm
lens at 50mm and f5.6, 1/250sec, ISO 400
back indoors until dusk. Whether it’s
the crowds of tourists or hard light,
photography throughout the day can be
frustrating, but only if you think like an
artist. By putting the beret in the bin and
thinking like a travel photographer, it is
possible to turn a sightseeing trip into
some great images.
If you really feel like battling the
crowds and enjoying a royally British
time with a huge smile, then head
straight for Buckingham Palace. Here,
the changing of the guard ceremony is a
magnet for tourists, many of them from
other parts of England. With pomposity
meters reaching ten, it is difficult to
capture this spectacle without the backs
of people’s heads in every shot, so get
there early and stand to the left or right
of the main gates to get great shots of the
action through the bars.
Once the action has finished inside
the courtyard, change positions if
possible and get a roadside view of the
band marching past the fountain. Again,
timing is utterly crucial, so get to another
chosen spot. With a clear objective it’s
easy to slip through the crowds. Use a
wide angle and a telephoto to zoom in
on the action or capture the fun.
With a large choice of photographic
subjects within relatively easy reach,
it’s easy to start experimenting with
street photography, architecture or
cityscapes no matter what the weather.
Plan a whole host of thoroughly British
antics and soak up London in the
summer months, and just pray that the
thoroughly British rain doesn’t soak you.
123
LOCATIONS

NEW YORK
The greatest tips and hints for shooting
and exploring the Big Apple

N
ew York is a diverse city with
cutting-edge architecture and
iconic landmarks. It contains a
rich history of beautiful old buildings with
hidden corners. From a photographer’s
perspective there are many stunning
photo opportunities. Capture the
fashionable crowds in Soho, see the
55-storey Bank of America Tower in
Midtown, or venture into the oldest
subway tunnel in the world – it’s a
photographer’s playground.
When most people think of New York
City they think of landmarks such as
the Empire State Building, the Statue of
Liberty, The Brooklyn Bridge, Central
Park, Wall Street, Grand Central Station,
the Chrysler Building (with the most
stunning lobby in the city), Times
Square, Rockefeller Center, the Flatiron,
Chinatown and Ellis Island. While no
photographic trip to New York is complete
without visiting many of these landmarks,
BROOKLYN BRIDGE
The city is most photogenic when it is wet,
snowy or foggy. Visit in the winter and hope for
a snowstorm or visit in the spring or autumn
and hope for rain. Go out directly in the middle
of the storm, but make sure you have some
quality rain gear. Think Tank Hydrophobia or
the Kata E-702 are both good products
Shot details: Canon EOS 40D with 24-105mm
lens at 58mm and f5.6, 1/60sec, ISO 800
there is so much more to capture.
New York boasts the oldest subway
tunnel in the world that runs under
Atlantic Avenue in Brooklyn. Tours began
through a manhole cover in the middle of
the avenue; however, they have recently
been stopped by the Department of
Transportation, but hopefully will resume
soon. Another underground tour run
by the New York Transit Museum visits
the old unused City Hall subway station,
which was once the crown jewel of the
MTA. A tripod is a must-have accessory
for both of these tours.
Above ground lies the must-see High
Line Park, built on an old elevated freight
railroad line. Here you can see a slightly
elevated view of the city that is unique
to tourists. In fact, some of the best
views of the city can be seen from above,
particularly from open-air rooftop bars.
Popular favourites are The James Hotel,
which overlooks Tribeca, and Ink48 that
overlooks Midtown. However, no view is
quite like the one from Top of the Rock at
Rockefeller Center.
Those who enjoy the greener parts of
city life can easily spend an entire day
exploring and photographing Central Park.
Start at East 59th Street and venture into
the area around The Pond and Gapstow
Bridge. Pass by the Carousel and high
perch of the Chess & Checkers House
and continue on your way to the Sheep
Meadow with its amazing view of the
buildings on 59th Street. Stop here for
a snack at the new food carts located
behind the old Tavern on the Green, then
head behind the old Tavern on the Green,
then head east to The Mall and walk
the length of Poets’ Walk to Bethesda
Terrace. From here rent a rowboat at
the Boathouse and travel under Bow
Bridge for stunning views on The Lake.
Afterwards, get lost in the Ramble and
head to Shakespeare Gardens where >>

124
 NEW YORK

BOW BRIDGE AT DUSK

“While no trip to New York is complete Central Park South is not as dangerous
at night as you may think. Dog walkers,
night joggers and tourists are plentiful

without visiting its landmarks, there is here. Take a friend and a tripod and visit
for a rare quiet moment in the city
Shot details: Canon EOS 40D with

so much more to capture”

24-70mm lens at 24mm and f6.3,
30sec, ISO 200
© All Images by James Mayer

125
LOCATIONS
Street
photography
advice
New York is the perfect place to hone your
skills, as there are an endless number of
interesting characters on every corner. Find
a crowded place, wear some dark,
inconspicuous clothing, and be bold! Street
photography from close distances can be
tough at first, but with practice you will get
more comfortable. Force yourself to get
closer each day.
Get close Street photography is more
intimate when you get close to your
subjects and have them fill more of the
frame. Photograph with a wide-angle lens
and get within two metres of your subject.
Settings You should shoot at a minimum
of 1/250sec to freeze the motion on the
streets. Shoot from f8 to f16 if possible to
give yourself more leeway to capture
sharpness. Don’t be afraid to pump up your
ISO to allow for a fast enough shutter
speed and a small enough aperture to
make your scene sharp. Grain is pretty!
Slow down Stake out a spot with good
lighting and an interesting background and
wait for the right characters to enter it. It’s
harder to shoot if you are running around.
126
SOHO
FASHION
Park yourself on a corner of
Broadway in Soho and you
are bound to capture eclectic
fashions of all types
Shot details: Canon EOS 40D
with 24-105mm lens at 67mm
and f5.6, 1/250sec, ISO 200
EMPIRE STATE
BUILDING
Catch glimpses of the Empire
State Building next to the
numerous ornate, older
midtown buildings. Turn these
shots into black and white to
create a vintage Thirties look
Shot details: Canon EOS 20D
with 24-70mm lens at 27mm
and f5.6, 1/200sec, ISO 200
MANHATTAN
SOUTH FROM
BROOKLYN BRIDGE
The view of southern
Manhattan from the Brooklyn
Bridge is one of the best in
the city, particularly at sunrise,
sunset or dusk. Go here during
a storm and watch the fog roll
through the buildings
Shot details: Canon EOS 10D
with 28-135mm lens at 28mm
and f8, 1/180sec, ISO 100

THE OLD CITY HALL
SUBWAY STATION
Once the showpiece of the NYC
“Arguably the best area for
street photography in New
subway system, this hidden jewel
now sleeps quietly under the city.
This ornate station was created in
York is the subway system
1904 but has been out of service
ever since 1945. Purchase tickets for
tours from the New York
Transit Museum
as you watch the chaos”
Shot details: Canon EOS 40D with
17-40mm lens at 19mm, f8, 4sec,
ISO 100
you can climb the stairs of Belvedere
Castle to its turret. End your day on the
roof of the Metropolitan Museum of Art
with its gorgeous view overlooking the
park (the roof is only open during the
warm months).
In addition to the sites, the people of
New York are some of the city’s most
intriguing and photogenic attractions, and
no trip to the city is complete without
trying some street photography. Popular
areas for this genre are St. Marks Street in
the East Village and on Broadway
in Soho. Both of these places attract
some of the most fashionable, eccentric
and interesting people that the city
has to offer. Another prime location
is 5th Avenue around 57th Street, an
area recorded constantly by famous
New York Times fashion photographer
GRAND CENTRAL Bill Cunningham. However, arguably the
New York is made up of more than its landmarks. Photograph the people best area for street photography is in the
and you’ll capture the essence of the city. A long exposure and motion blur can help subway system, so there’s no need to take
you capture the pace of the crowds
Shot details: Canon EOS 10D with 50mm lens at f8 and 6sec, ISO 100 a cab anywhere! Pump your camera up
NEW YORK
Local
knowledge and
shooting tips
Don’t forget about Brooklyn! Escape the
tourists and take a stroll on the
waterfront, visit the many historic
districts and brownstones, photograph
the people in Coney Island, and get lost in
Prospect Park…
The Waterfront After walking over the
Brooklyn Bridge, head to Brooklyn
Bridge Park for stunning views of lower
Manhattan. Visit at sunset and stay until
dark for the best shots.
Prospect Park Escape the craziness of
Central Park and head to its smaller but
very comparable sibling. Enter through
Grand Army Plaza and visit the
Boathouse, Zoo and Botanic Gardens.
See the Brooklyn Museum next door.
The best time of year to visit is during the
spring Cherry Blossom festival.
Brownstones If you wish to see blocks
and blocks of gorgeous, four-storey
historical houses then visit the mother
lode in the neighbourhoods of Park
Slope, Fort Greene, Brooklyn Heights,
Prospect Heights and Cobble Hill. These
neighbourhoods are known as
Brownstone National Park.
Coney Island No trip to New York is
complete without a trip to Coney Island.
Eat a Nathan’s hotdog, do some street
photography on the boardwalk and ride
The Cyclone. Visit soon, because the
neighbourhood is changing dramatically.
to ISO 1600 or 3200, and venture into the
crowded stations.
Places such as Times Square or Grand
Central are particular hot spots at rush
hour and you can watch the chaos when
people stuff themselves into trains like
sardines. Despite what people may say,
you are allowed to photograph in the
subways (no video) without a tripod or
flash.
New York may look great at any time
of day, but the golden hours are two
of the most striking times to capture it.
Have your camera ready for when the
skyline warms up with a golden glow,
and continue shooting into the night.
This is when the true magic happens as
huge plain office buildings come alive
and glow purple and blue tones. As the
sun goes down, watch the city sparkle as
lampposts light up dim street corners and
cool shadowy figures pass by. New York
is the city where photographers should
never sleep.
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LOCATIONS

LAS VEGAS
It is one of America’s fastest-growing cities and is
best known for its gambling and amazing shows, but
there’s loads for the keen photographer to shoot too,
as we will explore
T
here is a great deal to point your
camera at in Las Vegas. Where else
in the world can you photograph
the Eiffel Tower, the Statue of Liberty,
St. Mark’s Square and an Egyptian
pyramid, all within walking distance? It
is the only city in the world where you
can spend a whole day touring the hotel
lobbies with your camera, so pack your
walking shoes and make sure you travel
light. While Vegas does it extremely
well, excess and brashness might not
be to your taste. If you want awesome
landscape to point your lens at instead,
there is plenty of that too.
There are parks and conservation
areas worth a visit within an hour
or two’s driving distance. Go further
afield and locations like Bryce Canyon,
Death Valley and the Grand Canyon
are all fairly accessible. In fact, Las
Vegas is a good place to start a tour of
the American south west. Of course,
if you want to enjoy these locations
from a photographic perspective, you
will ideally need time and freedom of
movement, so something like a fly/
drive tour is perfect. You can then spend
a few nights in Vegas soaking up the
glitzy atmosphere before striking out for
the more scenic hotspots. Planning in
detail what you want to shoot is advised,
though, because of the distances
involved. Play it by ear and you will
spend more time behind the wheel than
behind the camera.

The volcano show at the Mirage is worth

shooting. If you can, have your shoot at
twilight while there is still some colour in the
sky. A tripod is recommended
Shot details: Samsung GX20 with 18-55mm
lens at 20mm, f4, 1/8sec, ISO 400 All images © Will Cheung

128
 LAS VEGAS

RED ROCK CANYON

Thirty minutes from the bright lights
of Las Vegas is the Red Rock Canyon
national conservation area, where
you can shoot images like this. The
picture works more effectively because
the moon is in view to add an extra
dimension to the result. Some shots
were taken of the moon and foreground
before the sun rose, but the best shots
came when the sun started peeping
over the mountains, bathing the area in
gorgeous red light
Shot details: Canon EOS 5D with
28-75mm lens at 65mm and f11, ISO
100. The camera was on a tripod and a
remote release used to take the shot

Local
knowledge
The Sirens of Treasure Island show is one of
the most popular free events in Vegas, so if
you want to shoot pictures you need to
make sure you grab a spot early.
If you want some shots looking down the
Strip, it’s best to head for the observation
tower at the top of the Stratosphere Hotel.
Before sunset is a good time to go and
linger as night falls.

129
LOCATIONS

CASINOS
The gaudy casinos are a great place for keen photographers
In most cities of the world, you wouldn’t get your
camera out to photograph a hotel, but then again,
Las Vegas isn’t like any other city. Hotel designers
and planners have really gone to town, and you can
easily spend a day or two simply just admiring and
photographing their expert craft. So take your camera
out for a walking tour and take in fabulous lobbies and
the free shows such as the fountains of the Bellagio.
Vegas has a desert climate, which means that even in
the winter the light is harsh and unforgiving during the
middle part of the day. So, by all means take snapshots
and shoot interiors during the day, but for the outside
stuff stick to shooting early or late when the light is
more photogenic.
For the inside shots, some casinos in Las Vegas are
alright with people using tripods, but many are not, so
just set a higher ISO to allow sharp handheld pictures.
ISO 400 or 800 is fine with the lens at its widest
aperture and you will get shutter speeds of 1/30sec or
so, which is completely handholdable.
When the light is good, make sure you shoot quickly
because it can change rapidly. It is best if you plan
what you want to shoot in advance, because the place
is so busy that dashing around for the best light is not
really practical. So, for example, if you want to capture
twilight shots of the Luxor pyramid and the erupting
volcanoes at the Mirage, you might be better off doing
them on separate evenings. Taking time to plan our
your photos will really help you in the long run.
Many hotel interiors are outstanding and the perfect chance to practise your hand-holding
technique. This image was taken at The Venetian Shot details: Canon EOS 10D with
17-40mm lens at 17mm, f4, 1/25sec, ISO 100

Shooting tips
1 Learn how to adjust the camera’s ISO
sensitivity to cope with widely varying
lighting levels.

2 Extreme contrast can be a problem

and fools the camera meter into giving
poorly exposed images. Use the camera’s
exposure bracketing feature to ensure you
get a well-exposed shot.

3 A polarising filter is good for exterior

shots. In suitable conditions, it will
darken a weak blue sky and bring out cloud
details. With the buildings it can reduce
glare to give better colour saturation. Take it
off when you go inside, though.

THE LUXOR HOTEL

This picture was taken soon after the
sun had gone but before the sky lost its colour.
The camera was fixed to a tripod for the long
six-second exposure, with the shutter released
using a remote release cord and auto white
balance used
Shot details: Canon EOS 10D,
11-18mm lens at 11mm and
f5.6, six seconds, ISO 100

130
 LAS VEGAS

LANDSCAPES
The Valley of Fire
State Park is within a
comfortable drive from
Vegas and there are
groups of beehive red
rock formations that

Las Vegas is close to some of

are fascinating
for photography
Shot details: Canon EOS
3 with 17-40mm lens at
20mm and f5.6, 1/60sec,
Fujifilm ISO 50 slide film
America’s best landscapes
scanned using a Nikon
Super Coolscan 5000 Las Vegas is a great place to enjoy a few
days, but if you start yearning for some
real landscape, you’re in luck – there is
plenty of it around, and it is spectacular.
For example, Death Valley National Park,
Bryce Canyon and the Grand Canyon are
all drivable from Vegas if you have the
time, budget and inclination. Given the
distances involved, though, these are not
places you can just pop off to on a whim
in the hope of the odd great picture. You
need to plan such trips if you want to
enjoy some quality photographic time.
If you do have a day spare, there are
great landscapes much closer to Vegas.
There is Red Rock Canyon, a national
conservation area 15 miles west of
downtown Vegas, and the Valley of Fire
State Park, about 50 miles north-east of
the city. Both are close enough to plan
an early start if you want morning light,
or you can linger for the sunset and still
get back to Vegas to enjoy the nightlife.

Early morning light in the desert can be

lovely and clear, free of thermals and haze
that you get later in the day
Shot details: Canon EOS 5D with 28-75mm
lens at 28mm and f7, 1/125sec, ISO 100

Shooting tips
1 Shoot very early or late on when the sun is low in the sky. The oblique lighting shows up
textures and the warmer light brings out the best of the richly coloured rocks.

2 Have a tripod and remote release available. Not only will a tripod help avoid camera shake,
it means you have complete freedom with camera settings, so you could even try
photographing star trails if you want.

3 The contrast between a darker foreground and a bright sky can be evened out by using a
grey graduate (grad) filter placed over the sky. Graduate filters come in different strengths,
so buy a one-stop and a two-stop grey grad to cover most eventualities.

THE GRAND CANYON

If you don’t have the time to drive to
the Grand Canyon, book a helicopter tour
and shoot a few decent aerial shots like this.
Ideally you need a window seat and a
standard zoom, so you can quickly change
from wide-angle to short telephoto. Shoot
through the window by getting the lens as
close as you can to the surface but without
actually touching it, because that will cause
vibration problems. Keep shutter speeds
as high as you can. Use your hand to cup
the lens front to help avoid any reflection
problems too.
Compose pictures and shoot quickly
because you will not get a second chance –
and remember to enjoy the experience too!
Shot details: Canon EOS
20D with 28-135mm lens at f5,
1/160sec, ISO 400

131
LOCATIONS

CANADIAN
ROCKIES
We take you through the best ways to shoot this
incredible North American mountain range
I
f you’re asked to name a mountain
range directly off the top of your
head, it’s more than likely that two
famous names will instantly spring to
mind. Both are somewhat far away
from the tamer climes you may be used
to, but if epic geography with a sense
of freedom inspires, then the Canadian
Rockies mountain range needs no
introduction. Glacial lakes, impossible
peaks and alpine meadows washed
with colour then gripped in ice make
the Rockies a photographic wonder to
behold. Although massive and potentially
dangerous, it’s surprisingly easy to get
some jaw-dropping pictures and enjoy
many memorable experiences of this
staggeringly beautiful place.
The Canadian Rockies flank the
southwestern corner of Alberta, running
along the border of British Columbia
in a SE to NW direction. They extend
southwards into America, but there
are distinct differences between the
mountains and the geology. The
Canadian Rockies are heavily glaciated,
which results in sharp peaks, whereas
the American Rockies are rounded and
more V-shaped, despite being higher in
altitude. Sprinkle a little snow and ice and
the result is some of the most beautiful
mountain scenery in the world. There are
numerous ways to get to the Canadian >>

ABRAHAM
Dawn on an ice-locked
Abraham Lake. Mountain
scenery like this means
enduring the cold, but most
consumer camera gear will
© All Images by David Clapp

manage to work just fine in

these temperatures
Shot details: Canon EOS
1Ds Mark III with Contax
35-70mm lens at 35mm
and f11, 1/10sec, ISO 100

132
CANADIAN ROCKIES

133
LOCATIONS
Staying safe in
the Rockies –
Wildlife
In The Rockies, humans are not the top
of the food chain. Although rare, hikers
have been killed by bears. You must
follow these points to ensure your safety
and reduce interaction.
1 Keep food out of sight in a locked
boot of your car – certainly not in
tents or bags on the floor.
2 If you see a bear on the highway,
remain in your car and certainly
don’t feed it.
3 When walking in the back country,
always take ‘bear bangers’
(exploding wildlife deterrents).
134
Staying safe in
the Rockies –
Travelling
When travelling the empty roads in Jasper,
it’s easy to feel a sense of freedom behind
the wheel. With this freedom comes
hidden danger. Always stick to the speed
limits and beware of...
1 Fallen rocks – Travelling at excessive
speeds can damage your car and
leave you spending the night alone in
-25C temperatures!
2 No mobile signal – get injured or
hurt and your only hope is
another car.
3 Wildlife – drive into a bull elk and it
will leave the vehicle destroyed.
PATRICIA
There may be many
photographers lined up
along the roadside, so you
could opt for another take on
Patricia Lake. There are lots
of logs and rocks to use in the
foreground, so this striking log
has been positioned to add
strength to this scene
Shot details: Canon EOS 5D
with 24-105 f4L lens at 24mm
and f16, 2sec, ISO 100
CANADIAN PIKA
This wonderful little pika
on the shores of Medicine
Lake was gathering nest
material for the cold winter
ahead. Their endearing call
can be heard all over The
Rockies. Capturing one takes
both timing and luck
Shot details: Canon EOS 5D
with 300mm f2.8 lens + 2xII at
f8, 1/2500sec, ISO 100

8 Banff, which is located in Banff National
MORAINE
“Despite easy access,
Moraine Lake can be a
frustrating shoot. The super
blue waters are beautiful, but
it’s difficult to capture the
stillness and tranquillity. After
this, the third visit, the water
was finally still, but there
were further complications. I
needed a polarised sky and
polarised water to reveal the
rocks beneath. Turning the
polariser enhanced the sky
and cut through the water in
different positions. I took two
shots, one in each position and
then blended them together”
– David Clapp
Shot details: Canon EOS 5D
with 17-40f4L lens at 21mm
and f16, 1/30sec, ISO 100
Rockies, but the easiest way is to fly
straight into Calgary. Make sure you hire a
suitable vehicle, like an SUV (sports utility
vehicle) and then head
east along the Trans-Canada Highway,
or Highway 1 as it’s also known. The
roads are wide and spacious, so kick back,
turn on the radio and head west to the
mountains. There are national parks as
well and the largest two are Jasper and
Banff, but passes are required to
gain access.
The fees vary, but it’s important to
remember the money is helping to fund
public services and facilities throughout.
Start by reminding yourself of the huge
geographical scale by taking a glance at a
map. Without financial support, it would
be impossible to manage.
Atmospheric mountain photography
is all about ‘alpenglow’, the wonderful
orange light that hits the peaks at dawn.
Getting good alpenglow is all about
contrast, and the results can be stunning
against a thunderous sky. For this reason
alone, expect tripods galore at peak
seasons. Lakeside views will be busier
than imagined, especially in the autumn.
The first major photography stop is
Park. The town itself is a huge ski resort
in winter months, but there are some
wonderful mountain scenes to capture
close by. The sight of Mount Rundle,
which watches over the town, is enough
to get the adrenaline running. Visit some
of the lake views and put this remarkable
mountain in the picture. Vermillion Lakes
offers some great reflection opportunities
and can work at both sunrise or sunset.
It’s easy roadside shooting, despite images
having the appearance of a remote and
wild place. Other lakes worth a visit are
Two Jack Lake and Lake Minnewanka,
which are side by side. And let’s not
forget Johnson Lake, which can also
produce some good results.
Around an hour away is Lake Louise,
another hotbed of opportunities. Again,
it’s all about reflections, so make sure
to visit a number of key locations. Lake
Louise itself is an icon of The Rockies.
The mountains surround the lake in a
caldera of peaks, with a massive glacial
backdrop. Next, take a half-hour drive
to Moraine Lake and stand in wonder
CANADIAN ROCKIES
JASPER
It’s all about reflections, so make
sure you get up early and shoot
the dawn light as the wind picks up
quickly. This backlit sunrise was
roadside, just outside Jasper
Shot details: Canon EOS 1Ds
Mark III with Contax 35-70mm at
50mm and f11, 2sec, ISO 100
at this remarkable range of seven peaks.
Shoot through the trees or scramble down
onto the shoreline to get some wonderful
reflections. Once back at Lake Louise,
drive north again and explore Bow Lake
and other smaller lakes in the area. North
again, and Peyto Lake is probably the
most photographed of all the Rockies’
mountain views, but don’t expect solitude.
Its glacial waters and stunning mountains
are best viewed in the morning.
Lake Louise is where Highway 1 meets
the Icefields Parkway, the road that leads
to Jasper National Park. Stay in the town
of Jasper and explore more stunning
lakeside scenery. Hot on the ‘to-do’ list
should be Malgine Lake, Medicine Lake,
Patricia Lake and Pyramid Lake.
There are plenty of potential roadside
wildlife photography opportunities too.
Big-horned sheep are frequent, often
found grazing verges in small herds. Look
out for elk in the most unlikely of places.
The impressive bulls are often found
strutting into busy towns followed by an
entourage of does. There’s also the pika,
a small rodent-like creature whose ‘eek’
is heard echoing around the mountains.
There are moose, cougars, caribou and
even wolves in the wilderness, should you
be lucky enough to see them.
No trip to The Rockies is ever long
enough, in any season. It’s a captivating
and magical place to be respected and
explored. You’re bound to take thousands
of images, so make sure to bring plenty
of memory cards. If you enjoy mountains
and lakes on a grand scale, there is
possibly no finer place to be.
135
 LOCATIONS
PERU: PISAC
& CUZCO
We take a trip to Peru, a land of magnificent
lost cities, rich cultural heritage and brightly
coloured, traditionally dressed people
P Pisac
eru lies on the Pacific coast of
South America, just south of the
equator. Sites such as Machu Picchu
and Cuzco recall the wealth of the Inca
civilisation destroyed in the early 16th
Century by Spaniards, who built an
empire on Peru’s gold and silver. The
Andean highlands occupy about a third of
the country and are mostly the homeland
© Alamy
136
of Quechua-speaking Indians, Quechua
being the language of the Inca Empire. To
the Quechua Indians, Peru means ‘land
of abundance’, and for any photographer
Peru offers an abundance of photo
opportunities. The best time of year to
visit Peru is the dry season around June
to August, especially if you are planning
to hike the famous Inca Trail to Machu>>
Local knowledge and
expert shooting advice
Pisac has a market every Sunday, which
attracts traditionally dressed locals from the
Sacred Valley area who come here to sell
their handmade goods and fresh produce.
Locals and tourists flock to this lively affair,
which has become legendary in the Sacred
Valley. The main square starts to draw a
crowd early on after a colourful procession
leaves morning Mass.
1 Shoot the details
The market in the main square offers lots
of opportunities to shoot details of the wares,
but you can also shoot details of people and
architecture. This will tell the viewer more
about the person, scene or place.
2 Respect the culture
If the person you want to photograph
knows you are there, always ask their
permission first. It is disrespectful to simply
snap away without consulting the subject.
3 Get up close
When you are shooting portraits, use a
telephoto lens or get up close. This will help
exclude the surrounding chaos and
eliminate any distracting elements in the
background. It will also help focus the
viewers’ attention on the main subject.
© Alamy
 PERU: PISAC & CUZCO

CUZCOS PLAZA DE ARMAS

A Peruvian girl carries her sister beside the
church doors of Iglesia de la Compania de
Jesus in Cuzcos Plaza de Armas

137
LOCATIONS

© Thinkstock

DETAIL OF A
TRADITIONAL
WOMAN
Peruvian dancers at a parade
in Cuzco

TERRACOTTA
ROOFTOPS
Cuzco is famous for its
terracotta rooftops and you
don’t have to venture too far to
get an elevated view over the
city, providing fantastic views

© Alamy

138
 PERU: PISAC & CUZCO

Cuzco
Local knowledge and expert shooting advice
Cuzco is not only a good starting point for those wanting to visit the Sacred Valley, Machu Picchu
and other nearby attractions, but is also a major travel destination. Cuzco has many important
attractions that offer great photographic opportunities, such as interesting ancient Inca walls and
old colonial Catholic churches. It also hosts the annual Inti Raymi Festival (dedicated to the Inca
Sun God, Inti). There are many fiestas and festivals held somewhere in Peru every week and
because Cuzco is a major tourist destination, it has its fair share of them.

1 Experiment with different angles and viewpoints

There are a wide range of subjects to shoot in Cuzco: Plaza De Armas, La Catedral, La
Compania. Spend some time exploring different viewpoints. Check out postcards of the most
important buildings and try to experiment with different angles to shoot something a bit different.

2 Wait for the sun to set

The light in Peru is often quite harsh, so it is advised to use the daytime to recce the location
first and then return later in the day when the sun is lower in the sky and much softer. Many of the
popular buildings are floodlit at night and the lights usually come on just before it starts to get
dark. This is when the old colonial architecture looks its best and is the most photogenic.

3 Use a tripod
When you shoot in low light, you will need to use a sturdy tripod to avoid camera shake.
Unlike some cities around the world, you are free to set one up without being moved on by
the police.

© Getty Images

Picchu. However many of the major
fiestas and festivals, which will offer
fantastic photo opportunities, occur in
the wetter months.
With such a diverse range of cultures,
landscapes and wildlife, a visit to this
quintessential Latin American country
should be on the list of must-see
destinations for any serious photographer.
Most people only stay in the capital, Lima,
for a couple of days, before journeying
to the heart of Peru – the Sacred Valley.
Cuzco is an important Peruvian city,
especially for tourism, so there are
numerous ways to get there.
The road is long and exhausting from
Lima to Cuzco due to having to navigate
through the enormous Andes, so flying
there is recommended and will save
you time.
Situated on the bank of the Urubamba
River is Pisac, a lovely Andean village
about 20 miles from Cuzco, the main
tourist city and gateway to the Sacred
Valley region. The friendly atmosphere,
people and beautiful scenery will make
you want to stay for a few days. Pisac is
known for its Sunday markets and Inca
ruins above the town. The hustle and
bustle of the markets offer of whole host
of fantastic photo opportunities, but you
don’t have to go too far to escape for
some peace and quiet. The Pisac ruins
can be reached by climbing the hill to the
mountain top, where you’ll find yourself
overlooking the valley. The ruins are
known for their small, intricately placed
stones that fit perfectly together. The
ancient craftsmanship rivals that of even
the magnificent Machu Picchu. To get to
Pisac ruins you simply have to walk up
the steep 4km footpath from the plaza, or
take one of the taxis waiting on the east STREET SCENE
side of the market area. The city of Cuzco, Idyllic soft warm top view of an empty typical colonial street with stairs
often called Cusco, was the capital of the
Inca Empire and today it is the biggest
city in the region, with an airport, two
railway stations and lots of hotels and
travel agencies, making it easy to plan
your photo trip around the region. Many
buses depart from Cuzco to towns and
archaeological sites in the area. It is the
best idea to set this city as a ‘base’ or
‘outgoing point’, as it is the only major city
in the area and it will be the place where
you will have to go should you encounter
any problems with your equipment.
As far as equipment goes, be sure to
take a range of lenses covering focal
lengths between 24-200mm, such as a
24-70mm standard lens for landscapes
and a 70-200mm telephoto lens for
portraits and close-ups. If you are wanting
to save money and space in your luggage,
a good-quality superzoom could cover
18-200mm in one lens. A tripod is highly
recommended for landscape shots of
Machu Picchu and low-light shots of
cityscapes to avoid camera shake. Make
sure you have adequate insurance to
cover all of your gear, and when in transit
never stow it under or on the roof of the
bus – keep it with you at all times.
Learn how to ask ‘can I take a picture?’
in the local language, so that you can
ask permission to shoot people. Don’t
just snap away without asking, as this is
culturally insensitive and disrespectful.
Many Peruvians, especially Quechuans, WOMAN IN
strongly believe that by taking their TRADITIONAL DRESS
picture, you are taking their soul. The clothes worn by many Peruvians
Peru is such an interesting, cultural, are beautifully made of brightly
coloured materials. The hats are
colourful and inspirational South particularly interesting
American country with so much to offer.

139
LOCATIONS

SCOTLAND
The biggest challenge of photographing
Edinburgh and Glasgow is knowing when to stop

S
cotland’s two biggest cities offer the
keen photographer a multitude of
subject material, so if you plan a
trip there take plenty of memory. Both
cities offer a broad range of shooting
opportunities – particularly architectural
and environmental, but also with events,
sporting and cultural. For Glasgow, try
www.glasgow.gov.uk/en/Visitors/
WhatsOn and for Edinburgh www.
edinburgh.org as starting points.
Given that the two cities are less than
50 miles apart, they have very different
characters. With all due respect to their
inhabitants and taking a face-value
perspective, Edinburgh seems more
refined and majestic while Glasgow
seems harder and more rugged. Whatever
the ‘feel’ of the respective cities, both are Visitors flock to Edinburgh for good
rich in history and character and it is not reason. There is so much to see and
too difficult to capture that in image form. do there, and for photographers, it is a
Edinburgh is Scotland’s capital, but it year-long photo opportunity. The city is
has a smaller population than Glasgow. It a magnet for tourists, so it seems to be
is very picturesque, especially around the constantly busy especially during August
castle, the Royal Mile and Princes Street. when the Edinburgh Festival is on. If you
In fact, the Old Town and New Town want to visit at this time of year, book
areas are UNESCO World Heritage sites. hotels well in advance, especially if you
You don’t have to travel far to see the want to be close to the centre.
beautilful hills that surround the city. Edinburgh Castle is an obvious spot
Glasgow is the third biggest city in to visit. It dominates the skyline and
the UK and has the river Clyde and the if you go in August, it is worth getting
M8 motorway running through it. The tickets for the Tattoo if you fancy some
city’s growth and wealth was largely due pageantry. The Tattoo takes place at night,
to the heavy industry – ship building, but you will able to shoot at ISO 800 or
for example – that prospered there in 1600 without too much of a problem. The
Victorian times. bigger issue, in terms of getting pictures,

© Will Cheung

KEEP IT LONG
Long exposures can make the most of Glasgow’s busy roads and give dramatic results. A solid tripod is essential for this sort of work and there
is the risk of camera movement, either from traffic vibration or from draughts from moving cars. The colour reproduction in this scene was further
enhanced by using the film emulator plug-in Alien Skin Exposure 2, using Fuji Velvia 100 preset
Shot details: Nikon D700 with 70-200mm f2.8 lens at 80mm and f16, 30sec, ISO 100

140
 SCOTLAND

ARCHAIC BUILDINGS
Crumbling castles make fascinating subject
matter for architecture enthusiasts. When
photographing cloudless, sunny days such as
this it’s useful to attach a polarising filter
Shot details: Nikon D700 with 14-24mm lens at
14mm and f10, 1/200sec, ISO 100

141
LOCATIONS

Glasgow
Local knowledge and expert
shooting advice
The security people at the SECC (Scottish
Exhibition and Conference Centre) don’t
like photographers using tripods, so if you
wander around there with yours for some
evening shots, don’t be surprised if you get
some unwanted attention. Cross the Bells
Bridge, though, and try shooting the Clyde
Auditorium from the opposite bank where
you get a better viewpoint anyway.

1is aTry auto white balance

For low-light photography where there
mix of natural and manmade light, use
auto white balance and see how the
camera performs. Use the presets if you’re
not happy with the results.
Use a remote shutter ST. GILES’
2 The self-timer can be used to release
the shutter, but the drawback is that
CATHEDRAL
The interior of St. Giles’
Cathedral is beautiful
precise timing of taking the shot is not and well worth £2 for the
possible. A remote release is the better photography permit. A
option – a lockable one if you want to use tripod is needed, though,
the camera’s B (bulb) setting for very long to make the most of the
exposures. If you are trying this technique, building and to allow
make sure your battery is fully charged. the necessary slower
shutter speeds
Enhance colour saturation
3 A polariser can help enhance colour
saturation, but watch your shutter speeds
Shot details: Nikon
D700 with 14-24mm
f2.8 lens at 16mm and
and take it off when you’re in the shade. f3.5, 1/40sec, ISO 400
© Will Cheung

© Will Cheung

142
 SCOTLAND

GLASGOW: THE © Will Cheung

BEST RESULTS
The Finnieston Road bridge is
locally known as the ‘squinty
bridge’ and makes for an
excellent subject. This image
was taken on an evening of a
full moon, about an hour after
sunset. It is a busy route for
traffic and pedestrians, so
watch you do not trip anyone
up with the tripod.
Timing is important in such
shots. Here the traffic was
stationary for around half
the exposure time and then
vehicles started to move to
give the blur. Just by studying
the ebb and flow of the traffic
and the timing of the lights,
you can time when to release
the shutter to get a mix of
sharp and blurred vehicles
Shot details: Nikon D700 with
70-200mm f2.8 lens at 70mm
and f22, 13sec, ISO 100

CLOSE-UP OF
THE SECC
The Scottish Exhibition and
Conference Centre (SECC)
is a famous Glasgow landmark
and a good shot is to be had
from the other side of the
Clyde. On this particular
occasion, we got close up
with a wide-angle lens
Shot details: Nikon D700 with
14-24mm f2.8 lens at 14mm
and f5.6, 1/40sec, ISO 200

© Will Cheung
EDINBURGH:
THE BEST
RESULTS
The Fringe in August is a great
time to enjoy Edinburgh with
your camera. The artists
promoting their shows make
for great subjects, but you
do need to be patient for the
best shots. It pays just to
hang around and shoot a
whole series of images before
the acts move on. Use lens
choice and camera viewpoint
to minimise distracting
backgrounds. Getting in close
also helps, too.
Even in August the
weather can be variable, so be
prepared to have a rain cover
or even a plastic shopping bag
to protect your camera
Shot details: Leica M8.2 with
28mm f2 lens at f5.7, 1/180sec,
ISO 320
is where you are seated. The architecture
of Edinburgh is fantastic, whether you
shoot detail or general scenes. Do work
at your compositions, though, because
pictures are easily ruined by trying to
include too much. Use the zoom to crop
out distracting elements like cars and
people, and take care when timing your
shots. Patience is often rewarded with
cleaner compositions.
Edinburgh is home to many festivals
and events, the biggest being the
Edinburgh Festival in August. If you visit
at this busy time, make sure you get to
the Royal Mile and indulge yourself with
some people photography. Here, acts from
the Fringe promoting their shows and
street performers make for rich camera
fodder. Views from Arthur’s seat are
truly magical and a venture to the top of
the hill is deeply encouraged. From here
you’ll be able to see the whole city as well
as the Firth of Forth and the famous three
bridges, which are also very worth a visit.
Simply hop on a bus from the city centre
towards South Queensferry.
Known as Scotland’s cultural capital,
Glasgow is not as beautiful in the
traditional sense as Edinburgh, but there
are just as many photo opportunities once
you start walking around. There is plenty
to inspire fans of modern architecture and
lots of historic stuff, too. If you prefer to
take a more gritty approach, there is an
abundance of more rugged areas to tackle
with the camera.
In terms of lens choice, anything
goes – whether you prefer wide-angle or
telephoto. Travelling light is a good idea,
because to exploit the opportunities you
really need to walk around. If the idea
of low-light and evening photography
appeals, a tripod is essential, so consider
that when you pack. Compact tripods
from brands such a Manfrotto, Gitzo and
Slik offer excellent stability for their size,
and are light enough to carry around
all day.
The river Clyde divides the city in
two and the numerous bridges that span
the river offer many opportunities for
photography. Blue-sky days with fluffy
white clouds are perfect for shooting,
especially if you use a polariser to reduce
the amount of light entering your lens
without distorting the image. Bridges are
also great once the sun has gone down
and that magical hour after sunset is
a great time to shoot. Just be aware of
traffic and where you put your tripod.
Edinburgh
Local knowledge and expert
shooting advice
The Beltane Fire Festival takes place on 30
April each year on Calton Hill, which can be
great for pictures. Take a flash gun and try out
those high ISO settings on your camera. See
www.beltane.org for the latest details.
Standing on the Royal Mile is St. Giles’
Cathedral. You should take some time away
from the hustle and bustle and enjoy its
tranquillity. A permit for photography is £2.
1 Travel light
Obviously, less kit means less weight to lug
around, but it also makes life easier in the
crowds – a big bag can be an inconvenience.
ISO setting
2 Keep an eye on your ISO as the lighting
conditions change. In the shade of the
buildings, your usual ISO 100 or 200 is not
fast enough to avoid camera shake.
3 Zoom in and declutter
During the Fringe the biggest problem is
cluttered backgrounds, because it is so busy.
Just try to crop in using your zoom lens to
avoid as much clutter as possible.

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LOCATIONS
SOUTH-
WEST
FRANCE
Here we share hints and tips on two
locations in this little-known part of France
that are perfect for photography
T
his corner of France, west of line
from La Rochelle in the west to
the Mediterranean Spanish border
in the east, is not well known to English
tourists. It doesn’t include favourites
such as the Dordogne or the Riviera, but
the French know it well – and for good
reason. As well as architectural gems such
as the UNESCO heritage site of the city of
Bordeaux, there are extensive marshlands
in the north, 150 miles of sandy beaches
in the west (the Côte d’Argent), the huge
pine forests of the Landes in the interior,
the untamed wilds of the Pyrenees
mountains in the south, and a mixture of
everything in between. Even the Pyrenees
vary; they start heavily wooded in the
west and become progressively drier as
they head towards the Mediterranean.
This area is ideal for exploring alone
or in an organised photo trip, such as
the Light & Land photographic tour in
the Pyrenees. With tutors who live in
the region, they are able to show you
locations from these opposite ends of the
geographical and geological spectra.
If you organise your own trip, then
the northern tip is the department of
Charente Maritime, served by cheap
flights to Bordeaux to the south, or pretty
La Rochelle just to the north. Its marshes
are a haven for migrating wildfowl, and
its 12-mile, uninterrupted stretch of sand
and dunes is known as the Côte Sauvage.
As the coast turns east into the Gironde
estuary a low limestone escarpment
stands over more intimate sandy coves.
Whatever the time of year and almost
whatever the weather, there will be
144
something that reflects your mood and
will allow you to take photographs of a
deeply personal nature.
The parts of the coast that are sheltered
from Atlantic rollers are spotted with
fishing huts known as cabanes. Standing
over the water on stilts, they have a
square net which is baited and lowered
to the bottom. Very picturesque in their
own right, many of them are painted in
bright colours and are clustered together
in little groups. They’re found all the way
from Bordeaux to La Rochelle, but it’s
important to research before committing
yourself to photography, as the height of
the tide and the direction of the light will
make a huge difference to the atmosphere.
Conversely, the marennes, a huge
system of irrigated salt marshes just
inland, isn’t really affected by the
tide since much of the land has been
reclaimed over the centuries to provide
pools for the cultivation of oysters. It
will be almost impossible to find your
way back to any particular spot along
the meandering tracks, but here it is
more about relaxing into the subject and
allowing it to trigger a response in your
own subconscious. There are stunted,
twisted trees, geometric pools, isolated
huts, and even cattle grazing on reclaimed
pasture. But you’ll never know what
you’ll find until you’re there – the weather
can vary from dense, silent fog to clean,
hard sunlight in one afternoon.
The department of Hautes-Pyrénées
is situated at the southern end of the
region, right in the heart of the Pyrenees
mountains, with airports in the
Hautes-Pyrénées
Local knowledge and expert
shooting advice
The mighty Pyrenees mountain range forms
the border between France and Spain, but is
little known outside these countries. The
mountains are mainly granite and have
suffered little glaciation, which has left them
particularly jagged and steep. They’re home
to various wild fauna including marmots,
chamois, lammergeiers and other large birds
of prey. Due to the mountains’ wild and
rugged nature, you should take precautions
against sudden inclement weather,
particularly cold, blowing mists.
1 Pack for a trek
Access to the high mountains is by foot,
so choose your equipment carefully.
2 Stay for a night
In the Parc Nationale des Pyrénées,
camping is allowed if you are at least one
hour’s walking distance from a road. Dogs
are strictly forbidden.
3 Wait for autumn
Autumn is the best time of year for
photography, with colour in the foliage and
snow on the hills.
DEAD TREE
ROOTS, LAC D’AUMAR
This fallen tree leads the eye into the image, and
at the same time the roots contrast nicely with
the sky
SOUTH-WEST FRANCE

© Getty Images

145
LOCATIONS

© Getty Images

A LOOK OVER THE BAY

A beautifully serene shot over Arcachon CABANES
Bay. The smooth water creates pristine Another calming image highlighting
reflections that add to the beauty of the image the beauty of the South Western
coast

146
 SOUTH-WEST FRANCE

© Getty Images

BREATHTAKING
The landscape around this
area of France make for
stunning photographs

 YSTER HUTS,
O
LA TREMBLADE
Many of the little quays
and wharves are made from
discarded oyster shells
© Getty Images
© Getty Images

Coastal
Charente
Maritime
Local knowledge and
expert shooting advice
With the Gironde and Charente rivers
bringing trade in fine wines and cognac,
the cultivation of oysters and the strategic
importance of the Bay of Biscay, wealth
was always concentrated along the coast,
leaving photogenic Napoleonic cities such
as La Rochelle and Rochefort. The unspoilt
beaches mean that coastal roads can be
jammed during the summer holiday
season, but for those on holiday with their
cameras and a decent map the crowds
can easily be left behind.
foothills at Lourdes or Tarbes just to the
north. With the Spanish border to the
south, and the Tour de France annually
skirting its northern flanks, it represents
the full glory of the entire Pyrénées
National Park, with several perpetual
glaciers, beautiful mountain lakes, forests
of deciduous conifers and the highest
waterfall in Europe plummeting from the
wall of the gigantic cirque at Gavarnie.
CIRQUE DE
GAVARNIE
Snow on the 1km-high rock wall of the corrie
is coloured blue by the sky, with the sun just
clipping the ridges high above. Having your
white balance set at Auto would neutralise this
effect and render it almost monochrome
for example). There are even mountain
refuges, staffed by volunteers during the
summer months and supplied by mules,
which provide meals and beds for those
that do not want to carry tents. Spending
a night camping in the mountains, though,
is not only an unforgettable experience,
but also allows you to do all the walking
at your leisure during the day, then take
full advantage of the light at dawn and

1 Check the tides

Check tide times before planning shots
of cabanes or shorelines.
Hikers come in the summer and skiers
in the winter, but autumn is often a
dusk for some stunning photography.
However, if beaches are more
great time to visit, when the leaves are your thing, then take a look at
burnished red and gold and the first photo tours based in the beautiful
2 Know your location
Take a good map (eg IGN 39) and/or
GPS with you into the meandering
dustings of snow have fallen on the
higher slopes.
surroundings of Saintes-Maries-de-la-
Mer. The Photographers Lounge (www.
oyster beds. The Pyrenees mountains are a photographers-lounge.com) even bring
wilderness and there are few roads. There white ranch horses to photograph running
3
Get the right light
© Getty Images

Make full use of dawn and dusk light are, however, numerous well-maintained through the waves.
– everywhere is reachable by road so long-distance hiking paths, and using Wherever you decide to rest your head
access is quick and easy. these is the best way to appreciate the in South-West France, this area of the
spectacular scenery (see IGN map 1748ET, world is well worth a visit.

147
LOCATIONS
ROME
Discover what the historic sights of Rome
have to offer, photographing the stunning
architecture and way of life
R
ome is one of the busiest
capital cities in the world and
is considered a major tourist
attraction. It has on average between
seven to ten million visitors every year
who journey to see some of the city’s
most celebrated sites. With thousands
of years of history to explore, you’ll be
surprised at how compact Rome really
is, with landmarks barely a stone’s throw
from one another. Although there is
plenty of public transport on offer, Rome
really is a city worth exploring on foot.
First-time visitors will undoubtedly
want to tour the main sights, so knowing
what you’ll find when you get there will
help to ensure you go home with some
great shots. One of Rome’s oldest, but
busiest attractions is the Colosseum.
Built during the great Roman Empire in
AD 72-80, this incredible amphitheatre
has survived two millennia. With its
original façade long since destroyed, the
Colosseum has two exterior sides that you
can shoot. One of which, retains some
of the Colosseum’s original grandeur as
a partially intact exterior wall. On the
other side, you’ll find an interior wall of
148
SAN LUIGI DEI
FRANCESI
The elaborate interior of the
San Luigi dei Francesi church
is not unlike others in Rome.
It is the national church in
Rome of France and was built
between 1518 and 1589. Close
to the Piazza Navona you can
also visit the Pantheon just
around the corner
Shot details: Nikon D80 with a
28-80mm lens at 28mm and
f4, 1/60sec, ISO 1600
THE
COLOSSEUM
There is plenty to photograph
at the Colosseum, with
two exterior sides and an
incredible interior you can
wander around finding new
exciting angles to shoot.
Fantastic to visit during early
mornings and late afternoons,
the Italian sun will stream
through and warm up the
entire scene
Shot details: Nikon D80
with a 50mm lens and f6.3,
1/499sec, ISO 200
red brick that absorbs the Italian sunlight
beautifully, providing richly saturated
architectural shots. Venturing inside, there
is still plenty to photograph, with sunlight
streaming in from various directions
throughout the day.
Take a tour around the Imperial Fora
too, which is often included in the ticket
price to enter the Colosseum. It’s just a
short stroll up from the amphitheatre and
you can explore some of Rome’s famous
ruins including the Forum of Julius
Caesar. Just around the corner, you’ll
discover the striking Altare della Patria.
This monument is as hard to shoot as it
is to miss thanks to its all-white marble
build – you will need to balance the
exposure carefully between the subject
and sky. Worth a walk inside, you can
also reach the remarkable Santa Maria in
Aracoeli church at the back. Like many
older churches in Rome, its basic exterior
doesn’t allude to its lavish interior, so
expect to be taken aback on more than
one occasion during your trip.
Rome’s impressive Pantheon is not of a
traditional church design. Instead it’s an
astounding piece of Roman architecture >>
ROME

149
LOCATIONS

Rome & religion

Local knowledge and expert
shooting advice: churches
The city of Rome has over 900 churches,
giving it a strong religious presence. It is also
considered home to the Roman Catholic
Church, making it a popular place for
religious pilgrimage. With churches dating as
far back as the fourth century, there are
plenty of historic religious sites to explore.
Some of the more notable churches in
Rome feature traditional renaissance
architecture meaning they are ornate from
the floor to the ceiling so there is always
plenty to shoot.

1 When shooting inside, avoid using flash

by increasing your camera’s ISO
settings or opening up your aperture

2 Be respectful and avoid snapping

away during a service. Either wait until
it ends or come back later

3 Although you can’t silence a shutter,

turn off any extra camera sounds in
your menu before entering the church

VILLA BORGHESE GARDENS

One of the largest public parks in Rome,
the Villa Borghese gardens are beautifully
landscaped and thriving with activity over the
summer months. Ideal for an afternoon stroll,
whilst you’re there you can also visit the Galleria
Borghese museum to view their stunning
collections of sculptures and art
Shot details: Panasonic Lumix DMC-G3 with
25mm lens and f1.8, 1/600sec, ISO 160

VIRGIN MARY
Considered home to the Roman Catholic
Church, there are plenty of religious effigies to
find and photograph within the city of Rome
Shot details: Nikon D80 with a 28-80mm lens at
40mm and f4, 1/30sec, ISO 400

GOD RAYS
The interior of St Peter’s Basilica is a
breathtaking sight during late afternoons. With
god rays streaming through the windows, you
will need to up your ISO to capture this stunning
scene and ensure you get definition in the rays
Shot details: Nikon D80 with a 28-80mm lens at
28mm and f4.5, 1/60sec, ISO 1250

150
 ROME

“The view of Rome and Vatican City from the top of the
Basilica is spectacular – the perfect place for a panorama”
SCULPTURE
You can find as much art
outside in Rome as you
can inside the museums.
With plenty of incredible
architectural sights,
fountains and sculptures
you will something to shoot
down every street
Shot details: Nikon D80
with a 28-80mm lens at
50mm and f11, 1/640sec,
ISO 800

that dates back to AD 118-25. Built with
an incredible dome-shaped roof that
has a wide 8.3m diameter hole in the
top, called an oculus, the tension around
the oculus is what supports the roof’s
weight from collapsing. This is fantastic
to visit for interior shots at midday, as
the sun is at its highest so it will stream
down from the oculus as a beam of light.
Rainy days also provide plenty of great
photographic opportunities here, as does
Pentecost, when thousands of rose petals
are scattered through the roof to mark the
descent of the Holy Spirit.
Another fantastic photographic location
is Vatican City. Just across the Tiber River,
it’s known as the world’s smallest nation,
covering just over 120 acres. With so
much to see in such a small parameter, it
can be extremely busy at weekends and
in particular on Sundays.
Getting there early is a great way to
beat some of the crowds. One of the
best places to head to first is the Vatican
museum (Musei Vaticani). It’s filled
with some astounding artefacts and
it is also the location of papal conclaves –
where the College of Cardinals gather to
elect the next Pope.
Once you have finished touring the rest
of the collections, it is worth heading over
to St Peter’s Square where you can marvel
at St Peter’s Basilica. You can even take a
trip up to the top of the dome (cupola) for
a small fee. Not for the faint hearted, there
is a short elevator ride followed by 330
steps via spiral staircases and confined
walkways before you reach the top, but
the view of Rome and Vatican City from
the top of the Basilica is spectacular – the
perfect place for a panorama.
By the time you have made your way
back down, the afternoon sun will make a
tour inside the Basilica breathtaking. With
god rays streaming through the windows
it bathes the marble flooring with warm
light and enhances the grandeur of the
Renaissance architecture.
Don’t forget to up your ISO here if
you’re shooting handheld, as you want
to capture enough light whilst retaining
some definition in the rays.
ST PETER’S BASILICA
Visiting Vatican City is essential when
exploring Rome. St Peter’s Square is bustling
on Sundays and religious holidays with so much
around you to see and shoot
Shot details: Nikon D80 with a 28-80mm lens at
31mm and f5.6, 1/125sec, ISO 800
Touring Rome
Local knowledge and expert
shooting advice: transport
With so much to explore in Rome it can
difficult to do everything in just a few days.
Although you’re guaranteed to see a lot
more on foot, you can also make use of the
metro line and buses. For roughly around
four euros a day, you can hop on and off
public transport around the city. Alternatively,
consider following the Italian tradition and
rent a Vespa for a unique tour around the
Roman roads.
1 As one of the busiest cities in the world,
cross roads carefully. Although there is
a green-man crossing system in place, it’s
not always adhered to

the museum houses the work of some
the world’s most celebrated artists and
sculptors including Leonardo Da Vinci,
Michelangelo and Raphael.
The museum’s entrance fee is waived
on the last Sunday of every month, but
is worth every euro during the rest
of the time if only to see the Sistine
Chapel. Unfortunately photography is
strictly prohibited once inside but it’s
an incredible sight to behold. Featuring
Michelangelo’s famous ceiling frescoes
including, Creation with God and Adam,
You can then take a stroll back through
to the centre of Rome via the Tiber River.
With the city lit up at night, the bridges
over the river make perfect subjects for
picturesque water reflections, simply open
up your aperture and increase your ISO to
boost your camera’s sensitivity to light.
Rome is a wonderful city to explore and
you will find the Italian people charming
and the food irresistible. This city will
challenge your camera settings and
help you discover new, creative ways to
compose your travel captures.
2
Avoid expensive Taxi fares to and from
Fiumicino airport by taking the
Leonardo express train to Termini station
in the centre of Rome, costing roughly
around €14 one way
3 Most hotels in Rome provide a
fantastic free map of the city, which
you can also pick up from some metro
stations. A great way to navigate the city
streets on foot it also details where all of the
main sights are

151
LOCATIONS

PRAGUE
The City of a Thousand Spires, and almost as many
local beers, is photographically intoxicating. We fall
under the influence of this inspiring location

P
rague has become increasingly
popular with overseas visitors
in recent years, and with good
reason. The mediaeval streets that
criss-cross the city offer a masterclass
introduction to architectural style, with
everything from Gothic and Baroque
to Art Nouveau on display for you to
feast your eyes on. Well-organised
transport, enticing restaurants and
charming street cafes give visitors a
hassle-free experience, and the city is
compact enough for photographers to
stroll around, discovering eye-catching
subjects as they go. There is just so
much worth getting your camera out
for. The combination of inexpensive
flights and an encyclopaedic range of
cheap beers had made the city a popular
destination for stag and hen parties, but
that trend seems to be diminishing now,
returning the city to a more leisurely
and appreciative crowd. Even a long
weekend will offer photographers plenty
of shooting opportunities and, although
Prague is beautiful in the summer, its
moody charm is perhaps best seen under
the light of winter skies, when it exhibits
a melancholy air that will appeal to
anyone who has ever shot in black and
white. The Old Town Square, Charles
Bridge and Prague castle will likely be
top of your must-see list, but there are
also rewarding attractions if you look
beyond the city centre, including the
ramparts of nearby Vysehrad and the
leafy suburb of Vinohrady. Local folklore
claims that visitors who rub the plaque
on John of Nepomuk’s statue will return
to the city one day, but photographers
will quickly realise that magical Prague
casts a spell on them regardless.

© Gavin Gough

Shot details: Interior of the National Museum, Canon EOS 1Ds Mk II with
16-35mm lens at 16mm and f4, 1/50sec, ISO 800

152
 PRAGUE

Shot details: Old Town Square

at dusk, Canon EOS 1Ds Mk II
with 16-35mm lens at 16mm
and f8, 3.2sec, ISO 200
© Gavin Gough

153
LOCATIONS

Prague Castle and Hradcany

The most popular visitor attraction is the Prague Castle is the largest ancient
castle in the world, with views of the city from all quarters
There can be few other European castles and Theology halls are decorated with
that enjoy such a grand and lofty location as exquisite detail that you’ll want to
Prague’s. The needle-like spires of St. Vitus capture before heading back downhill for
Cathedral reach above the horizon, piercing a well-earned beer.
the sky and providing a beacon for those
with enough energy to walk up the steep
hill from the River Vltava below.
Entry to the main courtyard is free and
there is plenty at ground level to occupy
Shooting tips
keen photographers. The changing of the
guard at midday is worth a detour and the
views over Prague from the castle ramparts
1 Prague is filled with photogenic tourist
attractions, but don’t forget the
seemingly everyday subjects like buses,
are superb. Setting up a tripod here, if taxis, shop windows and market stalls that
you have one, will force you to slow down will all contribute to a comprehensive view
the photographic process and give more of the city.
consideration to framing and composition.
The roof of St. Vitus Cathedral offers even
more elevated views, but the glorious 2 Get into the habit of envisaging the
final image before lifting the camera to
your eye. This can help you identify
stained glass windows around the nave may
detain you for a while. potentially distracting background details
The castle can easily take up a full and will aid your decisions about what to
morning and is a good place to pause for include in the frame.
a relaxing lunch, which can be worked off
with an afternoon stroll through Hradcany
to the tranquil Strahov monastery. A 3 There is no such thing as the ‘right’
exposure for any scene, and your
camera’s built-in light meter only aims to
walk through Hradcany will allow you a
Shot details: Theological Hall, Strahov chance to photograph a more residential give an average result. Try a variety of
monastery Canon EOS 1Ds Mk II at
district. You’ll want to save some space on under- and overexposed shots of the same
35mm and f2.8, ISO 1600
© Gavin Gough
your memory card for the interior of the subject, to see which ones work best.
Strahov library, however. The Philosophy
THE BEST
RESULTS
© Gavin Gough

There are various locations

around the castle that offer a
bird’s eye view. Perhaps the
best of these is the rooftop of
St. Vitus Cathedral, Prague’s
largest church. If the climb
up the steep stairs doesn’t
take your breath away, then
the view from the top will.
The city’s ruby-red rooftops
stretch down to the river and
continue across Staré Mesto
(Old Town).
Shot details: Central Prague
Canon EOS 1Ds Mk II with
70-200mm lens at 90mm and
f8, 1/100sec, ISO 400

154

Charles Bridge & Old Town Square
For the most iconic scenes of Prague, head to Charles Bridge or in the nearby Old Town Square
Charles Bridge and the nearby Old
Town Square act like a magnet on
Prague’s culture-hungry visitors, and
from lunchtime onwards both are likely
to offer standing room only. Even a
cursory visit will reveal why these are
the must-see locations in Prague. Both
are architecturally, aesthetically and
photographically beautiful, so this is the
perfect location to get out your camera
and hone your skills
Charles Bridge has been closed to
motor traffic since the Second World
War, leaving pedestrians free to wander
up and down the cobbled span, peering
up at the thirty statues of saints that
line the ramparts. Photographing the
bridge can be quite a challenge, and
finding the right perspective can take
some time. You may be initially tempted
to show the line of statues, choosing a
lens with a long focal length in order to
foreshorten the perspective. But although
your instinct might be correct, finding
the right spot for that composition can
become quite a treasure hunt.
The Old Charles Bridge Tower at the
eastern end of the bridge offers a terrific
viewpoint that’s often overlooked. The
roof of the tower gives uninterrupted
views of the bridge and the castle. Take
a small tripod or beanbag with you for
long exposures, blurring the pedestrians
on the bridge below.
Meanwhile, the sprawling Old Town
Square gives visitors room to spread
out until shortly before each hour
strikes, when they crowd around the
mechanically marvellous astronomical
clock. You can also glimpse panoramic
views of the Old Town via the tower
at the Old Town Hall, to soak up the
various architectural styles. These
include the gothic Tyn Cathedral and
baroque St. Nicholas Church. Either get
there early for a front-row view, or hang
back and show the entire scene. Either
way, you won’t be disappointed
with the results.
Local knowledge
Charles Bridge and the Old Town Square
are located at the visual and geographical
heart of the city and inevitably draw
visitors in large numbers. To avoid the
crowds and to capture the most
enchanting views of the Bridge and
Square, it’s best to visit at dawn and
late in the evening. Early birds may strike
lucky and find the Charles Bridge
enveloped in shrouds of mist from the
River Vltava, while night owls will find the
cobbled square glowing with beautiful,
colourful illuminations.
PRAGUE
THE BEST RESULTS
The statues on Charles Bridge
(Karluv most) are possibly the most
photographed statues in Eastern Europe
and have become Prague’s
quintessential picture-postcard subject
matter. Although many of the soot-
stained statues are actually replicas,
they still offer photographers an
opportunity to carefully examine the way
that changing light falls upon a subject.
As the direction and intensity of the light
alters through the day, so will the
shadows and the apparent warmth of
the visible tones. Experiment by taking
pictures of the same statue from the
same perspective at different times of
day and use the results to understand
how variations in light can radically
change the appearance of your subject.
Giving yourself practical exercises like
this can be a great way to learn.
© Gavin Gough
Shot details: The Church of Our Lady
Before Tyn in the Old Town Square,
Canon EOS 1Ds Mk II with 16-35mm lens at
20mm and f2.8, 1/15sec, ISO 800
Shot details: A statue on Charles Bridge,
Canon EOS 1Ds Mk II with 70-200mm lens
at 145mm and f2.8, 1/1000sec, ISO 200
Shooting tips
© Gavin Gough
1
Shot details: A tram crossing Legion Bridge, A sheet of white paper can be handy for
Canon EOS 1Ds Mk II with 16-36mm lens at 16mm
and f4, 1/30sec, ISO 400 more than simply writing notes on and
will take up very little space in your bag. It
can work surprisingly well as an
impromptu reflector and a photograph of a
sheet of paper can be used to calibrate
white balance on subsequent shots taken
in the same light conditions.
2 A quick-fire sequence of eight or ten
images can help to convey movement
when viewed as a series and will work well
together if you create a digital slideshow
when you get home.
3
Monochrome doesn’t have to only
mean black and white. Prague is a
colourful city and concentrating your
attention on a single colour can produce
some eye-catching results.
155
LOCATIONS

JAPAN
Your first visit to Japan can feel like landing on a
different planet. We advise you where to touch down
and what to record in this magical land

L
ike the UK, Japan is an island
nation. And, while there are certain
similarities, mostly it couldn’t be
more different. Famously self-isolating
up until the late 1800s, even today a
strict immigration policy means that one
can spend all day at so-called tourist
destinations and rarely see another
Westerner. Multicultural it is not.
Japan’s inward-looking nature
has ensured traditions have been
maintained, and so, particularly in the
ancient imperial capital of Kyoto famed
for its temples, Samurai castles and
Geisha houses, just walking the streets
can feel like stepping back in time.
Fascinatingly for the photographer, Japan
overall is a place of stark contrasts, where
modern utilitarian buildings co-exist next
to ornate multicoloured shrines. A bullet
train ride from Kyoto and you are in the
modern capital of Tokyo where, with
its stories-high neon signage written
in what to untrained eyes resemble
hieroglyphics, the bewildered visitor
can feel like they’ve stepped onto the
set of Ridley Scott’s Blade Runner. Or, in
witnessing the electricity pylons dotting
the industrial landscape on the two-hour
coach journey from Narita airport, at least
a Godzilla movie. Japan is the place to
regain your sense of wonderment. And,
because Kyoto and Tokyo offer such
visual contrasts, as well as being the old
and new capitals of Japan, they’re the
two locations we’ve decided to principally
cover here.
Without living there for an extended
period, there is only so much the
Westerner can assimilate. But when’s the
best time to visit? To maximise your photo
opportunities, the ideal period is April
and May. This is the start of the cherry
blossom or ‘Sakura’ season, beginning
like a paper trail in the southern islands
and heading north, inspiring picnics and
excitement from all ages as the colourful
pink blooms arrive in parks and public >>

Kyoto
Local knowledge and expert shooting advice
With ancient temples, Zen gardens, tea ceremonies, Geishas and Shogun dwellings, Kyoto is the
place to step back in time and photograph Japan as the history books detail. Public buses
directly outside the main Shinkansen (bullet train) station stop off at the key sights, including the
thousand year-old Kitomizu temple, gold-leaf covered Kinkau-ji pavilion and ornate Nijo Castle
with Chinese-style gables and elaborate murals. Those with time to soak up the local
atmosphere will enjoy Kyoto’s Philosopher’s Walk, which meanders alongside a cherry tree-lined
canal. Shrines, coffee and craft shops provide picture points along the way.

Leave the tripod at home

1 In Kyoto’s narrow bustling alleyways in the early evening – the time at which Geisha and
Maiko leave their houses to entertain clients – the setting up of a tripod to facilitate a slow shutter
speed is an impractical no-no. It’s worth sometimes relying on Auto mode, rather than fiddling
around with camera settings in the dark. Alternatively, there’s always a wooden ledge of sorts
nearby to facilitate handheld photography.

Respect privacy and culture

2 Kyoto’s temples and shrines are not just photo opportunities but also centres of worship –
and don’t forget to remove your shoes first, a cardinal sin often overlooked by foreigners who will
be met with alarmed gesticulation.

Explore on foot
3 Compared with Tokyo and its myriad districts, central Kyoto is mostly accessible on foot –
and that’s actually the best way to avoid missing its plethora of charms.

MAIKO IN KYOTO
Early evening shot that captures a Kyoto-only phenomenon. Two young
women dressed as Maiko – trainee Geisha – helpfully pose in the winding streets
that lead down from (and up to) the 1,000-year-old Kitomizu temple
Shot details: Pentax Optio S4 with 35-105mm lens at 6.8mm and f2.8, ISO 100

156
 JAPAN

KYOTO: THE
BEST RESULTS
Gold-leaf exterior gleaming
in the sun, Kyoto’s Kinkau-ji
pavilion and lake teaming
with Koi amid tranquil
gardens take on a magical
quality that proves an
irresistible lure. Just to make
it unmistakably Japanese,
a carp is surfacing in the
foreground – a ‘golden shot’,
if you like
Shot details: Pentax K100D
Super with 18-55mm f3.5-
5.6 AL lens at 20mm and f8,
ISO 200
© All images Gavin Stoker

157
LOCATIONS

TOKYO: THE
BEST RESULTS
Sometimes it seems video
might be a more fitting
medium than stills to impart
the bustle of nightlife among
the electronics shops of the
Shinjuku and Shibuya areas.
Here, however, photographer
Gavin Stoker had the idea to
combine two portrait shots
from the same viewpoint into
a single landscape image to
maintain the ‘action’ of the
flashing shop fronts, and
therefore come up with a
truer visual record of a time
and place
Shot details: Olympus E-420
with 25mm f2.8 lens at 25mm
and f3.5, ISO 100

FUJI IN BLOOM
Another location most
Westerners think of when they
visualise Japan and, like Kyoto,
it’s within visiting distance of
Tokyo. In April cherry blossom
forms on the trees at its base,
presenting a contrast with
its still-white slopes. In June,
the rainy season can shroud
it in mist
Shot details: Pentax K100D
Super with 18-55mm f3.5-5.6
AL lens at 18mm and f3.5,
ISO 200

158
 JAPAN

METROPOLITAN
GOVERNMENT
OFFICES, TOKYO
Resembling a rocket ship
Tokyo
about to ascend into a Local knowledge and expert shooting advice
featureless sky watched by
a curious onlooker, Tokyo’s If you’ve the time, patience and desire to experience the city through the locals’ eyes, navigating
Metropolitan Government your way around the tangled ball of string that is Tokyo’s subway system to get to your
offices rise up impressively. destination is challenging but rewarding. Alternatively, for a quick fix of visual feasts a day’s
This snapshot was converted
to black and white to best coach tour organised via your hotel can be good value, taking in the essentials of Tsukiji fish
enhance the building’s market, Imperial Palace, Meji shrine and Senso-ji Temple. Looking to capture bright lights and
graphical, electronic
hyperactive buzz? Head to Shinjuku, Roppongi, Harajuku, Akihabara and Shibuya, the latter’s
circuitry-style architecture
Shot details: Panasonic DMC- busy X-shaped crossing now copied in London’s Oxford Circus.
FX55 with 28-100mm f2.8-8
Experiment with different angles and viewpoints
1
lens at 28mm and
f2.8, ISO 100 In Tokyo it’s tempting to point your camera upwards all the time to take in the monolithic
buildings and impart a sense of scale. But do so and you’ll be missing photogenic things
RAINBOW
happening at ground level. It can be worth actually restricting yourself to a something like a
WARRIORS
Lavender fields in Furano, pancake lens at times, in order to break out of such habits.
Hokkaido, prove irresistible to
Avoid the crowds (or make them your subject)
2
coaches of native Japanese
who, in June, must brave In one of the planet’s busiest cities where white-gloved subway officials press commuters
the start of the rainy
season to enjoy nature’s into crowded carriages so the doors shut, it’s best to avoid rush hour. However, possibly just the
spectacular bounty once, you may wish to make it your photographic subject. The crossing at Shibuya after 5pm is
Shot details: Fujifilm a good place to catch hordes of black-suited salarymen and office ladies (OL’s) making their
FinePix F30 with 36-108mm
f2.8-5 lens at 36mm and f5, way home, while the nearby statue of Hachiko (the Japanese version of Greyfriars Bobby) is a
1/240sec, ISO 100 rendezvous point for elaborately garbed teens and 20-somethings.

Take your time

3 It sounds obvious, but you’re unlikely to get great results when rushing through locations.

areas. There’s plenty of opportunity,
therefore, for candid shots of locals
celebrating the changing of the seasons
with nature providing a suitably pretty
backdrop, beautifully contrasting with the
utilitarian man-made structures that tower
over Tokyo’s parks and open spaces.
When we first think of Tokyo, we
imagine its bright lights. The most
dazzling are to be found in the Shinjuku
and Shibuya districts, chiefly because
they’re home to massive electronics
emporiums, as well as in Roppongi, with
the neon lights of its many bars and clubs.
Aside from picture opportunities, Shinjuku
and Shibuya districts – the dual centres
of Western Tokyo and handily two stops
apart on the Yamanote subway line – are
also worth visiting for camera kit, the
former’s Yodabashi Camera claimed to
be the largest of its kind and the latter
home to several floors of the Bic Camera
chain. With Akihabara a major lure for
electronics, more traditional photogenic
charm is to be found within the white
walls of the Imperial Palace, and the
bright red incense-filled buildings that
make up Tokyo’s Senso-ji Temple.
If the hustle and bustle of inner city
life gets too much, a coach ride from the
centre will place you at the tranquil foot
of Mount Fuji. Another visual contrast:
cherry blossom in the foreground and
snow capped peak in the background;
what could be more Japanese? Try to
SHADY LADIES capture these cornerstones in a unique
In Japan pale skin is coveted, so it’s not unusual to see women taking way, however, by experimenting with
a stroll in the sun armed with a protective lacy umbrella. Add in a traditional
costume or two, some ‘war paint’ and you have a picture in the making
settings. Springtime is also a fantastic time
Shot details: Olympus SP-570 UZ with 26-520mm f2.8-4.5 lens at 92mm of year to visit Kyoto. Indeed, if you’re
and f4.5, ISO 64 going to base yourself in nearby Tokyo,
not visiting is remiss. Take the Shinkansen
(bullet train) and it’s possible to get there
and back in a day. But, ideally, spend a
couple of nights and take plenty of shots
while you’re there.
Start off in the morning with Kyoto’s
golden Kinkau-ji pavilion, set within
ornamental gardens and a lake of Koi carp.
With long-legged grey cranes stalking its
shallows, the setting is quintessentially
Japanese. In the afternoon visit the
1,000-year old Kiyomizu temple, set
into the hills. Afterwards, in the early
evening, wind your way down narrow
streets back to modern life, and you may
be lucky enough to photograph a Geisha
heading out for the evening in full regalia.
Further photo destinations are Ryoan-Ji
temple with its famous Zen garden, and
Nijo Castle, with ornate paintings and
squeaking floors.
June through to September can be
uncomfortably humid in the cities, so if
you’ve got the opportunity head further
north to the island of Hokkaido and enjoy
its hot springs, snaking rivers, creeks,
mountains and areas of outstanding
natural beauty. Apart from the city of
Sapporo with its famous tower, one place
worth visiting in the region is Furano,
which in early summer comes ablaze
with crops of lavender, dividing up the
landscape with eye-catching purple stripes.
In winter it’s a different place entirely, and
a destination for snowboarders and skiers.
Japan is a place of great contrast and
many wonders – both man-made and
natural. It comes as no surprise, therefore,
that it’s a location that comes top of the
list for all photographers.

159
LOCATIONS

SHANGHAI
Take a photo tour of China and photograph
the remarkable megacity of Shanghai
I
magine a large city filled with tall how long it could take to reach anywhere incredulous economic strength. There are
buildings, business and bustle. Now by bus. Thankfully, transatlantic flights large districts, towns within towns and a
try to imagine a city so massive that it connect our cities together so well that the staggering glass architectural waterfront
engulfs and redefines the meaning of the world feels significantly smaller for the that gives the city focus and an altogether
word ‘city’. Take Rhode Island and stretch intrepid traveller. Yet getting to Shanghai otherworldly feel.
it out a little. Now make it one and a from the UK is no easy feat, as the flight Getting around Shanghai is nice and
half times bigger and we’re getting closer. is going to be a ‘long haul’ indeed. Many easy. There is a convenient metro system
Then try to imagine an area one-third airlines charter direct flights, which with clean, efficient trains. Buses are also
the size of Wales. Flatten it, clear all the are reasonably priced (around £500) if frequent and taxis are all very reasonably
grass land, build skyscrapers and add a booked in advance. priced. Don’t be surprised to pay just a
lot of people. It’s almost unfathomable Located on the east coast of China, couple of pounds for a reasonable air-
but, as the endless skyline stretches imagine the country depicted as a conditioned taxi ride, lasting ten minutes
outwards and into the night, the size of rooster, facing to the right with the city or even more.
this concrete monster becomes very real. located on its proud breast. As with most Expect the archaic British etiquette of
Welcome to Shanghai, the largest city on major populations, a river is the basis ‘the queue’ to be entirely lost when a bus
earth, home to a staggering 20 million of its strength. Here, the Yangtze River pulls in. Although modern Chinese living
people. An hour in the air, a day over flows to the sea and it is this 4,000-mile is fast-paced and intense, it’s all done
land; this is a good way of approximating watercourse that’s the basis of Shanghai’s with an infectious smile >>
FUN WITH
THE LOCALS
The people of
Shanghai are
some of the
friendliest people
you will meet, so
don’t be afraid
to get involved
in some photo
shoots
Shot details:
Canon EOS-1Ds
Mark III with
24-105mm lens
at 45mm and f11,
1/60sec, ISO 400
© All Images by David Clapp

© All Images by David Clapp

160
 SHANGHAI

THE BUND
Take a stroll along The Bund at dusk
for some of the most compelling city
skylines in the world. Taken using a
medium zoom lens. Expect a small group
of interested onlookers, especially if you
have a professional camera body!
Shot details: Canon EOS-1Ds Mark III
with 70-200mm lens at 150mm and f11,
4sec, ISO 100

161
LOCATIONS

SHANGHAI WORKMAN
One of the most rewarding styles of
travel imagery is the panning shot. To do
this successfully, grab a medium zoom like a
70-200mm and set the camera into Shutter
Priority mode at 1/15sec. Put the camera into
Continuous Shot mode and choose a focal point
within the approaching subject. Hold the trigger
and pan as the subject passes. Expect to throw a
lot of images away!

Local knowledge
and shooting tips:
River cruise
The waterfront of The Bund is never
particularly exciting in the daytime as it is at
dusk. The busy shipping that works its way
up the Yangtze River often erupts into a
cacophony of horns, just for the sheer joy of
it. If you fancy a trip with a difference, then
take a river cruise. Expect the railing sides to
fill quickly as tourists jostle for position and
start shooting some close-ups of these
monster tower blocks, by using a medium
zoom lens.

1 Make sure you shoot high ISOs as a

tripod will do little to help with the
motion created by a moving boat

2 Think abstract by picking out parts of

buildings as well as the overall scene

3 Have fun with tourists who want to

take your photograph!

162

CHINA
FOLKSHOW
Often overlooked as the
‘tourist trail’, Shanghai has
folk shows and traditional
performances that can
give all manner of
photographic potential
Shot details: Canon EOS-1Ds
Mark III, with 70-200mm lens
at 250mm and f5.6, 1.5sec,
ISO 400
TV TOWER
Take the lift up into
the second level of the TV
Tower and shoot through the
Perspex flooring to the ground
below. It’s a stomach-churning
view that gives the image a
strong sense of falling
Shot details: Canon EOS-1Ds
Mark III, with 24-105mm lens
at 50mm and f11, 1/30sec,
ISO 100
BAMBOO SCAFFOLDING
Be on the lookout for city life in all forms. This workman was spotted while
taking a break, looking across a city park
Shot details: Canon EOS-1Ds Mark III with 70-200mm lens at 200mm and f8,
1/160sec, ISO 400
Local knowledge
and shooting tips:
Community
The Chinese have a strong sense of family
and community, pulling together in the
workplace too. Rather than thinking about it,
they seem to get on with it and get the job
done, and it is this attitude that has made
China a dominant economic force. Look to
capture this within people shots, from the
simplicity of the working day to beautiful
children that will simply make you melt.
1 Even though the language is a huge
barrier, a smile and a gesture will get
you everywhere.
2 Take portraits knowingly and show
your images immediately to the
person. Remember they have helped you,
not the other way round.
3 Choose a wide fast lens like a 50mm or
85mm f1.4 shot at f2.8 to separate the
people from their background.
“Make the most of your
camera’s custom settings by
saving some presets”
that is hard to avoid. Pack a wide angle,
a fast 50mm prime lens, a medium
telephoto and if possible a 24mm tilt-shift
lens. Although the personal kit list could
extend even further, these lenses will
allow myriad travel images and keep the
camera bag manageable. Expect curiosity
and attention when the camera is set on
a tripod, but do not misconstrue this as
anything more. Children and teenagers
are all interested in technology.
Make the most of your camera’s
custom settings by saving some presets.
Choose Aperture Priority, ISO 800, f5.6,
Continuous Shot and then save this as a
preset to capture the action at the turn
of a dial. Image stabilisation is extremely
useful, but not essential. If your lens
has IS or VR with a panning mode (ie it
only corrects vertical alignment and not
horizontal movement) this can be put to
remarkable use.
The Bund is a must-visit location,
situated on the banks of the Huangpu
River. It is a long waterfront boulevard
where families stroll, couples kiss and
children chase each other along what
seems like an endless pavement. The
view across the water is one of the best
city skylines in the world today, with the
central focus being the iconic Oriental
Pearl Tower, known locally as the TV
Tower. It emerges like a gigantic robot
from behind defenceless offices; use a
medium zoom lens to capture it alongside
some inspiring glass. If possible, you
SHANGHAI
should take a trip into the TV Tower itself.
Take the lift to the second ‘pearl’ for the
most inspiring views across the city. For
those who find heights off-putting, the
Perspex flooring will do little to console.
Although somewhat scratched by the
main entrance, you can walk around the
tower for cleaner glass.
Then place the camera lens first on the
floor and zoom in while feeling like a free-
falling parachutist.
Every street is brimming with lifestyle
and culture. Whether it’s a folk show or a
busy market, there is plenty to entertain
the street photographer. Try capturing
macro shots of the brightly coloured
foreign foods on offer and switch to a
wide-angle lens for candid street shots.
You might want to use a smaller camera
to feel less conspicuous. Tuk-tuks (taxis)
flit about the city streets, as bicycles and
tricycles trundle, impossibly loaded with
recyclables. There are pictures everywhere
if you pay attention. Pick a street
corner, set the camera to Shutter Priority
(1/15sec) and try panning with the action.
As long as the focal point of the shot is in
relative focus, the image will be a success.
After getting into the swing of Asian life,
it will feel difficult to leave; you’ll want
to carry on taking photos there forever.
Shanghai is a unique and wonderful mix
of East and West. Despite all the glass and
steel, concrete and plastics, it’s the people
that make this city so utterly special and a
true wonder of the world.
163
LOCATIONS
NORWAY
David Clapp discovers the north
of Norway, shooting wonderful
landscapes and the northern lights
N
ot all photogenic travel locations
need to be hot and sunny. A
winter wonderland can often be
as spectacular, if not better. Although it’s
easy to complain about winter in Britain,
our island is let off considerably lightly
from winter’s grip compared to other
countries. Central and Northern Europe
will see temperatures plummet, but it’s
the upper regions of Scandinavia that will
take the full force of the Arctic. The sun
will disappear entirely for a few months
and lock the land in snow and ice. If
snow-capped mountains, coastal fjords
and frozen waterfalls appeal then imagine
them all under the spell of aurora borealis.
Northern Norway is a truly magical place.
Travelling to Norway is straightforward
enough, but because so much of the land
is inhospitable and difficult to traverse,
populations have only been built up in
key areas. Most of this concentration is in
the south of the country where extremes
are reduced, but cities do extend far north,
SKY BURST
The colour of aurora is often
just seen as green, but inside this
aurora there is a suggestion of
deep red
Shot details: Canon EOS 5D Mark
II with 14-24mm lens at 24mm and
f2.8, 3sec, ISO 1600
164
with Tromsø being the main settlement.
Oslo is the largest city and an important
connection for internal flights. Gatwick
provides a flight there once a day, so a
connecting flight will be required. There is
plentiful accommodation and it is easy to
find some truly stunning locations on the
sides of fjords and in smaller communities
as well as in the city itself.
Be prepared for total shock at the cost
of living. Prices for food and drink feel
extortionate compared with those in the
UK, with a bag of shopping seeming
rather light in comparison to its price tag.
Norway is almost on par with Japan, but
certain expenses, like petrol, seem more
in keeping with Britain.
If you’re visiting in winter you’ll see
temperatures hitting an average of -6 to
-10°C between October and March, but
there could be severe conditions if the
full rage of the Arctic is unleashed. In
the summer months you can expect a
pleasant 15-20°C, but remember that >>
SKY BLAST
An intense burst of aurora called a
corona bursts downwards from vertically
above. It’s unfathomable to think this shape
could be a hundred miles wide and between
35 and 600 miles above!
Shot details: Canon EOS 5D Mark II with
14-24 lens at 24mm and f2.8, 3sec, ISO 1600
 165
NORWAY

© All images David Clapp

LOCATIONS

FISHING BOAT
Simple roadside winter scenes like this moored fishing
boat are on offer around the edges of fjords. All
manner of focal lengths will come in handy to make
the most of the surroundings
Shot details: Canon EOS-1Ds Mark III with 70-200mm
lens at 200mm and f11, 1/50sec, ISO 100

Local knowledge:
Northern
lights settings
Although it may appear straightforward, it’s
important to check the camera again and
again when shooting the northern lights.
Ensure that the focusing or other settings
have not been changed as there is nothing
worse than discovering that every shot is
slightly out of focus. Ensure that mirror
lockup is used as well as a 2sec timer or a
cable release as this will keep your hands off
the camera.

1 Set up and test the camera to ensure it

is in focus. Use manual focusing at all
times and recheck regularly

2 Take lots of images! As the aurora

builds it will constantly move and
change shape

3 Do not set long exposure noise

reduction or risk missing the shot

“Just like shooting in moonlight, the camera reveals

more colour and detail than the eye can see”
166

FISHING CABIN
There are fishing cabins and
houses in this rich wonderful red
found all over the coast. Often
covered in snow, these make
idyllic scenes when offset against
the mountains
Shot details: Canon EOS 5D Mark
II with 14-24 lens at 24mm and
f2.8, 3sec, ISO 1600
FOREST SKY
Focusing in the dark
is always hard, so set the
lens on infinity and take test
shots. Zoom into the image on
the LCD and check the stars
are sharp. This was taken at
14mm, which produces 120
degrees of view. Considering
the upward angle, this makes
the top of the image behind
the camera. This aurora was
slow moving so it was easy to
recompose and shoot
Shot details: Canon EOS 5D
Mark II with 14-24 lens at f2.8,
3sec, ISO 1600
between the end of May and July, the sun
will not dip below the horizon.
Around the Tromsø area there are
numerous fjords and mountain scenes
to discover. Timing the trip with a full
moon can also give a range of wonderful
shooting opportunities, but it’s the
northern lights that are a huge draw
for many, especially in late autumn
and winter when the conditions are
less testing. Although, like the weather,
a certain amount of activity can be
predicted, how and when it will actually
appear is entirely in the hands of the gods.
Aurora is caused by solar activity.
The more explosions on the sun, the
more energy it expels outwards into
the universe. If the earth collides with
this activity, the magnetic forces of the
planet draw the energy into the poles,
excite particles that then begin to glow.
The height and intensity of this energy
generates different colours within the
aurora, but expect wonderful lower level
pinks and even blues as well as the
regular greens that can stretch across the
sky for hundreds of miles.
So how much of this aurora is visible
to the naked eye? Just like shooting in
moonlight, the camera reveals more
colour and detail than the eye can see,
because retinal sensitivity is greatly
reduced in low light. Nonetheless, it’s
quite easy to pick out shapes and swirls
that flow in huge bands as well as
‘needles’ that flicker and grow upwards
into the night.
If you are lucky enough to witness a
huge burst of activity, it’s possible to see
an auroral corona. This is a colourful
vortex of light that descends from above
and dances and pulses from a central
point. Wave upon wave of mesmerising
intensity will rescale your senses!
Shooting aurora is life-changing stuff.
Take all lenses and camera equipment.
Wide-angle zoom lenses like Nikon’s
NORWAY
14-24 f2.8 are utterly ideal for shooting
aurora and landscapes too, but consider
hiring a wide prime lens like a 24mm f1.4
just for the occasion. Telephoto lenses
will also be extremely useful out in the
field. Shooting aurora will require higher
ISOs like ISO 1600, so that extra stop of
aperture will make all the difference.
Clothing and footwear will be matched
to suit the seasons, but a quality down
jacket, two layers of gloves, boots and
plenty of chemical warmers won’t go
amiss in the winter months. Hire cars
are all quite capable of withstanding the
winter and all have studded tires to grip
the icy roads.
Imagine for a minute the excitement of
shooting in a mountain setting with subtle
moonlight and aurora dancing across the
sky, and it’s easy to realise that this is
truly a spectacle not to be missed.
Local knowledge:
Stay safe
on location
Staying safe in any cold environment takes
thought and planning. Unlike the UK, where
a house or shop is never too far away, a
stupid mistake could cause severe injury or
worse still a fatality. Plan a route, make
someone else aware of where you are going
at all times.
1 All cars have winter tires with studs to
grip the ice, but drive carefully and
respect the conditions
2 Carry food, water and a sleeping bag
in the car as these could save your life
3
A mobile phone could be a life-saving
device. Ensure it is charged 24/7
167
LOCATIONS
DELHI
Between speeding rickshaw rides
and cups of spicy chai, Gavin
Gough shoots the delights of
India’s capital
D
elhi has long been a favourite
destination for photographers in
search of the exotic. Colourful,
chaotic, and full of contrasts and
contradictions, Delhi offers photographers
so many opportunities that it can be
difficult to know what to seek out first.
Sacred temples and breathtaking mosques
vie for space alongside modern buildings
and 21st Century restaurant chains.
A visit to Delhi will stimulate all your
senses, bringing your awareness to high
alert. The sights will beguile you, the
spicy flavours may stun your taste buds,
the aroma of the street is pervasive and
your entire visit will be accompanied
by the backing track of a cacophony of
nonstop car horns. Delhi is perhaps a
microcosm of India and it can feel as if
the whole of the country has turned up
to enjoy the party. Street vendors and
pilgrims, businessmen and hawkers, holy
men and beggars… you might see some
of each at every corner you pass, such
is the diversity and congestion found in
Delhi. And yet there are relatively quiet
corners, where photographers can pause,
take a breath, order a cup of hot chai
FATEHPURI MASJID 1
The old walls of Fatehpuri Masjid make for
a great backdrop when taking portraits
Shot details: Canon EOS 5D Mark II with
85mm lens at f1.2, 1/160sec, ISO 100
© All Images by Gavin Gough
168
and begin to capture the essence of street
life, which, ultimately, is what Delhi is all
about.
First-time visitors to Delhi should be
encouraged to find themselves an auto
rickshaw at the earliest opportunity.
Although they are now powered by
cleaner LPG in an effort to reduce
pollution in the city, they are no slower,
no less noisy and feel no less perilous
than they have ever done. The auto
rickshaw is arguably a poor design for
mass transport: high-speed cornering
on three wheels can find you leaning
involuntarily like a motorcycle side-car
passenger, the low roof can make it
difficult to see outside without craning
your neck, it’s no faster than a car
in traffic jams and no safer than a
motorcycle at high speeds. Delhi rickshaw
drivers all seem to be competing for
the title of ‘Fastest Rickshaw Driver in
India’ so prepare yourself for a potential
rollercoaster ride. However, riding in this
enormously popular form of transport is a
rite of passage and rickshaw drivers often
speak enough English to help you find
directions and will be interested to learn >>
DELHI

169
LOCATIONS

HUMAYUN’S
TOMB, DELHI
The grand and imposing
Humayun’s Tomb in the early
morning
Shot details: Canon EOS-1Ds
Mark II with 16-35mm lens at
16mm and f8, 1/200sec, ISO
200

“The people who live and work in the city are almost
invariably charming, warm, hospitable and genuinely
interested in visitors”
CYCLE RICKSHAW ON
CHANDNI CHOWK
Schoolchildren use the cycle rickshaw to take
them home at the end of the school day
Shot details: Canon EOS 5D Mark II with
16-35mm lens at 16mm and f7.1, 1/15sec,
ISO 100

Local knowledge 1:
Chandni Chowk
Chandni Chowk is one of the oldest and
busiest streets in Delhi. With the Red Fort at
one end and the aromatic Spice Market at
the other, photographers can easily spend a
day experiencing the traditional sights and
flavours on offer here. While the enormous
Jama Masjid is understandably the most
visited mosque in Delhi, the much smaller
but arguably more picturesque Fatehpuri
Masjid can be found on Chandni Chowk.
However, remember that it’s polite to ask
before taking photographs.

1 Photographers carrying less gear will find

it easier to navigate the narrow streets

2 Low light in alleyways will dictate the use

of lenses with wider apertures

3 Panning shots at 1/15sec will allow

you to convey a sense of movement
and energy in your pictures

170

IRONING ON THE
STREET IN OLD DELHI
Everything takes place on the street in Chandni
Chowk, even this man’s ironing service
Shot details: Canon EOS 5D Mark II with
85mm lens at f1.2, 1/800sec, ISO 100
BOY CARRYING CHAI
TEAPOTS ON
CHANDNI CHOWK
Boys carry pots and glasses of hot, spicy chai to
street vendors and shop owners up and down
the street
Shot details: Canon EOS 5D Mark II with
85mm lens f1.2, 1/640sec, ISO 100
FATEHPURI MASJID 2
The vibrant colours of both the
architecture and the clothing make for
appealing subjects
Shot details: Canon EOS 5D Mark II with 24-
70mm lens at 35mm and f2.8, 1/50sec,
ISO 100
where you are from, whether you are
married and how many children you have.
Auto rickshaws all have meters installed,
but don’t be fooled into thinking that any
of them work and, even if they do, they
are more a token gesture than a means of
calculating your fare. So agree the price to
your destination before you climb aboard
and don’t be afraid to haggle politely.
Photographers wishing to convey the
speed of an auto-rickshaw ride might
grab a wide-angle lens, set a slow shutter
speed of 1/8sec or longer and try to
stabilise their camera on their knees for
that classic ‘speeding through the streets’
blurred background image. The bumps
and pot-holes in the road can make this
a challenging task and it’s not unlike
playing a crazy videogame, although
more satisfying if you manage to reach
your destination without banging your
head on the rickshaw roof.
The other essential rite of passage
for the first-time visitor to Delhi is the
ubiquitous chai. Sold on every street
corner, chai is a particularly Indian way
of preparing tea. Milk is boiled over a
gas burner, strong black tea, sugar and
various spices including cardamom,
cinnamon and ginger are added. The
the chai is then boiled until frothy and
decanted into small glasses or plastic cups.
It’s consumed from morning until night
on the streets of Delhi, and one of the
best ways to begin a conversation with
local people is to stop for a cup of spicy
hot chai. Every meeting seems to begin
with an order for chai and boys carrying
baskets of chai glasses to and from the
local chai vendor to street stalls and
shops is a particularly common sight in
the streets of Old Delhi. While the grand
tourist attractions in Delhi, such as the
DELHI
Local knowledge 2:
Humayun’s Tomb
Of all of Delhi’s impressive monuments,
Humayun’s Tomb is arguably the most
photogenic. Built in a similar Mughal style to
the Taj Mahal in nearby Agra, the tomb and
architecture look particularly glorious in the
early morning, especially if shrouded in the
mists that are common in Delhi during the
winter months. An early start is essential if
you want to capture the best light.
1 Selective metering modes will allow you
to create atmospheric images by
exposing for highlights and creating
architectural silhouettes
2 Use the ornate archways and doorways
to create framing devices, allowing you
to escape the rectangular format
3
Exposure bracketing in high-contrast
situations will give you greater flexibility
when it comes to editing
Red Fort, Qutub Minar and Jama Masjid
are well worth a visit, the most satisfying
photographic opportunities are often
found on the streets and in the alleyways
of Old Delhi. As in any city, it pays to
be aware of your surroundings and to
be cautious about flaunting expensive
camera gear, but you’ll find that the
people who live and work in the city are
almost invariably charming, warm and
hospitable. While the city moves at a
swift pace, photographers who take time
to enjoy watching the action will reap
rewards. Be prepared to return with a
taste for spicy chai, and if you want to
sleep at night in Delhi, don’t forget to
bring your ear plugs.
171
LOCATIONS
TRANS-SIBERIAN
EXPRESS
We fly to Russia and board the first of many
trains for a trip on the Trans-Siberian Railway
T
he Trans-Siberian Railway is the stuff of legend. Just the mention
of this gigantic train track evokes the quintessential romantic
railway adventure. The epic scale of the journey is dizzying; over
9000km from Moscow in the west to Vladivostok in the Far East, eight
time zones crossed during an odyssey that lasts at least seven days.
The route is mainly used by Russians travelling for a few hours or days
across their vast country, and because it’s cheap everyone uses it. On
board you’ll meet all sorts of characters; soldiers, mechanics, railway
workers and hairdressers to name a few. If you travel out of season in
February, for example, you will avoid the few tourists and get a taste
of what the country is really like at the height of its finger-numbingly
cold winter. Although the Siberian countryside is vast, most of what
172
you see from the railway line is not particularly spectacular. Notable
exceptions include the curving stretch around the southern edges of the
majestic Lake Baikal and the journey through the beautiful and sparsely
populated areas east of Ulan-Ude.
What you do see, though, are snow fields stretching off to infinity,
bustling marshalling yards and an endless procession of railway workers
decked in their ubiquitous orange vests, working day and night to keep
the whole thing working. You quickly realise that, at least in winter,
the most fascinating part of this experience is the train and its passengers
– a microcosm of Russian life where photo opportunities are plenty.
Inevitably you will be sharing much of your time on board with Russian
passengers. Joff says: “When I first boarded the train at Moscow I sensed >>
THE OTHER WAY
A glimpse of passengers travlling on
the Trans-Siberian Express
© Alamy
© Alamy
 TRANS-SIBERIAN EXPRESS

INTIMATE MOMENTS
Spending time interacting with passengers will help to
create natural moments like this one

© All Images by Joff Rees

173
 LOCATIONS
© Getty Images
Local Knowledge:
On the train
The trains vary widely. Check timetables and
books such as Trans-Siberian Handbook
(Bryn Thomas) for details of services. The
carriages are separated into different classes
according to how many people you share a
cabin with. Third class is extremely cheap and
is the best way to meet lots of people, but it’s
completely open plan so you won’t get any
privacy. Second class means sharing with
three others in a small cabin. Even in winter
the trains are very hot and you will need to
dress accordingly. Most Russians on the train
wear tracksuits or shorts and T-shirts with
flip-flops.
1 Learn some Russian before you go. Very
few Russians speak English and they
appreciate it if you make the effort .
2 Take shots of your family to show your
fellow travellers and help break the ice.
3 Take as small a camera as possible. It’s
much easier to lug around and less likely
to attract unwanted attention.
174
INSIDE
A passenger putting away
his belongings on the Trans-
Siberian Express
MARVEL THE VIEW
View through the window on the
Trans-Siberian Express
Local Knowledge:
At the stations
The stations make fine places for photograph
opportunities. However, the stops are fairly
frequent so you probably won’t want to get
off every time. In winter, some of the stations
will be extremely cold, but don’t be surprised
to see Russian passengers jumping off in
shorts and flip flops for a quick dash to a
cigarette kiosk, and if there are pets on board
they will almost certainly have to disembark
to relieve themselves. Even if you don’t want
to take photos of the many goings on at the
station every time the train stops, you may
well want to take the opportunity to stretch
your legs.
1 You may need to overexpose your
images by a stop or so if it is particularly
bright and snowy.
2 If you buy from a trader you are more
likely to get their permission to take a
photograph of them.
3 Try taking tripod shots at night time –
there should be plenty of opportunities.
 TRANS-SIBERIAN EXPRESS

what I felt was hostility from my fellow passengers and

my greetings were met with curt, unsmiling replies. The
next day, though, they started questioning me about
what I was doing, telling me exactly why Russia is the
world’s greatest country, sharing food, joking and posing
for photographs.”
By the time Joff left the train his first impressions
had been well and truly shattered. Although you will
find some of your fellow passengers will be keen to
be photographed, do not be surprised if others are not
so forthcoming. As the train passes the 1777km mark
from Moscow you’ll pass the official boundary from
Europe to Asia. “It was here I asked a woman if I could
photograph her as she stared out of the window at the
passing monument; my request was met with a firm no,”
says Joff. “Given Russia’s past and its history of state
surveillance, it is not surprising that some Russians are
suspicious of anyone with a camera.”
When you do take a photo you will notice how kind
the light can be, often gentle and golden, and if you

“You’ll rapidly lose

body heat and find
it hard to control
the camera”
choose the right places the light will come from both
sides of the train, giving your images a subtle lift. As well
as the people there are other great things to photograph
on board. The hot water boiler at the end of each carriage,
the strange ice patterns that form on windows and the
animals curled up sleeping in the distance are all
fantastic subjects.
Stations are also great places at which to take photos.
The arrival of a train heralds a buzz of activity as traders
congregate in the hope of selling the passengers anything
from beer and knitwork to dried fish.
Kiosks are also picturesque in a very Russian way with
their stacks of sweets, cigarettes and beer. Many stations
have interesting war memorials and other monuments,
and some even have old locomotives proudly displayed.
The stations at Yekaterinburg and Vladivostok also have
© Alamy

railway-themed murals in their imposing

ON THE
PLATFORM
Take time when you have
longer waits at the train
stations to shoot images of
the platform and passengers
ATTENDANTS
Train attendants at
work. Remember to ask their
© Alamy
station buildings.
The train stops at stations large and small regularly
through the day for anything from a couple of minutes
to half an hour or more. You can check stopping times
with the on-board timetable, but it is also wise to check
with your carriage attendant. In winter, the change in
temperature on leaving the cosy train can be a shock
to you and your equipment. Check the temperature
tolerances of your gear to make sure you can operate it
safely. For cold days you’ll need to wear gloves as you
will rapidly lose body heat and find it hard to control the
camera function buttons. Taking your camera back into
the heat can also be problematic, with misting a common
irritation, so be aware of this.
You’ll probably want to take photos of the train, but if
you are taking photographs of members of staff it is polite

permission first to ask first. “I was warned not to take photos of on-duty
police officers or security staff and I heeded the warnings,
not wanting to risk unnecessary problems,” advises Joff.

175
LOCATIONS
KRAKOW
KRAKOW BEER LORRY
Echoes of times gone by are to be
found all over the city. This beer lorry,
parked outside a bar in the old town, is
a real treat for photographers looking
for an intriguing subject
Shot details: Canon EOS 5D with
50mm lens at f8, 8sec, ISO 100
T
here are many cities in Europe that the avid
photographer can visit, yet the further east
they are located, it is fair to say, the less they
seem to be explored. Ask others if they have been to
Tallinn, Riga or even Warsaw and most have heard
of them from history or geography lessons, but not
much more. Although we are drawn to the capital
cities of closer European countries, there are some
remarkable places in the east, both safe to shoot
and full of surprises. Krakow is one of those gems; a
mix of incredible architecture, music, arts and great
photographic opportunities.
Krakow (pronounced ‘Krakov’) is situated in
the south of Poland. Not far from the Slovakian
boarders, it has a population of around 800,000
people and covers around 120 square miles. As with
all historic cities, the centre contains some beautiful
176
We explore Krakow, the
remarkable Polish city rich in
unusual photographic gems
buildings, with the modern city expanding outwards
into suburbs and industrial areas. Like Russia, there
is a heavy industrial presence, but fortunately this
is far from the city’s historical feel. There are many
flights available and not just from major airports –
with the increase in Polish people living in the UK,
the connections have strengthened considerably.
Plan to stay in the centre. The Vistula River winds
its way through the old city fringes and there is
plenty of great accommodation available all over.
Try and avoid the usual modern hotels and choose
something with great character. The city has some
beautiful old flats and apartments available for rent,
to capture a true Polish experience.
Meandering through Krakow’s back streets
is a wonderful experience. The buildings have
undergone renovation but have not lost the feel of
old Poland. Expect to find all manner of intriguing
lanes, with squares and a great café lifestyle.
Pack the usual camera equipment, including a
wide-angle, walk-around lens and a substantial
telephoto, as these will all be useful. We would
also recommend including or hiring a tilt-shift lens
for the trip, as so much more can be made of the
images without the irritation of converging verticals.
Krakow is a super-safe city, during both the day and
night, so you don’t need to worry about setting up a
tripod anywhere at anytime.
Concentrate a visit around the old city centre.
© All images David Clapp
Here, you’ll find some of the most beautiful
buildings that Europe has to offer a photographer.
Start by heading to the Main Market Square and
stand amazed at the huge open space and the life
all around. The centrepiece is the Cloth Hall, an>>
 KRAKOW

“As with all

historic cities, the
centre contains
some beautiful
buildings, with
the modern
city expanding
BIRKENAU BLOCK 11 outwards into
suburbs and
The dormitories in Birkenau are eerie
places to photograph indeed and are
often empty and silent. Birkenau is six

industrial areas”
times the size of Auschwitz. It’s easy to
feel unnerved when photographing here
Shot details: Canon EOS 5D with 24mm
TS-E lens at f11, 1.6sec, ISO 100

177
LOCATIONS

RYNEK GLOWNY
AND ST MARY’S
The Market Square (Rynek
Glowny) has St Mary’s
Basilica to its northern edge.
This magestic building is
surrounded by a bustle of
activity, and a line of horse-
drawn carriages that whisk
tourists around the city. The
best time to shoot is at dusk,
when activity decreases.
Position the camera to the
west of the towers and shoot
back towards them. A shift
lens comes in really handy for
keeping verticals straight, but
you can use a 24mm wide-
angle shot and straighten it up
Shot details: Canon EOS 5D,
with 24mm TS-E lens at f11,
20sec, ISO 200

AUSCHWITZ GAS CHAMBERS

The gruesome door to the gas chambers
in Auschwitz concentration camp. This image
was made more fearsome by shutting the door
to symbolise imprisonment. It’s advised that you
get there early if you want to shoot compelling
images, as guided tours will make it impossible
Shot details: Canon EOS 5D with 24mm TS-E
lens at f11, 1/2sec, ISO 400

City centre
The centre of Krakow is a vibrant and
exciting place that requires plenty of time to
explore. The Wawel Royal Castle will take up
most of a day to shoot inside and out, so
make sure you make the most of your time.
Wide angles are particularly useful, but
crowds will cause a rise in blood pressure.
Make sure to shoot using longer lenses,
above heads, or back from a distance, so
people are not so prominent. The Jewish
Quarter is also a brilliant place to spend an
afternoon or longer, to take in the beautiful
synagogues, churches and winding streets.

1 Take a boat trip along the River Vistula

and shoot the castle from the water

2 Travel throughout the city on trams,

which are cheap and great fun to ride

3  ry to speak Polish and you will get a lot

T
of respect from the locals, which can
earn you some excellent shots

178
 old renaissance building with a central
tunnel to explore. This is filled with
CITY WALLS PAINTINGS jewellery shops, all containing exquisite
Details are everywhere, and it’s often possible to give vital visual amber, should shopping
clues in just a quick glance. The Jewish portrait shown in this photograph
helps to define the location where this image was taken be on the agenda. It’s worth paying
Shot details: Canon EOS 5D with 24-105mm lens at 45mm and f8, 8sec, a visit to the arches in the evening too,
ISO 100 for some moody pictures. St Mary’s
Basilica is a magnificent twin-towered
KRAKOW BARBICAN church, with superb views from the
This building is the Barbican on the north of the old city. It’s easy to
find great subjects to shoot at dusk, the Cloth Hall and St Mary’s Basilica top across the Market Square and the
are both extremely photogenic entire city. There is a tripod ban inside,
Shot details: Canon EOS 5D, with 24mm TS-E lens at f8, 8sec, ISO 100 with no flash photography either. Try
pushing the ISO to 800 and setting to f4,
aperture priority; then wedge against a
wall, take a deep breath and shoot three
continuous shots. You will be surprised
how well this works! Check the images
for sharpness and take more shots
as necessary.
Expect music in abundance in
Krakow. Look out for magnificent organ
players who visit the city to make
serious money in the summer months,
playing Bach fugues in trios. What
a soundtrack for taking some great
imagery! They are astonishing to watch,
but use a long lens to capture some
close-ups.
Another excellent place to visit and
shoot is Wawel Royal Castle, for some
wonderful domes and courtyards to
single out. Higher up, situated on a
small hill, the westerly views from the
top are also very interesting, especially
“The renaissance architecture contains some of the
most beautiful buildings that Europe has to offer ”
at sunset. The church interior is
astonishing, with some of the most
incredible stained glass. Use image-
stabilised lenses to capture the details
with minimal blur.
Krakow has a huge World War II
presence in the Jewish Quarter called
Kazimierz, but there is an astonishing
experience only an hour away. Do
not miss the opportunity to visit and
photograph Auschwitz. It represents an
important education and some sinister
photography. Shoot with black and
white in mind and visit both Auschwitz
and Birkenau, the larger of the two
concentration camps.
Think like a reporter; try to make
the images really say something.
Photograph the electric fences, German
signposts, sentry boxes, twisted wire
and buildings. They are perfect thought-
provoking subjects to question, remind
and create compelling reportage-style
imagery. Although you are free to
photograph outside in the grounds
and anywhere in Birkenau, remember
that shooting inside Auschwitz isn’t
permitted. With such diversity, history
and architectural subject matter, Krakow
is a superb and often-overlooked
photographic destination. Whether
you’re travelling with the family or with
friends, it should be highly regarded as
a photographic experience like no other.
179
LOCATIONS

MADAGASCAR
We show you the best ways to shoot the flora
and fauna of this diverse African island

M
adagascar is like nowhere else on the size of hamsters, fluffy bamboo indris will probably be backlit by the sky,
Earth. Cast adrift from mainland lemurs, freaky-looking aye-ayes with but a burst of flash will be very useful for
Africa over 100 million years ago, elongated fingers for winkling out grubs, bringing out details in the shadows and
its flora and fauna has been on its own and more than 90 other species. balancing out the backlighting.
evolutionary trajectory ever since. The High on many visitors’ lists of things Perhaps the most iconic lemur is the
result is an enchanted land inhabited by to see is the largest living lemur, the indri. ring-tailed lemur. To see one of these it’s
unimaginable creatures and exotic plants. Their comical expressions and fluffy ears best to travel down to the spiny forest in
Madagascar’s astonishing biodiversity give them the appearance of a teddy bear the southwest. Ring-tailed lemurs live
is in part due its strikingly contrasting – but these teddies can leap more than in large family groups and are the most
environments. A spine of high mountains ten metres in a single bound! The easiest ground-dwelling lemur species – this
runs down the eastern side of the country, place to see an indri is in the rainforest of makes them much easier to photograph!
intercepting the ocean air and supporting Andasibe National Park, just a few hours’ Here the nights can be quite chilly, so
lush tropical rainforests. The rest of the drive east of the capital, Antananarivo. a good time to photograph the ring-tailed
country is considerably drier and covered Early in the morning the wailing calls lemurs is when they emerge from their
in deciduous or tangled spiny forests. of the indri emanate eerily from the sleeping spots in the forest to warm
In all of Madagascar’s diverse forest. Following the direction of these themselves in the sun. In some places the
habitats, the lemurs are never far away. calls will usually lead you to a family lemurs are quite habituated to humans,
Descendants of primitive primates, lemurs group of indris feeding up in the canopy. and a 70-200mm lens should be adequate
have evolved to fill myriad different Photographing them can be a challenge for getting good shots. Where the lemurs
ecological niches. There are mouse lemurs as the forest is often very gloomy and the are wilder, you may find you want to use
a 300mm lens or longer.
Verreaux’s sifakas are another resident
of the spiny forest. They are best known
for the way in which they traverse open
ground: they stand up on their back
legs, hold up their arms up high and
hop along as if they were dancing! This
makes a fantastic photograph if they are
hopping towards you, but getting yourself
in the right position to do this can be a
frustrating experience! Fortunately they
are creatures of habit and will usually
return to their sleeping spots in the forest
along a similar route each day. Therefore
it is best to ask a local expert to show
you a good spot to lie in wait for them.
When they come, don’t forget to have
your camera on high-speed drive and >>
© Words by Will Burrard-Lucas; Photographs by Will & Matt Burrard-Lucas

COQUEREL’S SIFAKA
Portrait of a Coquerel’s sifaka, in Anjajavy
Reserve, North Madagascar. It is a close relative
of the Verreaux’s sifaka found in the south
Shot details: Canon EOS 1D Mark IV at 300mm
and f4, 1/320sec, ISO 320

GECKO
The brightly coloured back patterns of
a Madagascar day gecko, taken near Amber
Mountain National Park. These geckos grow up to
30cm in length
Shot details: Canon EOS 1D Mark IV at 300mm
and f4, 1/320sec, ISO 320

180
 MADAGASCAR

About the pro

Will Burrard-Lucas is a professional wildlife photographer from
the UK. He aims to capture unusual perspectives of wild animals in
their natural environments. To see more of his work from Madagascar,
please visit www.burrard-lucas.com/madagascar
Will organises photographic trips to Madagascar and beyond. Join
him as he travels to the rainforest, spiny forests and deciduous
forests in search of animals such as indris, sifakas, ring-tailed lemurs,
mouse lemurs, fossas, chameleons, geckos and more. Will looks
forward to sharing his passion for this wonderful country and its
unique wildlife with you. For more information visit
www.wildlifephoto.com/travel

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LOCATIONS

“If you have an interest in wildlife photography,

Madagascar is somewhere you must visit”
LEMURS
A family of common brown lemurs
on a branch in the dry, deciduous forest of
Anjajavy Reserve
Shot details: Canon EOS 1D Mark IV at
600mm and f4, 1/125sec, ISO 400

Top wildlife spots

Amber Mountain National Park
Discover the lush montane rainforest in
the north of Madagascar, home to a variety
of chameleons, geckos, birds and lemurs.
Andasibe-Mantadia National Park
Experience the rainforest with the haunting
cries of the indri filling the air. Be sure to look
out for other rare lemurs such as the
diademed sifaka and the black and white
ruffed lemur.
Berenty Reserve and Ifotaka
Community Forest
Explore the twisted and inhospitable spiny
forest and photograph two of Madagascar’s
most iconic creatures: the ring-tailed lemur
and Verreaux’s sifaka.
Kirindy Reserve
Pass the Avenue of Baobabs on your way to
this reserve where you can look for
Madagascar’s largest carnivore, the bizarre
fossa, and also the smallest primate in the
world, Madame Berthe’s mouse lemur.

182

CHAMELEON
An amber chameleon
in Amber Mountain National
Park. The soft lighting effect
was achieved by bouncing
light from a speedlite flash off
a large white reflector
Shot details: Canon EOS 1D
Mark IV at 600mm and f3.5,
1/200sec, ISO 800
WATERFALL
A beautiful waterfall
surrounded by the lush
rainforest of Amber Mountain
National Park
Shot details: Canon EOS 1D
Mark IV at 16mm and f14,
2sec, ISO 100
When
to go
The best times to visit is
October and November
when many of the lemurs
have their babies and the
climate is agreeable. July
and August are cool and
dry, but many of the
animals are less active.
January to March is the
rainy season and should
be avoided as the roads
can become impassable.
continuous autofocus mode. Lemurs
may be the star attraction, but the some
of the reptiles are equally fascinating.
Madagascar is home to more than half
of the world’s chameleon species, and
they come in all shapes and sizes, from
the Brookesia minima, barely larger
than a fingernail, to the gigantic Parson’s
chameleon, which can reach a length of
almost 70cm. Some of the species, such
as the panther chameleon, exhibit some
truly breathtaking colours, while others
try their best to blend in with
their surroundings.
Despite their presence throughout the
country, it can take a while before your
eye becomes accustomed to spotting
chameleons; however, they don’t travel
anywhere in a hurry, and when you do
find them they make great photographic
subjects. They are veracious hunters, and
if you notice their eyes swivel onto an
insect, be ready with your camera! The
chameleon will edge to within striking
range and then fire out its tongue and
grasp the insect with it. This happens
in the blink of an eye so you should use
high-speed drive and a fast shutter speed.
To photograph the smaller chameleons
you will want to use a macro lens.
Madagascar’s geckos are also
amazingly unusual and varied – perfect
MADAGASCAR
DANCING LEMUR
A Verreaux’s sifaka skipping across
open ground on two legs. When the sifakas
move like this it looks like they’re dancing!
Shot details: Canon EOS 1D Mark IV at
300mm and f3.5, 1/3200sec, ISO 400
subjects for photography. The incredible
leaf-tailed geckos have one the best
camouflages of any animal ever; they
have frills that break up their outline and
they can change the colour of their skin
to mimic the bark of the tree they are on.
The best way to find a leaf-tailed gecko
is to hire a good local guide, but if you
are lucky enough to find one, you will
discover they have a lot of faith in their
camouflage so you can usually get quite
close with your camera.
The polar opposite of the leaf-tailed
gecko is the Madagascar day gecko; these
are active during the day and coloured
vivid green, making no effort at all to
blend in! As a result, they are much more
paranoid and a certain degree of stealth is
required to get close enough for a shot.
As if all of the wonderful wildlife isn’t
enough, Madagascar also boasts some
spectacular scenery. Ankarana National
Park and Tsingy de Bemaraha National
Park have incredible limestone ‘tsingy’
formations. These forests of jagged
limestone needles are formed by erosion
and can be 45 meters high, lending
themselves to surreal photographs of an
alien landscape. Six of the world’s eight
species of Baobab come from Madagascar,
and these fat, bottle-shaped trees also
make great photographic subjects. The
Avenue of Baobabs is a stretch of dirt road
near Morondava that is flanked by around
a dozen 30-metre+ baobabs.
There’s no doubt Madagascar is a
place of unparalleled natural wonders,
but the sad reality is that this treasure
trove of biodiversity is in grave danger.
Man’s arrival in Madagascar less than
2,000 years ago was a catastrophic event;
the intervening years have seen the
disappearance of many species such as
the world’s largest bird, and a number
of giant lemurs, tortoises and aardvarks.
In recent times, the destruction wrought
by man has accelerated and now more
than 90 per cent of Madagascar’s original
forests have been lost. Many species are
on the brink of extinction due to hunting
and continued habitat destruction.
The best way to save Madagascar’s
forests is to show that they are more
valuable alive than dead, and tourism
has an important role to play in achieving
this. If you have an interest in wildlife
photography, Madagascar is somewhere
you must visit once in your lifetime. You
will return with fantastic photographs,
great memories and the knowledge that
your park entrance fees and contribution
to the local economy will have helped
conserve this wonderful place and its
extraordinary inhabitants.
183
LOCATIONS

KENYA
Few countries can offer as many outstanding
photo opportunities as Kenya – with over 30
national parks and reserves, it’s a place that’s
synonymous with wildlife

C
oined originally by game hunters,
the phrase ‘big five’ refers to the
five most difficult African animals
to hunt: lion, elephant, buffalo, rhino
and leopard. If you fancy ‘hunting’ them
with your camera, Kenya is a deservedly
popular destination, but there’s also
so much more on offer to quench your
photographic thirst.
Plenty of major airlines fly to Kenya,
and there is a good network of internal
flights to ensure that you get around
more efficiently and in greater comfort.
If you want to travel by car, roads away
from the main centres aren’t always
great, so be prepared to get bounced
around and for long journey times.
Planning a photo trip to Kenya does
merit a little research. There are plenty of
package trips that usually combine safari
with some R and R afterwards at a beach
resort, but if you want to dedicate more
of your time to taking wildlife pictures, a
more specialist package is advised. You’ll
enjoy more game drives and once you’ve
found, for example, a pride of lions,
you’ll get to spend longer taking pictures
alongside like-minded people. On a non-
photo-specific safari, the drivers might
not linger for quite so long and you could
be heading back to the camp or lodge for
breakfast while there are great shots still
to be had. A teleconverter is a
The good news is that there are compact, relatively
plenty of safari operators that offer low-cost accessory that
photographer-friendly trips. Bear in mind increases the power of
your telephoto lens. Here,
that the typical downside of such trips a 1.4x teleconverter was
is a greater cost, so you have to decide used, turning the 500mm
what you want to gain from the trip and lens it was fitted to into a
700mm lens
book accordingly. For serious wildlife Shot details: Canon EOS-
The wildebeest migration
photographers (and adventurers) though, in Kenya is one of nature’s 1Ds Mark II with 500mm
you really can’t beat the experience of an great events lens and 1.4 converter at
authentic safari. Either way, you are sure Shot details: Canon EOS f5.6, 1/640sec, ISO 100
5D with 500mm lens at
to capture some fantastic pictures in this f5.6, 1/400sec, ISO 100 © All images Will Cheung
truly amazing destination.

184
KENYA

185
LOCATIONS
The Maasai Mara
The Maasai Mara Game Reserve is Kenya’s best known and is a
wonderful place to indulge your passion for wildlife photography
With over 30 national parks and game
reserves in Kenya, there is plenty of
choice when it comes to planning a
safari. Indeed, many visitors organise
two or three centre tours with a few days
in each to get a variety of safari images.
The Maasai Mara is the most visited
Kenyan game reserve, probably because
Shooting tips
1greater
JPEGs give more images per storage
card, but the RAW format gives
post-capture control and this is
important in contrasty lighting. Being able
to pull back highlights and bring up
shadows will ensure good-quality images
and is worth the extra space they take up.
2 It’s easy to shoot lots of images. With
RAW format this can mean filling the
camera’s buffer quickly and missing great
pictures, so time your shots carefully and
don’t just click away.
3 Shooting into the light with long
lenses can give flare problems when
the sun’s low in the sky. Always use a lens
hood but also learn to use your hand to
help shield the front lens element from
the sun.
186
The
best results
Telephoto lenses are the order of the
day for safari photography. As a guide,
you’ll need a minimum of 300mm –
or the equivalent on cropped sensor
cameras – but longer would be even
better. The equivalent of 400mm or
even 500mm will let you shoot close
intimate portraits of animals. Focusing
must be done with great care.
There’s a very soft low
light just prior to sunrise
and you’ll definitely need
to increase the camera’s ISO to
enable reasonably fast shutter
speeds Shot details: Canon EOS-
1Ds Mark II with 500mm lens at f4,
1/200sec, ISO 1600
This cheetah was captured
late morning, so the sun
was high in the sky
Shot details: Canon EOS-1Ds
Mark II with 500mm lens at f4,
1/2500sec, ISO 100
you’re almost guaranteed sightings of
the big five (elephant, rhino, leaopard,
lion, buffalo) and much more. The
BBC’s Big Cat Diary was also filmed
there, which enhances its popularity.
However, this can be an extra challenge
to photographers. If you’re lucky enough
to be the first vehicle to spot a leopard or
a pride of lions, it’s almost certain that
you will be joined by several others very
quickly so make sure you bag the best
spot. Having a driver prepared to move
around for the best vantage point is
definitely a boon.
The best times of day for lighting
are the hour after sunrise and the hour
before sunset. In fact, if you want the
very best lighting the 15 or so minutes
after sunrise or before sunset can be
amazing and you’ll get a gorgeous ‘red’
light. The lower light levels mean that
you have to utilise the camera’s ISO
feature setting to get suitably fast shutter
speeds, to avoid the risk of camera shake
or subject movement ruining your shots.
Time is of the essence though, so
shoot quickly. With low light and long
lenses, you’ll need good support to avoid
camera shake. From a vehicle the ideal
way to do this is with a decent beanbag -
the heavier the better.
 KENYA

There’s more in the Mara Asking the subject

for permission to
take his picture
meant I had his attention
The wild game is a definite must, but there are also great for half a dozen shots,
photo opportunities with people and landscapes to be had rather than trying to grab
the odd shot
Shot details: Canon
While it’s the amazing wildlife that Obviously you’ll see landscapes EOS-1DS Mark II with
attracts most photographers to Kenya during game drives, but you won’t see 100-400mm zoom lens
at 220mm and f5.6,
and game reserves like the Maasai Mara, many people, at least not in the parks 1/60sec, ISO 400
there are plenty of other opportunities themselves. Many tour operators offer
that can be enjoyed from people to optional cultural visits to Maasai villages
landscape photography. and these will give you the chance for
Unlike normal locations, you can’t just some excellent people pictures.
pick up your camera bag and wander
off into the bush to indulge in some
photography. There may be great light Shooting tips An aperture
and a perfect foreground subject, but you of f5.6 on a
just can’t leave the vehicle for the best
camera viewpoint. Physical limitations
1formal
The best advice for people photography
is to ask permission first and take a more
approach to your portraits.
telephoto lens
helped to throw the
potentially messy
apart, the disciplines of good landscape
2 If your subject is standing in direct sun, background out of
photography are the same as in any contrast will be a big problem. Try using focus. Most DSLRs
situation and much depends on the light. a blip of fill-in flash, which adds small have a depth of field
preview feature that
Sunrises and sunsets can be dramatic highlights to the eyes and will lighten any lets you check the
events and worth shooting, but you must heavy shadows. If you can, move your relationship between
subject into the shade where the light the subject and
not stare directly at the sun through is softer. the background
the camera because you could cause
3 A short or medium telephoto lens will Shot details:
irreparable eye damage. If you’re going give a good, flattering perspective and Canon EOS-1DS
to try this form of photography, only Mark II with 100-
setting a reasonably wide aperture such
400mm zoom lens
shoot when the sun is very low and as f5.6 will throw the background nicely at 260mm and f5.6,
veiled by clouds. If you have Live View, out of focus. 1/100sec, ISO 400
use it to frame your sunrise/sunset shots.

TURN OFF FLASH

Many cameras have automatic flash that
will fire once poor light levels are detected.
However, for better people pictures switching
the flash off and relying on ambient light will
give more atmospheric pictures if you want
shots that are more than just snapshots.
All you have to do is set a higher ISO sensitivity
on the camera to enable handholdable shutter
speeds when the light levels drop. Most modern
DSLRs are good used at ISO 800 or faster
without producing too much digital noise.
Indeed, the latest Canons and Nikons are very
good even at speeds of ISO 1600 and above.
8

187
LOCATIONS

MOROCCO
A culturally-rich destination full of colour
and fantastic points of interest, Morocco is
a photographer’s playground

T
ell anyone that you are going to
Marrakech in the North African
country of Morocco and the name
will inevitably conjure up images of
majestic mosques, ancient kasbahs,
mysterious souks and camel rides across
endless Saharan sand dunes. Unlike many
popular tourist destinations, Marrakech
delivers exactly what it promises and
visitors will find that the thousand-year-
old city retains much evidence of its
colourful past.
The centre of the city, or Medina, is
defined by a ten-mile circle of city walls
that appear to have preserved what
takes place inside while also deterring
outside influences. At the very heart of
the Medina, the unique Djemaa el-Fna
square has been proclaimed a UNESCO
World Heritage site. Here, photographers
will find a rare opportunity to glimpse
at traditional forms of entertainment
performed in the same manner as they
have been for centuries. Beyond the city
ramparts, the imposing peaks of the High
Atlas mountains loom over the city like a
benign benefactor and offer adventurous
souls a chance to take advantage of some
unrivalled trekking opportunities and
capture some fantastic landscape shots.
Further still lay the first sandy fringes of
the Sahara, with surprisingly lush valleys
cutting narrow fingers of green into the
sandy landscape.
Photographers who relish the prospect
of finding exotic, colourful subject matter
will be in their element in Marrakech.
The nightly spectacle that unfolds in the
Djemaa el-Fna square is perhaps unlike
any other in the world and the allure of
the medieval markets may find visitors Walking through the
debating whether to reach for their square beside the
Koutoubia in Marrakech
cameras or their traveller’s cheques. In this Shot details: Canon EOS
vibrant and exciting place you are sure 1Ds Mark II with 24-70mm
to get some of your most treasured and lens at 43mm and f8,
1/320sec, ISO 100
exciting travel photos. This photo captures the colourful spices for sale in the souk © All images Gavin Gough
Shot details: Canon EOS 1DS Mark II with 24-70mm lens at 30mm and f4, 1⁄500sec, ISO 200

188
MOROCCO

189
 Ceramic plates for sale in the souk
Shot details: Canon EOS 1DS Mark II with
16-35mm at 20mm and f8, 1⁄100sec, ISO 100

The souk
Entering a Moroccan souk is like walking into a shopper’s labyrinth. With your wits
about you it’s possible to get atmospheric shots, not to mention great bargains
Moroccan souks have been trading for
centuries and the souk at Marrakech is
arguably one of the finest. A maze of
narrow, covered alleyways criss-cross
the centre of the Medina and first-time
visitors can be forgiven for wondering if
they will ever find their way out.
The souk is divided into sections, each
one selling a particular type of product.
The Souk des Sebbaghine, for example,
is the Dyers’ souk where swathes of
coloured wool are hung to dry. Other
sections are devoted to such goods as
jewellery, woodwork and handwoven
baskets, while traditional leather slippers
can be found in Souk Smata. As well as
the inevitable tourist souvenirs, it is still
possible to find authentic Berber and
Tuareg goods here, and there are
a number of traditional workshops
where craftsmen create using time-
honoured techniques.
Shop owners are usually happy for
photographs to be taken inside their
shops, but be warned: you’re likely to
find yourself involved in some good-
natured haggling over the price of
something that you didn’t even realise
you wanted! It is always good practice
to ask before taking photographs, as not
everyone will be so accommodating and
you will get better pictures if you aren’t
rushing to avoid being noticed. You can
get some striking photos this way.

Shooting tips
1 Ityoucanfindbeyour
easy to lose your bearings in the maze-like souk, so carry a small compass to help
way back to the main square, which is located at the southern end.

2 If you want to add a little more atmosphere to your slideshows back home, why not try
recording some of the ambient sounds of the market on a digital voice recorder? It’s a perfect
way to re-create the mood of the busy souk.

Rugs for sale in the Marrakech souk

Shot details: Canon EOS 1DS Mark II with
3 An official guide is not essential in Marrakech, as the Medina is relatively easy to navigate.
However, a guide can take you to locations that you might otherwise miss, will help with
translation, explain the city’s history and deter unofficial guides from approaching you.
24-70mm lens at 48mm and f8, 1⁄160sec, ISO 200

190

Djemaa el-Fna
Acrobats, tattooists, musicians, snake charmers, storytellers and food vendors all vie for space and
compete for the attention of passers-by in the sprawling, throbbing heart of Marrakech
Djemaa el-Fna is located at the centre of
the Medina and offers a nightly spectacle
that every photographer will want to
return to. Initially, the frenetic square
can seem daunting with performers and
stall holders all calling for your attention.
The lively atmosphere can make it
difficult to know what to photograph first
and it is a good idea to just soak up the
atmosphere for a while before reaching
for your camera by impulse.
The acrobats and snake charmers
provide classic subject matter, but will
expect a few dirhams in return for
posing. On the fringes of the square,
tattooists decorate their clients’ hands
and feet with intricate and beautiful
henna patterns, while herbalists sell
lotions and potions concocted from a
bewildering array of plants
and animal parts.
Berber dancers and
“Snake charmers
musicians entertain
the crowds
Shot details: Canon
EOS 1DS Mark II with
70-200mm at 175mm and
f4, 1⁄2000sec, ISO 200
are classic subjects”
LOCAL KNOWLEDGE
The first puff of smoke rising from a food vendor’s stall is the signal for photographers
to find a vantage point from which to capture the unfolding scene of the square at dusk.
Fortunately, a variety of cafes and restaurants border the Djemaa el-Fna and it is possible
to claim a balcony seat if you arrive early. With the Koutoubia minaret providing a dramatic
visual clue to the location, you are all set up to get atmospheric pictures of the square at
sunset. Beware of other patrons though and be sure to ask permission to shoot people sat
directly in front of you.
Shot details: Smoky outdoor dining in the Djemaa el-Fna, shot on a Canon EOS 1DS Mark
II with 24-70mm lens at 50mm and f4, 1/60sec, ISO 800
MOROCCO
Although Djemaa el-Fna is busy
throughout the day, the tempo rises
to a crescendo at dusk. As the sun The best
sets behind the minaret of the nearby
Koutoubia and the call to prayer begins results
to echo across the city, the square
Capturing the essential
becomes a bustling hive of activity. character of the Djemaa
Hundreds of food vendors set up stalls el-Fna will involve
and quickly light fires, sending plumes photographing people.
of smoke into the air. Although the Moroccans are generally
square is an obvious attraction for reluctant to pose for photos
visitors, the local storytellers, tattooists but a respectful, friendly
approach is sometimes
and herbalists cater mainly for local rewarded. Performers are
people, giving the medieval atmosphere happy to be photographed
a layer of authenticity. in exchange for a handful of
The food stalls offer a mouthwatering dirhams, but are always on
range of dishes, with the long line the lookout for anyone
trying to sneak a shot
of stalls selling aromatic snail soup
without paying. Food
being a popular port of call for dining vendors are more likely to
photographers, and they also make for agree to pose if you grab a
great photos in themselves. seat at their food stall first
and buy whatever they
are selling. You may have
to down a pot of snail
soup before you get your
photo, but that’s all part of
the experience.
191
LOCATIONS

SYDNEY
Big cities are not necessarily photogenic but Sydney is
one of the notable exceptions, as we will show you here
W
ith a population of a little over four
million, Sydney is Australia’s largest
city. Inevitably due to its size it does get
pretty busy, but there is still plenty of space to enjoy
your time here and the public transport system is
excellent, so getting around is not too much of an
arduous process. For the keen photographer there is
plenty of local colour to be recorded, but the biggest
attractions for most visitors are the two Australian
icons, the Sydney Opera House and the Harbour
Bridge, which are actually next door to each other.
The best and most enjoyable way to explore the
area is on foot, so travelling as light as possible is
a good idea.
The light during the middle of the day even
in winter is quite harsh so while it might be fine
for people and candid work, it is not so great for
scenic shooting because it can look rather stark
and unforgiving.
Getting up early or staying out late is definitely
advised. Spend an evening or two with a camera
to enjoy the colours as the lights come on and the
sun sets. You will need a tripod to make the most
of all the opportunities this city brings.

© All images Will Cheung

Twilight is a great time to photograph the Opera House. Get yourself into position in
plenty of time and shoot a few shots every minute as the sky colour changes
Shot details: Canon EOS 3 on a tripod with 70-200mm lens, 1/30sec at f5.6, Fujichrome
Provia 100, scanned using a Nikon Super Coolscan 5000

192
“Spend an evening or two with a camera to enjoy
the colours as the lights come on and the sun sets”
Local
knowledge
Great shots of the Opera
House and Harbour Bridge
are possible from the many
ferries that come and go from
Circular Quay, so if you have
the time take a ferry trip for
that experience. There is no
time to lose so have your
camera ready with the right
lens mounted, shoot quickly
and make sure your shutter
speeds are sufficiently high to
avoid blur. There are plenty of
bars and restaurants in the
area so if the light is not right,
take some time out and relax
until the conditions improve. © Will Cheung

THE BEST RESULTS

Using a long telephoto
lens has compressed
perspective so that the Opera
House and Harbour Bridge
look close together. The
biggest problem with getting
this picture was shooting a
sharp image, because a strong
breeze was buffeting the
camera and the long lens and
low light meant that setting a
faster shutter speed was not
an option. Timing to shoot in
between gusts was important
Shot details: Canon EOS 3
on a tripod with 170-500mm
lens at 500mm, 1/30sec at
f8, Fujifilm Neopan Acros 100,
scanned using a Nikon Super
Coolscan 5000
The Opera House
It is one of Australia’s most iconic buildings and you could easily spend a day or two there just exploring
Sydney’s Opera House is one of the
world’s most photographed buildings,
and it is easy to understand why.
Designed by Danish architect Jørn
Oberg Utzon who died in 2008, the
Opera House was finished in 1973 and
it has been the subject of millions of
photographs ever since. In 2007, it was
declared a UNESCO World Heritage Site.
While the Opera House looks fabulous
regardless, a softer warmer light does
look better than harsh noon sunlight. For
a start, softer light reveals more detail in
the building’s shells and keeps contrast
to more manageable levels. A sun
diffused by high cloud or just shooting
at the extremes of the day definitely
gives better results.
Arguably the best time with the
camera is during that transition period
between day and night. Twilight, when
there is still colour in the sky, is a
marvellous time for photography and
ideally you need to be in position before
sunset to give you the chance to explore
the options as the light changes. Once
any colour in the sky has gone it is time
to pack up, but you will usually get at
least 30 minutes after sunset before
this happens. You can also get great
pictures of people and their reaction to
the building too. Being prepared with
a telephoto lens means you are ready
to capture the joy and excitement of
visitors. Again, patience is needed to
avoid cluttered compositions.

© Will Cheung
Try using a telezoom
to produce abstract
pictures of the shells. Shooting tips
1walkItobvious
Here an early evening sun is easy just to turn up and shoot the
gave warmer light and the scenes, but take your time and
lower contrast has revealed around the Opera House and look for
the intricate architectural
detail
less obvious camera viewpoints to get
Shot details: Canon EOS some unique photos.
3, 70-200mm lens at 70mm,
1/125sec at f8, Fujichrome
Velvia 50, scanned using a 2 The polarising filter is worth trying on
the Opera House, but it might make
the scene too saturated and contrasty, so
Nikon Super Coolscan 5000.
Image warmth was enhanced use it with care.
in Photoshop
3 Patience is a virtue when it comes to
photographing tourist hotspots like
the Opera House; if you want people-free
images or just the odd figure included,
you’ll have to wait. Pick your spot, have the
exposure sorted, focus quickly and shoot
away when the opportunity arises. Set the
camera to Continuous Shooting mode so
you capture the moment.

193
 LOCATIONS
The Harbour Bridge
Within a short walk from the Opera House is another
much-photographed Sydney icon, the Harbour Bridge, a
steel arch bridge that was opened back in 1932
Shooting
tips
1theEarly evening when
there is still colour in
sky and car lights are
on is a great time for
getting out and taking
some pictures. As night
descends, shutter speeds
get longer and there is the
opportunity for light trail
images. Use a shutter
speed in excess of ten
seconds or the camera’s B
(Bulb) setting, taking shots
using a remote release.
2 Auto white balance is
usually fine for this
sort of photography,
where there is a mix of
natural and artificial light.
Shoot in RAW format, so
fine-tuning white balance
can be done during
image processing.
3 With very long shutter
speeds, consider
using the camera’s noise
reduction (NR) facility –
this is usually accessed
through the camera’s
menu system. Noise
reduction works with the
camera, taking a ‘dark
frame’ to identify the
location of digital noise,
and usually takes the
same time as the actual
exposure. This means the
camera cannot be used
during this process and is
perfectly normal.
© Will Cheung
194
© Will Cheung
Bridges are wonderful structures for
photography and you just have to work
on shooting with the best light and
finding good camera viewpoints. The
Sydney Harbour Bridge is one of the
most famous bridges in the world and as
a subject matter it makes for some truly
fantastic photos.
Exploration on foot is the best way
to enjoy the Harbour Bridge, but allow
plenty of time because it is over 1100
metres in length. You should also bear in
the mind that the best pictures of it are
usually from a distance, so allow time to
get into position if you are after the best
light. From the north side you can get
good viewpoints of the bridge and the
city skyline from the Kirribilli suburb. If
you want good twilight shots, you need
to recce a good spot well in advance.
From the south side you can shoot
from The Rocks area or from the Opera
House, while if you want both the
Harbour Bridge and the Opera house in
frame, head through the Royal Botanic
Garden to Mrs. Macquarie’s Point. It
is a little walk from the Opera House
area, so allow plenty of time (30 minutes
minimum) if you have a certain time of
day in mind. It is a popular tourist spot,
but there is plenty of room to find a great
camera angle for this shot.
A reasonably powerful telephoto
lens will let you frame the Opera House
with the Harbour Bridge as a backdrop,
but remember to take a decent tripod
if you are planning a low-light shoot. A
long lens will also give a compressed
perspective, so the Bridge can be made
to appear closer to the Opera House than
it is in reality.
THE BEST RESULTS
“These Japanese students were so excited
at getting to the Opera House, they all got
together to do a leap of joy with the Harbour Bridge
providing a stunning backdrop. I spotted the group
getting ready and quickly rushed over to get some
© Will Cheung candid pictures. Luckily, the group re-enacted the
pose several times” – photographer Will Cheung
Shot details: Canon EOS 3 with 70-200mm lens at
135mm and f8, 1/1000sec, Fujifilm Neopan Acros
100. Scanned using a Nikon Super Coolscan 500
The light during the middle of the day is not
ideal for photography, but you can still get
shots just like this silhouette that was taken
from the Bridge itself. Obviously, taking shots in
the middle of the day with the sun in the frame
should be done with care
Shot details: Canon EOS 3, 17-40mm lens at
17mm and f11, 1/1000sec, Fuji Neopan Acros 100,
scanned using a Nikon Super Coolscan 5000
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