Travel Photography 1922156388, 9781922156389

Citation preview

TRAVEL PHOTOGRAPHY

Margaret Brown

Travel Photography 3RD EDITION AUTHOR Margaret Brown [email protected] CREATIVE DIRECTOR Melissa Kallas [email protected] PUBLISHER David O’Sullivan [email protected] Print edition ISBN: 978-1-922156-38-9 Ebook Edition ISBN: 978-1-922156-39-6

Order print and ebook editions online at www.photoreview.com.au/guides All content in Photo Printing is protected under copyright and cannot be reproduced in any form without written consent from the publisher. Published September 2019. All rights reserved. Media Publishing Pty Limited ABN 86 099 172 577 PO Box 4097 Balgowlah Heights NSW 2093 Australia p (02) 9948 8600 e [email protected] w www.mediapublishing.com.au The Photo Review Pocket Guides series includes Landscape Photography, Street Photography, Photo Printing, Photo Backup, Photo Editing, Travel Photography, Low Light and Action Photography. www.photoreview.com.au

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CHAPTER 1

Choosing the right equipment CHAPTER 2

Telling your story CHAPTER 3

Photographing scenery CHAPTER 4

Shooting in cities CHAPTER 5

People pictures CHAPTER 6

Close-ups CHAPTER 7

Photographing wildlife CHAPTER 8

Managing images as you travel

CHOOSING THE RIGHT EQUIPMENT

CHAPTER 1

Choosing the right equipment While many travellers are content to rely on their smartphones these days, despite their many advantages a smartphone could let you down if you want great photos of a once-in-aSPML[PTL[YPW:THY[WOVULZHYLÄULMVY everyday snapshooting. They’re light, compact and always accessible and it’s easy to share images. Sensor ‘Format’

Dimensions (mm)

Today’s smartphones can provide high resolution plus support for 4K video recording. Many include complex processing and some have zoom capabilities. A few can record wide dynamic ranges and some support raw capture and processing. Replaceable microSD cards allow extended storage space and many phones have Surface area Used mainly in (mm2)

1/3.2-inch

4.54 x 3.42

15.53

1/2.5-inch

5.76 x 4.29

24.7

1/2.3-inch

6.17 x 4.55

28

1/1.7-inch

7.6 x 5.7

43.3

2/3-inch

8.8 x 6.6

58

1/2-inch

10.67 x 8.0

85.4

1-inch

13.2 x 8.8

116

4/3-inch (Micro Four Thirds)

17.3 x 13.0

225

1.5-inch

18.7 x 14.0

262

APS-C (Canon)

22.3 x 14.9

332

APS-C (others)

23.6 x 15.6

368

‘Full Frame’

36.0 x 24.0

864

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Smartphones The smallest sensor size used in compact cameras

Compact cameras

Interchangeable-lens cameras and premium compact cameras Professional cameras

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high-capacity batteries that can be JOHYNLKMYVTÅH[[V PUHZSP[[SLHZ 30 minutes. Ostensibly, a smartphone might be all you need. But appearances can be deceptive. Their physical design and the total reliance on the screen for framing shots and adjusting functions can make JOHUNPUNZL[[PUNZKPѝJ\S[0UIYPNO[ Z\USPNO[P[JHUILKPѝJ\S[[VMYHTL scenes, leading you with point-andguess shot composition.

But the major problem is that smartphone sensors are really small; typically between 4.8 x 3.6 mm (1/3-inch type) and 6.4 x 4.8 mm (1/2-inch type). Small sensors mean small photosites, which can struggle to capture enough photons to create a decent image. Realistically, you can’t expect a phone to match the quality of a ‘proper’ camera. To put this into perspective, the table on page 2 shows the approximate surface areas of commonly-used image sensors, which we’ve colour coded to www.photoreview.com.au Travel Photography 3

CHOOSING THE RIGHT EQUIPMENT

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36 x 24 mm

28.4 x 23.6 mm 17.3 x 13.0 mm 13.2 x 8.8 mm 7.6 x 5.7 mm

4.54 x 3.42 mm

6.17 x 4.55 mm

;OPZNYHWOPJZOV^Z[OLYLSH[P]LZPaLZVMWVW\SHYJHTLYHHUKZTHY[WOVULZLUZVYZ make it easy to group the various sensor sizes. We’ve also provided the same information in graphic form (above). Smartphone lenses are also very small and the combination of small sensor plus small lens means you can’t set a ^PKLLUV\NOHWLY[\YL[VLќLJ[P]LS`IS\Y out distracting backgrounds – even with what ‘looks’ like a fast f/1.4 aperture. The only way to blur-out backgrounds is with in-camera processing, which can be hit-and-miss. For important photographs you want to keep, share and print, you need a ‘proper’ camera.

Choosing a camera Choosing a camera for a holiday trip is a very personal matter; we all have individual preferences and experience KPќLYLU[JVUZ[YHPU[ZKLWLUKPUNVU[OL type of holiday we take. People staying in VULWSHJL^PSS^HU[KPќLYLU[LX\PWTLU[ from those who are constantly moving. Those holidaying by the sea will require gear that can withstand salt spray and sand, while those going inland may have to provide dust protection for their equipment. Today’s travellers have plenty of choices available and it should be easy www.photoreview.com.au Travel Photography 5

CHOOSING THE RIGHT EQUIPMENT

to settle upon a camera and lens that will meet your needs. Ask yourself the following questions: 1. How much weight am I prepared to carry? 2. What kinds of photography do I enjoy most? 3. How will I view and share my photos? 4. Do I want to record video? We’ll deal with each question in order. 1. The weight issue: Having to lug a heavy bag around wherever you go will tire you out, slow you down and may prevent you from reaching places you wanted to photograph. Keep your

equipment light and simple. If you can take the trip with one camera and one lens and pack them in a lightweight, easy-to-carry bag you’ll see a lot more and have more fun than those with large and complex gear. 2. The genre issue: Some people enjoy photographing scenery, while others prefer street photography. Many people travel to photograph wildlife, while some like visiting museums and galleries. Some shoot only stills, while others record a mixture of stills and video. Each of these genres OHZKPќLYLU[YLX\PYLTLU[Z^OPJO^PSS PUÅ\LUJL`V\YLX\PWTLU[JOVPJLZ

;YH]LSSLYZOH]LWSLU[`VMVW[PVUZH]HPSHISLMVYJHW[\YPUNHUKZOHYPUNZ[PSSPTHNLZHUK TV]PLJSPWZ 6 Travel Photography www.photoreview.com.au

CHOOSING THE RIGHT EQUIPMENT

4PYYVYSLZZPU[LYJOHUNLHISLSLUZJHTLYHZHYL\Z\HSS`SPNO[LY[OHU+:39ZHUK^PSSNP]L `V\T\JOTVYLMYLLKVTVMTV]LTLU[ 3. Post-capture issues: How you manage your photographs is also relevant. If you only view your images on a computer or TV screen there’s no reason to invest in high-performance equipment because, once the shots are reduced to screen resolution, they should look great regardless of the initial resolution of the camera or the size of its sensor. We have a few caveats associated with this advice. If you do a lot of shooting in low light levels, a camera with a larger sensor will provide noticeably better low-light performance. The same

is true if most of your shooting will take place in bright, contrasty situations (such as beaches or in snow), where larger sensors – and, in particular, larger sensors with modest resolution – can record a wider range of tones. 4. Video: Shooting video with a DSLR JHUILKPѝJ\S[ILJH\ZL`V\JHU»[\ZL [OLVW[PJHS]PL^ÄUKLY-YHTPUNZOV[ZVU an LCD monitor is frustrating when bright outdoor lighting overwhelms the screen’s brightness. With a mirrorless camera, you can see exactly what you are recording [OYV\NO[OLLSLJ[YVUPJ]PL^ÄUKLY,=- HUKP[»ZUV[PUÅ\LUJLKI`HTIPLU[SPNO[PUN www.photoreview.com.au Travel Photography 7

CHOOSING THE RIGHT EQUIPMENT

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CHOOSING THE RIGHT EQUIPMENT

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In recent years the camera market has been changing as mirrorless cameras replace DSLRs and manufacturers install larger sensors and longer zoom lenses in JVTWHJ[Ä_LKSLUZJHTLYHZ0[»Z^VY[O SVVRPUNJHYLM\SS`H[JHTLYHZWLJPÄJH[PVUZ to ensure the one you choose will meet your needs. Choosing between mirrorless and DSLR in the APS-C and ‘full frame’ (36 x 24mm sensor) categories can present challenges. Mirrorless camera tend to be slightly more compact than their DSLR equivalents because they KVU»[OH]LHI\SR`YLÅL_TPYYVYIV_ although the sizes and weights of available lenses are usually the same. The choice of lenses is currently less for mirrorless cameras than DSLRs, although adapters will enable DSLR lenses to be used on a mirrorless camera. Mirrorless cameras are easier to use when shooting video and normally have better recording capabilities. Compact cameras with super-zoom lenses will suit travellers who mostly view their photos on screens. Image quality is good enough for prints up to A4 size, particularly from cameras that support YH^ÄSLJHW[\YL

Need a new camera? Chances are you already have a camera but may be thinking of replacing it for a special trip – particularly if you’re going overseas.

*VTWHJ[Z\WLYaVVTJHTLYHZKVHNYLH[QVIHUK^VU»[^LPNOHJ[P]L WOV[VNYHWOLYZKV^U^OLU[OL`»YLLUQV`PUNHK]LU[\YLOVSPKH`Z

If unsure that your current camera ^PSSTLL[`V\YULLKZÄYZ[JOLJR[OL manufacturer’s website (Support page) [VZLL^OL[OLYUL^ÄYT^HYLOHZ been released for your camera; the improvements you want may be provided free of charge in the latest update. Features that can make a new camera worthwhile include: • A larger sensor will provide a wider ISO range and be capable of recording more detail in shadows and highlights. This may mean a heavier camera. • A longer lens will allow you to magnify distant subjects and is a real advantage on wildlife safaris,

•

•

•

•

provided it’s not too big and heavy for you to carry. More rugged build quality will make the equipment better able to withstand the rigours of travelling. >LH[OLYWYVVÄUN^PSSTHRLP[TVYL resistant to dust, spray and light rain showers. Image stabilisation in the camera body and/or the lens will provide the best camera shake correction when shooting hand-held. (IPNNLYI\ќLYTLTVY`^PSSWYV]PKL more space for recording bursts of shots and is useful when you photograph action or wildlife.

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CHOOSING THE RIGHT EQUIPMENT

• Faster autofocusing means fewer missed shots. Phase-detection AF is often faster than contrast-detection AF, particularly in dim lighting and with long lenses. Hybrid systems provide both options. • 4K video recording provides better video quality plus more scope for frame grabs from video clips. Single frames can be saved as 8-megapixel JPEG images for printing at up to A3 size. • Look for special features like multishot modes for increasing depth of focus, time-lapse recording and slow-motion video for frame-by-frame motion analysis. (Some of these may ILHKKLK]PHÄYT^HYL\WKH[LZ

Other equipment While we strongly recommend keeping your equipment load as light as possible, a lightweight tripod might be useful, HS[OV\NOPM`V\YJHTLYHOHZLќLJ[P]L stabilisation you may not need one. *HYIVUÄIYL[YPWVKZHYL[OLSPNO[LZ[ but also the most expensive. Many places ban tripods and they can be a nuisance when photographing in crowded places. There’s less weight to carry if your tripod remains at home. Flash is best avoided – with the WVZZPISLL_JLW[PVUVMÄSSPUÅHZOMVY IHJRSP[ZOV[Z4HU`WSHJLZIHUÅHZO and modern cameras with good stabilisation and decent high-sensitivity performance can cover almost all

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situations when shooting with available light. This is another piece of gear you can leave at home. One piece of equipment you will need is a suitable camera bag. Camera bags come in many styles and sizes. Make sure you can carry your bag comfortably over the distances and terrain you plan to cross. Backpacks are favoured by many outdoor photographers as they can hold a lot of gear and are usually comfortable to carry. Sling-type bags that can be easily rotated to the front of your body make equipment easier to access. Satchels can be useful in urban environments since they provide a high degree of security and don’t look as if they contain expensive gear. Waterproof bags and cases are available for photographers working in aquatic environments. Make sure you also take enough memory cards and one or two spare batteries. Spare batteries are important MVYJVTWHJ[Ä_LKSLUZJHTLYHZHUK mirrorless cameras because their capacity is much lower than DSLRs. Camera THU\MHJ[\YLYZ[LUK[VÄ[ZTHSSLYIH[[LYPLZ into compact cameras, while mirrorless cameras require power for their EVFs. Make sure you have enough capacity to power a full day’s shooting and recharge your batteries each evening when you return to your accommodation. Take a power plug adapter when travelling in WSHJLZ^P[OKPќLYLU[WS\NKLZPNUZ

Useful links ;OLILULÄ[ZVMÄYT^HYL\WKH[LZ! www.bit.ly/pg30-3 AC power plugs and sockets: www.bit.ly/pg30-1 Photo gear reviews: www.bit.ly/pg30-2

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TELLING YOUR STORY

CHAPTER 2

Telling your story Every trip contains a story that is usually best told in pictures. And every picture you take should tell a story. Before leaving home you should have some idea of the types of pictures you want to record and how you will capture and manage them while you’re on the go. Returning to a place that’s familiar makes this easier than visiting somewhere new. But since most trips take you to particular destinations and PU]VS]LZWLJPÄJHJ[P]P[PLZ`V\ZOV\SKIL able to predict many of the situations you’re likely to encounter.

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TELLING YOUR STORY

Techniques for story-telling There are lots of ways to tell a story with pictures. Simply taking a photo of somebody in a particular context can often be enough. So can shots of well-known places. Sometimes you need a sequence of shots to capture a period of time during which something occurs. This could be as simple as showing activities at, say, a market or ceremony; recording an HJ[PVUZLX\LUJLVYYL]LHSPUNKPќLYLU[ views of a single subject. While rapid action can be captured with the camera’s continuous shooting

mode, burst shooting consumes a lot of memory and may not yield the result you want. Single-shot capture is often more successful when photographing ^PSKSPMLWHY[PJ\SHYS`IPYKZPUÅPNO[ Movies can be powerful story-telling tools for recording subjects in motion or documenting activities. They are also a good way to encompass expansive subjects, since you can pan the camera across the scene as well as up or down to add a sense of scale. Most cameras will allow you to grab stills in JPEG format while recording movie clips. Some will impose the

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TELLING YOUR STORY

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TELLING YOUR STORY

same 16:9 aspect ratio as a HD movie clip but others will let you record stills independently with a pre-set aspect ratio. Slideshows are a great way to present travel photos and most cameras include a slideshow playback option. However, many photographers prefer to edit their shots before compiling a slideshow and save them as JPEGs, or in PDF format or as PowerPoint presentations. Faststone (www.bit.ly/pg30-22) is an easy-to-use software application for creating video slideshows for playback

on TV screens. It’s freeware for personal HUKLK\JH[PVUHS\ZLHUKVќLYZV[OLY useful editing functions.

Shooting movies With more cameras able to record movie clips, you may want to shoot movies as part of your travel photography. Determining the appropriate balance between movies and stills is very much a personal matter, although there are ways in which you can do both simultaneously.

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TELLING YOUR STORY

Most cameras that can record 4K video allow you to select and save PUKP]PK\HSTV]PLMYHTLZHZ17,.ÄSLZ Each 4K frame has a resolution of 3840 x 2160 pixels, or 8.3-megapixels, which is printable at A3 size. You need a fast memory card to support 4K movie recording. In contrast Full HD (1920 x 1080 pixels) movie recording equates to just over two megapixels per frame. If you can ‘grab’ frames from these movies, their resolution is high enough for viewing on a screen, but only big enough to make prints at snapshot size. Cameras that can record still images if the shutter button is pressed during

a movie recording will usually apply the same 16:9 aspect ratio as used for movie capture. A ‘break’ of up to a second (or slightly more) can occur in the recorded footage. This must be edited V\[^OLUHZZLTISPUN[OLºÄUHSJ\[» *HTLYHZ^P[OLSLJ[YVUPJ]PL^ÄUKLYZ (EVFs), such as some mirrorless and Ä_LKSLUZJHTLYHZHYLLHZPLY[V\ZL than DSLRs because you can record movies while looking through the ]PL^ÄUKLY;OLVW[PJHS]PL^ÄUKLYZPU DSLR cameras can’t display what the sensor is recording and monitors can ILKPѝJ\S[[VºYLHK»PUIYPNO[JVUKP[PVUZ You’re often faced with ‘point-and-guess’ shooting in live view mode.

;OL^VYRZWHJLMVY-HZ[Z[VULHULHZ`[V\ZLWYVNYHTMVYJYLH[PUN]PKLVZSPKLZOV^Z

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TELLING YOUR STORY

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TELLING YOUR STORY

Shooting tips The following general tips will help you take photos that tell the story of your adventures: 1. Before you start taking photos, make sure you are using the correct camera settings. Then double check by playing back your shots on location. ;OLYL»ZUV[OPUN^VYZL[OHUÄUKPUNHSS your shots were ruined by a too-high ISO setting, incorrect white balance or failure to engage the stabilisation in your camera and/or lens. 2. Photograph things that engage your H[[LU[PVU0M`V\ÄUK[OLTPU[LYLZ[PUN chances are others will too. 3. Take a sequence of shots. You may not use them all but having ZL]LYHSKPќLYLU[]PL^WVPU[Z[VJOVVZL from enables you to pick the one that best represents your intention. And, if you want to display a sequence, the shots are in the bag!

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4. Shoot some close-ups. Few travellers think of doing this, yet they can result in memorable images. 5. Vary angles of view and shooting positions when photographing popular tourist destinations and be prepared to walk away from carparks and lookouts so you don’t get the same shots as everyone else. 6. Get up early for the sunrise and arrive in time for sunset. The hours

surrounding these times have the most attractive lighting and can produce interesting shots for your portfolio, even from popular viewpoints. 7. Be patient, particularly when photographing wildlife. It’s often worth waiting for situations to evolve and provide you with something special to capture. 8. Be friendly. Some cultures avoid being photographed while others are

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TELLING YOUR STORY

happy to become involved in your shots if you ask them nicely. Some will even ask you to take their photos. Consult your tour guide or the local [V\YPZ[PUMVYTH[PVUJLU[YL[VÄUKV\[ whether there are any restrictions on picture-taking. Show your subject(s) the shot you’ve taken by playing it back on the monitor screen. Don’t forget to thank them for posing! 9. Be aware of what’s going on around you. This will enable you to capture unexpected events and also to stay safe when you’re in crowded situations. Popular shooting spots can become crowded and some photographers can be rude and aggressive. You’re unlikely to get

good shots when you’re being jostled and there may be better shooting positions away from the crowds. 2LLWHSV^WYVÄSL.YLH[ZOV[Z are there for the taking when you’re inconspicuous. 11. Research the subject beforehand. The more you know about a place and/ or creature the better you’ll be able to photograph it insightfully. 12. Show respect for the people and customs in the areas where you’re taking photos. Although privacy laws exist in many places to protect local citizens, in most cases street photography is permitted as long as people aren’t harassed and privacy isn’t invaded. Keep out of private property.

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TELLING YOUR STORY

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Useful links Shooting tips: www.bit.ly/pg30-4 Histograms to estimate exposure: www.bit.ly/pg30-19 Alex Cearns story tips: www.bit.ly/pg30-12 www.photoreview.com.au Travel Photography 27

PHOTOGRAPHING SCENERY

CHAPTER 3

Photographing scenery Shots of scenery play an important role in your travel ‘story’ so it pays to make the best of any opportunities presented. The secret to success lies in getting the lighting right. Pay attention to the changes that occur throughout the day and as you move through the landscape. The ‘golden hours’ for shooting scenery occur between roughly 30 minutes before and about an hour-and-a-half after sunrise in the morning and between about an hour before sunset and up to an hour after the sun has gone down. In high latitudes these times are extended during the summer and beyond 66 degrees (north or south) there are periods of total daylight in summer and total night in winter. The lighting in these areas is outstanding for creative photography. Some places can be photographed successfully at most times of day – and some, like canyons, are best photographed around midday. Research the areas you plan to visit and try to be in the right place at the right time to take advantage of ambient lighting conditions. Don’t be constrained by convention. While the standard rules of composition are useful guides, be prepared to 28 Travel Photography www.photoreview.com.au

experiment. Take a few shots with landscape orientation and then switch to WVY[YHP[MVYTH[HUKZLL^OH[HKPќLYLUJL it makes to the way you view the scene. Don’t forget to shoot when travelling to and between destinations – including shots from the aircraft as you approach. >OPSLP[JHUILKPѝJ\S[[VH]VPKYLÅLJ[PVUZ when shooting through the window, resting the camera’s lens against the window might reduce them. However, vibrations transmitted through the vehicle could be KPѝJ\S[[VV]LYJVTL +VU»[\ZLÅHZO"TV]LPUJSVZL[V[OL window without actually touching it and surround the camera and lens with dark fabric (a rug, jacket or sweater) to exclude stray light. Switch to manual MVJ\ZHUKZL[[OLMVJ\ZVUPUÄUP[` A relatively wide aperture setting should blur out any scratches and dirt on the window, while a fast shutter speed will minimise camera shake due to vibration. When on a tour, move away from the designated ‘photo stop’ where everybody else takes pictures; look for a more interesting viewpoint. For the cost of the [YPWP[»Z^VY[OTHRPUNHUL_[YHLќVY[ Watch your horizons and try to keep them genuinely horizontal in shots that include built structures.

PHOTOGRAPHING SCENERY

-HTV\ZSHUKTHYRZSPRL[OL.VSKLU.H[L)YPKNLPU:HU-YHUJPZJVJHUILH[[YHJ[P]L Z\IQLJ[ZH[HSTVZ[HU`[PTLVMKH`;OL[VWWPJ[\YL^HZ[HRLUHZ[OLLHYS`TVYUPUN TPZ[^HZYPZPUN^OPSL[OLSV^LYWPJ[\YL^HZ[HRLUPU[OLLHYS`HM[LYUVVU^OLU[OLZ\U ^HZOPNOPU[OLZR`

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PHOTOGRAPHING SCENERY

3HUKZJHWLHUKWVY[YHP[VYPLU[H[PVUZJHUJOHUNL^OH[PZHUKPZUV[PUJS\KLKPUH WPJ[\YLHUKPUÅ\LUJL]PL^LYZ»YLHJ[PVUZ[VP[

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PHOTOGRAPHING SCENERY

:OV[Z[HRLU[OYV\NO[OLHPYJYHM[»Z^PUKV^HZ`V\JVTLPU[VSHUKJHUIL\ZLM\SMVY ZL[[PUN[OLZJLULHOLHKVMZ\IZLX\LU[WPJ[\YLZPUHZSPKLZOV^

Many cameras provide grid overlays or level indicators as levelling aids. Grid overlays are also useful guides for the more formal types of pictorial composition. Try some shots with sloping horizons (it needs to be obvious or viewers will think it was accidental!). But be careful about the subject matter in the shot and be sure of your reasons for shooting at a slant. If well done, it can make a refreshing variation from the standard shot.

32 Travel Photography www.photoreview.com.au

Don’t take every shot standing up; try crouching or even lying down to get a KPќLYLU[]PL^WVPU[*SPTIVU[VHZLH[VY up some steps. As a tourist, you have the advantage of anonymity so it doesn’t matter if you look a bit odd while you’re taking photos. High vantage points can provide a YHKPJHSS`KPќLYLU[]PL^WVPU[+YVULZ can provide birds’ eye views, although [OL`JHUILKPѝJ\S[[VJHYY`^P[O`V\ on trips where you must travel light.

PHOTOGRAPHING SCENERY

4V]PUNH^H`MYVTV[OLYZPU[OLNYV\WTHKLP[WVZZPISL[VJHW[\YL[OPZH[[YHJ[P]L ZOV[VM3VYK/V^L0ZSHUK»Z7YV]PKLUJL7L[YLSZ^OLLSPUNHIV\[[OLZR`ILMVYL JVTPUNPU[VSHUKH[Z\UKV^U www.photoreview.com.au Travel Photography 33

/LSPJVW[LYÅPNO[ZHYLHNYLH[^H`[VNL[HºIPYK»ZL`L»]PL^VMHSHUKZJHWLHUKTH` [HRL`V\V]LYHYLHZ[OH[^V\SKV[OLY^PZLILPUHJJLZZPISL:VTL[PTLZ`V\^PSSIL HISL[VZOVV[[OYV\NOVWLU^PUKV^ZVYKVVYZHUKH]VPKWYVISLTZHZZVJPH[LK^P[O ZOVV[PUN[OYV\NONSHZZ 34 Travel Photography www.photoreview.com.au

PHOTOGRAPHING SCENERY

)L^HY`VM\ZPUNWVSHYPZLYZ^OLUZOVV[PUNH[OPNOHS[P[\KLZHUK\UKLYJSLHYIS\L ZRPLZ7VSHYPZH[PVUJHUKHYRLU[OLZR`[V[OLWVPU[^OLYLP[ILJVTLZ\UUH[\YHS SVVRPUNHZZOV^UOLYL

Take advantage of helicopter (or light HPYJYHM[ÅPNO[ZV]LYWVW\SHY[V\YPZ[HYLHZ These additional tips will help you to obtain the best results from your shots: 1. Use a lens hood to optimise the contrast and colour depth in your shots. 2. Zoom with your feet when you

need to change perspective or get a KPќLYLU[]PL^ 3. Use a tripod or steady the camera VUHÅH[Z\YMHJL^OLUSPNO[SL]LSZ are low. )LQ\KPJPV\ZPU`V\Y\ZLVMÄS[LYZ particularly polarisers.

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PHOTOGRAPHING SCENERY

PHOTOGRAPHING SCENERY

The value of raw files :OVV[YH^ÄSLZPM`V\»YLZLYPV\ZHIV\[ image quality and want to be able to print your best shots. Storage is relatively cheap so the size of raw ÄSLZZOV\SKU»[JVUJLYU`V\"P[»ZIL[[LY to have all the image data than having to work with the reduced data set you get with JPEG compression. Many cameras allow you to JVTIPULYH^ÄSLZ^P[OYLK\JLK size JPEGs and this can be handy for saving storage space. Keep the JPEGs for casual on-screen viewing, ^OPSL[OLYH^ÄSLZHYLH]HPSHISLMVY editing, printing and archiving.

;OPZWHPYVMPTHNLZKLTVUZ[YH[LZ [OL]HS\LVMYH^ÄSLZ;OL[VWPTHNL PZH17,.YLJVYKLKI`[OLJHTLYH ZPT\S[HULV\ZS`^P[O[OLYH^ÄSL ZOV^UILSV^)V[OPTHNLZOH]L ILLULKP[LK[VIYPUNV\[JVSV\YZ KL[HPSZHUK[VUHSP[`;OLYH^ÄSL ZOV^ZOV^T\JOTVYLZJVWL[OLYL PZMVYHKQ\Z[TLU[ZH]HS\HISLHZZL[PU JOHSSLUNPUNSPNO[PUNJVUKP[PVUZ

Sunrise and sunset shots Sunrise and sunset can provide the most dramatic lighting in the day, regardless of where you are. When the sun is close to the horizon, the light has to travel through a thicker layer of air, which reduces its intensity. Particles of dust and moisture in the air absorb the shorter wavelengths in the spectrum, shifting colours towards orange and red. Avoid pointing your camera’s lens directly at the sun unless most of its brightness is blocked. And don’t look [OYV\NO[OL]PL^ÄUKLYWHY[PJ\SHYS`PM`V\»YL using a telephoto lens. Because they enlarge the subject, telephoto lenses will amplify the light and may make it bright enough to damage eyes – and camera sensors. Fit a lens hood to minimise loss of JVU[YHZ[PUZOV[ZK\L[VSLUZÅHYL0M`V\ don’t have a hood, shade the front of the lens with a hand or a hat, making sure it’s not included in the shot. Objects in the foreground can be used to block the direct light from the sun, enabling you to capture the warm ambient lighting without risking your eyes or your camera. They can also create points of interest in shots because they add context to scenes. 0[PZUV[VYPV\ZS`KPѝJ\S[[VVI[HPU the optimal exposure for sunsets and sunrises so meter carefully using spot

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PHOTOGRAPHING SCENERY

metering to position the central tones in the scene where you want them. Slight under-exposure will deepen tones and make the warm hues appear richer. If in doubt, bracket exposures and choose the shot that looks best on the camera’s monitor. >LH[OLYJVUKP[PVUZ^PSSPUÅ\LUJL what you can shoot. Shots containing well-placed cloud formations will be more engaging than those with clear skies. Dust and smoke in the air can produce intense colours and dramatic contrasts.

Colours will change with the sun’s position relative to the horizon. Keep shooting after the sun has gone down. Some of the most intense colours appear at this time and auto exposure metering is often possible. Turn around. The sky directly opposite the sun may be an even better subject than the sunset itself. The colours will probably be less intense and the tonal nuances more subtle but both can produce attractive photographs.

>OLU[OLTHPUZ\IQLJ[ISVJRZTVZ[VM[OLSPNO[JVTPUNMYVT[OLZ\U`V\ZOV\SKILHISL [VWVPU[[OLJHTLYHKPYLJ[S`H[[OLZ\U[VVI[HPUIHJRSP[ZOV[ZSPRL[OPZVUL;OLSPNO[PZ HSZV^LHRLYHZP[PZKPZWLYZLKI`[OL[OPJRLYH[TVZWOLYL^OLU[OLZ\UPZSV^PU[OLZR` 38 Travel Photography www.photoreview.com.au

PHOTOGRAPHING SCENERY

Useful links Composition strategies: www.bit.ly/pg30-6

Why shoot RAW: www.bit.ly/pg30-8

Landscape photo tips: www.bit.ly/pg30-7

Sunrise and sunset: www.bit.ly/pg30-9

*HYLM\SL_WVZ\YLTL[LYPUN^HZULLKLK[VWYL]LU[[OLIYPNO[JLU[YHSHYLHMYVT JH\ZPUN[OLZOV[[VIL\UKLYL_WVZLK:WV[TL[LYPUNVU[OLZR`ULHY[OL[VWVM[OL MYHTL^HZJVTIPULK^P[O,=VML_WVZ\YLJVTWLUZH[PVU[VKLSP]LY[OPZYLZ\S[

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SHOOTING IN CITIES

CHAPTER 4

Shooting in cities Cities present a wealth of shooting opportunities – and almost as many problems. Decide in advance what you want to record: the cityscape itself or the people who live within the city. If you choose the former, be prepared to get up early and/or stay up late to avoid the crowds. If the latter, you need a small, unobtrusive camera that is quick to use and capable of handling a wide range of situations. Most cities have iconic buildings; some JVU[HPUHYLHZVMOPZ[VYPJHSZPNUPÄJHUJL while others present examples of striking modernity. Try to capture the ‘feel’ of the place, rather than simply recording straight shots of buildings. Allow time to explore the interesting visual features of each place. Look for unusual angles. You may not be able to photograph the entire building but you can say a lot by presenting parts of it in its context. :OVV[WHUVYHTHZ^OLU`V\JHU»[Ä[ everything into a single shot. Sometimes the inherent distortion can enhance a

scene, adding an expansive feeling that complements the real environment. =LY[PJHSWHUVYHTHZJHUOLSW`V\[VÄ[ in tall buildings – but be aware that a considerable amount of perspective correction will be required post-capture and allow space for it around the main subject. Search out local colour or, failing that, some foreground item that can add both depth and interest to your composition. Look for interesting details in the scene. Alternatively, concentrate on recording colour, or motion (the tripod could be handy here) or anything that can capture the atmosphere of the place. Cluttered and distracting backgrounds HYLHJVTTVUÅH^PUWOV[VNYHWOZ[HRLU PUJP[PLZ-PSS[OL]PL^ÄUKLYMYHTL^P[O the main subject when you shoot. Use KPќLYLU[PHSMVJ\ZPUN^OLYLP[JVTWSLTLU[Z the subject. With large subjects, it can be better to take several high-impact ZOV[ZZOV^PUNKPќLYLU[HZWLJ[ZVM[OL scene and present them together in your slideshow or portfolio.

;OLTVKLYUPZ[PJ2`V[VYHPS^H`Z[H[PVUPU1HWHUPZ^VYSKYLUV^ULKMVYP[ZLSLNHUJL ;OPZ]PL^MYVTOPNOPU[OLI\PSKPUNSVVRPUN[V^HYKZ[OL2`V[V;V^LYOPNOSPNO[Z[OL THZZP]LZPaLVM[OPZM\[\YPZ[PJNSHZZHUKZ[LLSZ[Y\J[\YL www.photoreview.com.au Travel Photography 41

SHOOTING IN CITIES

Silhouettes can be dramatic for their inherent simplicity. It’s quite easy to capture them at dawn and dusk when the sky is bright but the sun is below the horizon. Meter exposures on the sky for best results. Be aware of foreground objects and either shift the camera to exclude them or stop the lens down so they can be included in the picture as a sharply imaged part of the subject. 9LÅLJ[PVUZVќJP[`I\PSKPUNZJHUHSZV make attractive subjects. Switch to manual focusing when you have to shoot through glass or

wire so you can focus on the subject. Open the lens aperture to reduce depth VMÄLSKHUK[OYV^[OL^PYLV\[VMMVJ\Z – or at least soften it enough to make it less noticeable. Alternatively, change your viewpoint to include a more subject-friendly background. -PSSÅHZOZOV\SKVUS`IL\ZLK[VWYV]PKL more even lighting and reduce the subject brightness range in very bright situations. +VU»[L_WLJ[HI\PS[PUÅHZO[VPSS\TPUH[L the side of a vast building or throw any light on anything that is more than three or four TL[YLZMYVT[OLJHTLYH3PNO[MHSSZVќ^P[O the square of the distance from the source.

;OLVUS`^H`[VJHW[\YL[OPZOPZ[VYPJJO\YJOPU7VY]VV-PUSHUKPUP[ZLU[PYL[`^HZ ^P[OHÄ]LZOV[WHUVYHTH5V[L[OLYLJ[PSPULHYKPZ[VY[PVU[V^HYKZ[OLLKNLZVM[OL MYHTL0[^V\SK[HRLJVUZPKLYHISLL_WLY[PZL[VYLTV]L[OPZKPZ[VY[PVUHUK[OLMYHTL ^V\SKWYVIHIS`ULLK[VILJYVWWLK 42 Travel Photography www.photoreview.com.au

SHOOTING IN CITIES

6ќLYPUNWYH`LYZHUKÅV^LYZH[[OL;LTWSLVM[OL;VV[OH)\KKOPZ[[LTWSLPU[OL JP[`VM2HUK`:YP3HURH1VJLS`U4PSSL[[

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SHOOTING IN CITIES

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SHOOTING IN CITIES

;OL4PSSLUUP\T)YPKNLV]LY[OL;OHTLZ 9P]LYPU3VUKVUWYV]PKLZSLHKPUNSPULZ [VKPYLJ[[OL]PL^LY»ZL`L[V:[7H\S»Z *H[OLKYHSPU[OLIHJRNYV\UK

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;OLKVTLVM:`KUL`»Z8\LLU=PJ[VYPH)\PSKPUNYLÅLJ[LKPU[OLNSHZZ^PUKV^ZVMH OV[LSHJYVZZ[OLZ[YLL[

:\IQLJ[Z[^VTL[YLZMYVT[OLÅHZO^PSS receive a quarter of the light it emits; those four metres away will receive only one sixteenth of the light. When shooting at night concentrate on achieving the best balance between aperture, shutter speed and ISO settings. This balance pivots on shutter speed since it’s the function that most determines whether your shot is sharp. Find out the slowest shutter speed you can use for hand-holding the camera without encountering camera shake. This factor should be tested for all camera bodies and lenses you plan to use.

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Next determine the lens aperture setting that admits enough light into the camera to achieve a satisfactory L_WVZ\YL;OPZ^PSS]HY`^P[OKPќLYLU[ light levels and with the end result you want to achieve (shallow or deep focus). Finally establish the optimal ISO setting. In practice this is easy because most cameras will let you set up a range of ISO sensitivities for the Auto ISO mode. If you know the ISO setting at which noise will be visible in shots in most situations, set the maximum at one value lower to ensure minimal noise.

SHOOTING IN CITIES

(OHUKOLSKL_WVZ\YLH[UPNO[[HRLUH[ZLJVUK[OHURZ[VJVTIPULKPUSLUZ HUKPUJHTLYHZ[HIPSPZH[PVU^P[O0:6ZLUZP[P]P[`HUKHUHWLY[\YLVMM[V TH_PTPZLKLW[OVMÄLSK

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SHOOTING IN CITIES

(YLÅLJ[PVUVM[OLÄ]LZ[VYPLKWHNVKHH[:LUZVQP;LTWSLPU(ZHR\ZH;VR`VPUH W\KKSLSLM[I`YLJLU[YHPU7OV[VNYHWOLK^P[OHTPYYVYSLZZJHTLYHOHUKOLSK\ZPUN HZLJVUKL_WVZ\YLH[M^P[O0:6ZLUZP[P]P[`:[HIPSPZH[PVUPUIV[O[OL JHTLYHHUKSLUZ\UKLYWPUULK[OLZSV^ZO\[[LYZWLLK 48 Travel Photography www.photoreview.com.au

SHOOTING IN CITIES

=LUKVYZHUKWLYMVYTLYZPUI\Z`SVJH[PVUZZLSKVTVIQLJ[[VILPUNWOV[VNYHWOLKHZ SVUNHZ`V\KVU»[NL[PU[OLPY^H`;OLYLZ\S[PUNWPJ[\YLZJHUHKKJVSV\YHUK]HYPL[` [V`V\YWVY[MVSPV

You can leave the minimum on the lowest native (non-extended) ISO value and the camera will automatically choose interim values, adjusting the aperture and shutter speed settings accordingly. Many cameras will also let you nominate a minimum shutter speed when setting the auto ISO range.

Shooting tips Tips to keep your memories of the cities you visit fresh and alive: 1. It can be easier to take photos in busy places where there’s plenty of action. Not only is your choice of subjects broader, you’re also less likely to stand out in a crowd. www.photoreview.com.au Travel Photography 49

SHOOTING IN CITIES

2. Street performers make great subjects. Since they are aiming to attract attention, they’re used to being photographed and will often ‘perform’ for your camera. Be generous with what you toss in their hats. 3. Try to keep backgrounds as unobtrusive as possible while still providing a useful backdrop or frame for your pictures. 4. Find a spot where action is likely to occur and wait for something to happen.

This tried-and-proven strategy is often the best way to obtain attractive lighting and shooting angles. 5. Look for unusual and quirky subjects that will add colour to your collection. 6. Take lots of photos. Although you might think famous photographers took only one shot to capture ‘the decisive moment’, in fact most of them shot many frames and chose the one to print afterwards. Photographers’ contact sheets show this to be the case.

3VUKVULYZLUQV`PUN[OLSVUN[^PSPNO[PU9LNLU[»Z7HYR4VZ[HYLZP[[PUNVU[OLNYHZZ ILJH\ZL`V\OH]L[VWH`[V\ZLVULVM[OLKLJRJOHPYZ 50 Travel Photography www.photoreview.com.au

SHOOTING IN CITIES

:[LHTW\URHUKHUPTLHYLWVW\SHYPU1HWHUZV`V\JHUVM[LUÄUKL_HTWSLZSPRL [OPZVYUH[LJSVJRPU;VR`V

Useful links Street photography tips: www.bit.ly/pg30-10 Steve Scalone’s passion for street: www.bit.ly/pg30-11 Events and festivals: www.bit.ly/pg30-16 www.photoreview.com.au Travel Photography 51

PEOPLE PICTURES

CHAPTER 5

People pictures Most travellers like to be photographed in the places they visit. Unfortunately, this can lead to a sequence of ‘Jim posed in front of the (insert landmark)’ images that are profoundly boring to viewers. As a photographer, you can change this.

Most people who view your shots will already know what Jim looks like so you don’t need a series of formal portraits. Get Jim in action: talking to the locals, walking down the avenue in front of the [V^LYVYHZHÄN\YLJVU]L`PUNZJHSLPU the picture.

1HWHULZLOPNOZJOVVSZ[\KLU[ZHYLLUJV\YHNLK[VºPU[LY]PL^»>LZ[LYU]PZP[VYZ[V PTWYV]L[OLPY,UNSPZOJVTT\UPJH[PVUZRPSSZ:OV[ZSPRL[OPZVULTHRLH^VY[O^OPSL HKKP[PVU[V`V\Y[YPWWVY[MVSPV 52 Travel Photography www.photoreview.com.au

)LJYLH[P]L^OLU[HRPUNZOV[ZVMWLVWSLPUH[V\YNYV\W7VZPUN[OLTPU[OLJVU[L_[ VMVULVM[OLWSHJLZ`V\]PZP[[VNL[OLY^PSSTHRL[OLZOV[T\JOTVYLTLHUPUNM\S [OHU[OLZ[HUKHYKºSPUL\W»WOV[VZ

Don’t be afraid to photograph people PUWYVÄSL¶VYMYVTILOPUKVYHZHZTHSS ÄN\YLPUHSHYNLSHUKZJHWL>OPSL[OL glazed smile of the full-face portrait can ILVќW\[[PUN[OLYL»ZUV[OPUN^YVUN^P[O a full-face shot that shows the subject relaxed and comfortable.

Street photography In many countries, amateur photographers can take pictures in most public places, although they may require permission to

shoot in some situations (such as railway stations). However, in Hungary, the Czech Republic, France, Japan, South Korea, Slovakia, Spain and Switzerland it’s illegal to take photographs of people in public places without their permission (although there may be some exceptions in some of these countries). 7\ISPJH[PVUVMZ[YLL[ZOV[ZPZHKPќLYLU[ matter. Very few countries sanction the publication of street pictures without the subject’s permission, although www.photoreview.com.au Travel Photography 53

4HPRVZHWWYLU[PJLNLPZOH[YHPU[VILLU[LY[HPULYZZV[OL`T\Z[SLHYU[V^LSJVTL ILPUNWOV[VNYHWOLK/HWW`[VWVZLMVYWOV[VZ[OPZ`LHYVSKTHPRVPZPUOLYÄYZ[ `LHYVM[YHPUPUNPUKPJH[LKI`[OLSPWZ[PJRVUS`VUOLYSV^LYSPW 9PNO[!@V\VUS`YLX\PYLWLYTPZZPVU[V[HRLZOV[ZVMWLVWSLNVPUNHIV\[[OLPYUVYTHS KH`[VKH`VY^LLRLUKHJ[P]P[PLZPM`V\WSHU[VZLSS[OLPTHNLZMVYW\ISPJH[PVUVY[V HZ[VJRSPIYHY`

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PEOPLE PICTURES

circumstances can play a role in whether publication is straight-out banned or simply discouraged. Pictures taken for your own use or for sharing privately with family members and friends are exempt from this requirement. Professional photographers and ÄSTTHRLYZ^OVZOVV[[VZLSS[OLPY^VYR

must obtain model releases from all recognisable people in their shots before the image is published. This is also true for images entered into competitions and is usually listed in the Terms of Entry. Model releases are also required for images published in magazines or newspapers, sold through image libraries

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PEOPLE PICTURES

0[^HZLHZ`[VLUNHNL^P[O[OPZ SP[[LYTVUP[VYPU[OL1HWHULZLJP[`VM :HWWVYVK\YPUN[OLHUU\HS:UV^ -LZ[P]HSPU-LIY\HY`:OL^HZMYPLUKS` HUKOHWW`[VJOH[HIV\[^OH[ZOL^HZ KVPUNHZ^LSSHZWVZPUNMVYHWOV[V 9PNO[!7PJ[\YLZVMLU[LY[HPULYZSPRL[OPZ KY\TTLYPU:YP3HURHJHUIL[HRLU MVY`V\YV^UJVSSLJ[PVU¶I\[UV[MVY JVTTLYJPHS\ZL1VJLS`U4PSSL[[

56 Travel Photography www.photoreview.com.au

or posted in public websites – or any other ‘commercial’ purpose from which the photographer stands to gain. They must be signed by any subject KLWPJ[LKPM[OL`JHUILPKLU[PÄLK If you enjoy shooting in the street, take care not to interfere with other people’s rights to use and enjoy public spaces. Getting in somebody’s way is bound to attract anger – and will likely see you evicted from the area and/or facing a legal claim against you. Setting up a tripod on a busy street or public thoroughfare in a way that PTWLKLZ[YHѝJJHUILZLLUHZJH\ZPUN public obstruction. Although police can arrest anyone creating such an obstruction, it’s more likely the photographer will simply be asked to move on. Failure to comply, however, may result in arrest. Where it’s appropriate, engage with your subject(s). Show interest in what they are doing and ask permission to take pictures. Then show them your shots and tell then why they attracted your attention. (Everyone likes to feel important.) Be respectful. Put yourself in your subjects’ shoes and ask: would you feel comfortable being photographed in their situation? Consider their cultural background; what might pass as an unremarkable situation for a Westerner TH`ILKLLWS`VќLUZP]L[VZVTLVUL from another culture.

PEOPLE PICTURES

PEOPLE PICTURES

>OLUZOVV[PUNPU[OLZ[YLL[^P[OSVUNLY SLUZLZTTPU[OPZJHZL`V\TH` UV[ILHISL[VZLLRWLYTPZZPVU[V\ZL[OL ZOV[VYWYV]PKLWH`TLU[MVY[OLZ\IQLJ[Z 7YV]PKLK[OLLUKYLZ\S[PZUV[\ZLKMVY HK]LY[PZPUNP[ZOV\SKILHJJLW[HISL[V W\ISPZOP[PUHTHNHaPULVYVUSPULISVN

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PEOPLE PICTURES

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PEOPLE PICTURES

When photographing ‘the locals’, show respect for the people you photograph and don’t take shots that are unattractive or unethical. While you should ask permission before taking portrait shots, it’s not necessary when photographing people in a general scene – unless the people are easily PKLU[PÄHISLHUK[OLPTHNLZ^PSS be published. Sometimes the most interesting shots are back views of subjects in a particular setting, where permission from the subjects is not normally required. Nor are model releases if the subject(s) are not YLHKPS`PKLU[PÄHISL In some places you will be expected to pay to photograph local people.

60 Travel Photography www.photoreview.com.au

Many poor people in third-world JV\U[YPLZLHYUHZPNUPÄJHU[WLYJLU[HNL of their income by posing for tourists’ photographs. Ask your guide what amount to give people in return for their willingness to pose. Be prepared to negotiate payments and walk away if demands are excessive. Deals that are settled beforehand allow you to take time planning and executing your shot. Trust your instincts. Your camera should be an extension of your artistic vision. If it feels right to take pictures, it probably is; don’t shoot when it feels wrong or dangerous.

:VTL[PTLZWOV[VNYHWOPUNWLVWSLMYVTILOPUKJHUYLZ\S[PUHTVYLPU[LYLZ[PUN WPJ[\YL[OHUZUHWWPUN[OLTMYVTPUMYVU[ 3LM[!0UJVUZWPJ\V\ZLX\PWTLU[PZ[OLZTHY[LZ[JOVPJL^OLU[HRPUNWOV[VNYHWOZ PUJP[PLZ

Useful links David Lazar’s travel tips: www.bit.ly/pg30-5 Available-light portraits: www.bit.ly/pg30-13 www.photoreview.com.au Travel Photography 61

CLOSE-UPS

CHAPTER 6

Close-ups

;OPZZOV[ZOV^PUN[OLKL[HPSZVM[OL MHIYPJ^HZ[HRLU[OYV\NO[OL^PUKV^VM HRPTVUVZOVWPU2`V[V1HWHU\ZPUNH Z[HUKHYKTTSLUZ 9PNO[!(JVSSLJ[PVUVMJSVZL\WZJHU THRLHUH[[YHJ[P]LWHNLSH`V\[PUH WOV[VIVVRVM`V\Y[YPWHUKIYPUNIHJR TLTVYPLZVMWYLJPV\ZL_WLYPLUJLZ

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When you’re intent on recording places and events as you travel, it’s easy to ignore opportunities for shooting close-ups. Yet well-chosen close-ups can say a lot about the places you visit. They will also make your travel images more interesting and meaningful. Close-up shots pull you directly into a subject and make you focus in upon details. They’re great for highlighting something people would normally overlook as well as for revealing intimate attributes of larger objects. A selection of close-ups will also provide a more personalised perspective that will make your shots stand out from the crowd. If you’re planning a photo book, a collage of close-ups can make HUPJLWHNLSH`V\[OPNOSPNO[PUNHZWLJPÄJ area of your trip. We often hear the term ‘macro’ used interchangeably with close-up photography. But there is an important KPќLYLUJLIL[^LLU[OLZLNLUYLZ!^OLYLHZ close-ups refer to images shot at close range and isolated from their surroundings, macro shots are extreme close-ups that portray the subject as life-size or greaterthan-life-size. Special macro lenses are required for true macro photography but few travellers can justify including a

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@V\KVU»[ULLKHKLKPJH[LKTHJYVSLUZ MVYZOV[ZSPRL[OPZ^OPJO^HZ[HRLU^P[O HTTLX\P]HSLU[MVJHSSLUN[O\ZPUN HMHZ[MTH_PT\THWLY[\YL[VLUZ\YLH IS\YYLKIHJRNYV\UK[OH[KVLZU»[KPZ[YHJ[ MYVT[OLKL[HPSZPU[OLTHPUZ\IQLJ[

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macro lens in their kits unless they take a lot of shots that require 1:1 (life size) reproduction. Zoom lenses with ‘macro’ focusing positions can be handy for achieving closer-than-average focus, although few (if any) of them are capable of true THJYVMVJ\Z4HU`Ä_LKSLUZJHTLYHZ can focus to within one centimetre of a subject, which although not true macro reproduction can result in stunning close-ups of even quite small subjects.

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Compact cameras with relatively small sensors make it easy to capture close-ups of subjects, particularly if they include ‘macro’ settings that adjusts the focus accordingly. Shoot YH^ÄSLZ^OLYL]LYWVZZPISL^OLU\ZPUN small-sensor cameras to maximise the amount of image data you record and make editing more rewarding. Telephoto lenses can be useful for close-up portraits of people and animals. Medium tele lenses can also enable you to photograph objects in shop windows and on market stalls without drawing attention to yourself (or getting in the way of shoppers). Pictures of signs and other items that characterise an area are always worth adding to your portfolio. When taking close-ups, endeavour [VÄSS[OLMYHTL^P[O[OLZ\IQLJ[ Moving towards or away from the subject will change the perspective, whereas aVVTPUNMYVTHÄ_LKWVZP[Pon simply HS[LYZTHNUPÄJH[PVU*VUZPKLYIV[O LќLJ[Z^OLUMYHTPUNJSVZL\WZOV[Z Finding subjects for close-ups is largely a matter of having an eye for interesting details. This is developed over time, although if you research your destinations beforehand you will often discover potential subjects. Keep a good working distance between the front of the lens and the subject when photographing small

*VTWHJ[JHTLYHZ^P[OºTHJYV» MVJ\ZPUNTVKLZHYLPKLHSMVYJHW[\YPUN JSVZL\WZOV[Z

animals, such as insects and arachnids. The closer you get to the subject, the more likely the subject is to get ‘spooked’ and disappear. Static subjects SPRLÅV^LYZVYJYHM[^VYRZHYLLHZPLY to photograph. However, make sure the lens shadow doesn’t fall across the subject and interfere with shot composition. In many situations there won’t be enough room to \ZLÅHZOHUK`V\JHU»[\ZLV[OLYMVYTZ VMHY[PÄJPHSSPNO[PUNZVOHUKOVSKPUN[OL camera is the only option. Focusing can be tricky for close-ups ILJH\ZLKLW[OVMÄLSKPZYLZ[YPJ[LK

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(PT[VÄSS[OLMYHTL^P[O[OLZ\IQLJ[^OLU[HRPUNJSVZL\WZWHY[PJ\SHYS`^OLU`V\ ^HU[[VZOV^WH[[LYUZHUK[L_[\YLZ

Pay close attention to which parts of the scene are in focus. The closer you shoot HUK[OLTVYL[OLZ\IQLJ[PZTHNUPÄLK [OLZTHSSLY[OLKLW[OVMÄLSKPU[OLZOV[ In some cases, you’ll want as much of the subject as possible looking sharp. For others, it’s an advantage to have the THPUZ\IQLJ[KPќLYLU[PH[LKMYVTHIS\YYLK IHJRNYV\UK*HTLYHZ[OH[VќLYT\S[P shot focus stacking modes can be really useful for obtaining shots with maximum depth of focus. Fast lenses with long focal lengths are best for capturing sharp subjects against blurred backgrounds.

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Don’t be afraid to crop images to pare down to details you want to record. Sometimes it’s impossible to get close enough to select the details you want. At others, something might get in the way. If you know you’re likely to crop shots, make sure your image quality is optimal. Use low ISO settings, make sure the shutter speed is fast enough for handholding the camera (taking account of JHTLYHVYSLUZZ[HIPSPZH[PVUHUKYLÄUL your shooting techniques. -VJ\ZJHYLM\SS`HUKZLSLJ[HZWLJPÄJ focus point or group of points to ensure

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+VU»[YLZ[YPJ[`V\YZLSM[VWOV[VNYHWOPUN ÅV^LYZHUKPUZLJ[Z"PUZVTLWSHJLZ THUOVSLJV]LYZOH]LPU[LYLZ[PUNKLZPNUZ [OH[PKLU[PM`OPNOSPNO[ZVM[OLHYLH )LSV^!OLUZOVV[PUN^P[O^PKLSLUZHWLY[\YLZ^H[JOV\[MVYIYPNO[OPNOSPNO[ZPU[OL IHJRNYV\UK^OPJOJHUILZOHYWS`V\[SPULKHUK^PSSKPZ[YHJ[[OL]PL^LY»ZH[[LU[PVU MYVT[OLTHPUZ\IQLJ[

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optimal sharpness in the main centre of interest. Consider taking two shots – the ÄYZ[[VKLÄUL[OLZ\IQLJ[HUKHZLJVUK one to illustrate its environment. Long telephoto lenses are normally needed for close-ups of animals and birds, particularly when shooting in the wild. It’s worth aiming for shots that include the subject’s eye because that can create a sense of intimacy with the subject and provide a sense of ‘connection’. Look for patterns in nature, both PUHUPTHSZHUKWSHU[Z@V\JHUÄUK these patterns in reptiles’ scales, birds’ feathers, tree bark and veins in a rock formation. Longer lenses make it easy to isolate them from the rest of the subject. Wide aperture settings can be used to optimise exposure levels because most of these subjects will be YLSH[P]LS`ÅH[ Keep sensitivity settings low when using compact cameras with small sensors to prevent image noise from becoming visible in out-of-focus areas. ISO 400 should be the upper limit for all small-sensor cameras.

>OLU[HRPUNJSVZL\WZVM^PSKSPMLMVJ\Z \WVU[OLZ\IQLJ[»ZL`LZ[VLZ[HISPZOH ZLUZLVMºJVUULJ[PVU»

Useful links ISO and image quality: www.bit.ly/pg30-14 Shooting close-ups: www.bit.ly/pg30-15 www.photoreview.com.au Travel Photography 69

PHOTOGRAPHING WILDLIFE

CHAPTER 7

Photographing wildlife The most important criteria for success in this highly specialised genre are being in the right place at the right time and having the right equipment. You also need prior research, luck and commonsense. 0[JHUILKPѝJ\S[MVYHTH[L\YZ[VÄUK the time and resources to get into the locations where most professional shots

are taken. However, there are plenty of ways to obtain memorable shots, starting with zoos and wildlife parks, which are readily accessible to the public. The equipment you need will vary but one thing you’re likely to require is a telephoto lens with a focal length of at least 200mm (or equivalent) in 35mm format. Modern interchangeable-lens cameras

;OLSH[LZ[Z\WLYaVVTJHTLYHZ^PSSVM[LUWYV]PKLHSS[OLJVU[YVSZ`V\ULLKMVY[HRPUN NYLH[ZOV[ZVM^PSKSPMLPUHJVTWHJ[LHZ`[V\ZLIVK` 70 Travel Photography www.photoreview.com.au

PHOTOGRAPHING WILDLIFE

will provide all of the controls you require. Many key controls are also available in compact, super-zoom cameras. Photographic tours can take you to places where you should be able to obtain good shots of iconic birds or animals. Many places feed wildlife on purpose, either to provide a tourist attraction and bring business opportunities to the community or to keep animals or birds from damaging crops. These places can be great for obtaining close-up shots of creatures [OH[^V\SKV[OLY^PZLILKPѝJ\S[[V photograph. But don’t expect to have the best sites to yourself; it’s more likely you’ll face a lot of competition – and not all of it from others in your group. Be prepared for crowding in the best-known places. Lines of photographers three or four deep are common in some popular areas. Research prior to departure should inform you about what to expect in the areas you plan to visit and what time of year is best for seeing the animals and birds you want to photograph. You will also need to discover how to get there (and back) and the best ways to get around. Luck is less predictable. The old saying that ‘fortune favours the wellprepared’ is perfectly true when it comes to wildlife photography, so the better your preparation, the more likely

you will be to get lucky. But animal behaviour is unpredictable and totally out of your control. You can’t ask an animal or bird to pose for your camera – or to present a better shooting angle or move into better lighting. Patience is vital for good photographs, as professional wildlife WOV[VNYHWOLYZ^PSSHѝYT;OLSVUNLY you can spend watching an animal, the more likely you will understand what they are doing and be able to obtain great shots. Dedicated safaris and whale watching trips can provide great opportunities for keen amateur photographers. The rangers and guides who run these trips know where the animals are and when they can normally be seen at their best. They also have appropriate vehicles and other equipment for making the trip a success. Where animals and birds are accustomed to people (‘habituated’), you can usually get quite close to them, as long as they aren’t dangerous. Nice close-up shots can be taken with relatively short telephoto lenses (135mm to 250mm). You will need to move as quietly as possible and be prepared [VIHJRVќH[HU`ZPNUZVM[OYLH[LUPUN behaviour, although this can simply be a warning; not an intention to act. Be prepared to accept some constraints on where you can go and how freely you can move about and www.photoreview.com.au Travel Photography 71

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7OV[VNYHWOLYZYHURLKMV\YKLLWVU[OL6[V^H)YPKNLPU/VRRHPKV PU-LIY\HY`^HP[PUNMVY[OLPJVUPJ9LKJYV^ULK*YHULZ[VSLH]L[OL ^HYTLY^H[LYVM[OLYP]LYZOV^UILSV^PUZLHYJOVMMVVKH[[OLULHYI` (RHUZHUJ[\HY`0[»ZKPѝJ\S[[VVI[HPUNVVK]PL^WVPU[ZPUZP[\H[PVUZSPRL [OPZHUKSVUNSLUZLZHYL]P[HS^OLU[OLIPYKZWYV]LYLS\J[HU[[VTV]L 72 Travel Photography www.photoreview.com.au

)LPUNPU[OLYPNO[WSHJLH[[OLYPNO[[PTLHUKOH]PUNHWWYVWYPH[LLX\PWTLU[^PSSNP]L `V\[OLILZ[JOHUJLZMVYNL[[PUNNYLH[^PSKSPMLZOV[Z

KPќLYLU[WSHJLZ^PSSOH]LKPќLYLU[ restrictions on your movements, particularly in places like Africa and Antarctica, where abundant wildlife attracts many photographers. Well-run tours will take you into places where you can expect to see the iconic animals and birds but you’ll usually be restricted to shooting from a vehicle. In Antarctica, that will usually be a cruise ship and a Zodiac, whereas in Africa special safari vehicles are the rule. Both will provide the best chances for close-up shots as most of the wildlife will ignore them.

In Antarctica, the climate is the primary hazard, while in Africa, risks come from the wildlife itself. Safari participants must remain in vehicles for their safety. Guides tell chilling stories about clients mauled by lions or trampled by elephants when they disobeyed instructions. Some photographers take safaris with the aim of ‘bagging’ ‘The Big Five’ HUPTHSZI\ќHSVLSLWOHU[SLVWHYKSPVU and rhino), which are chosen for the KPѝJ\S[`PUO\U[PUN[OLTHUK[OLKLNYLL of danger involved, rather than their size or physical attractiveness. Make sure you don’t miss out on photographing other

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PHOTOGRAPHING WILDLIFE

;OLTHJHX\LZH[[OL1PNVR\KHUPWHYRULHY@\KHUHRHPUJLU[YHS1HWHUHYLHJJ\Z[VTLK [VWLVWSLZVP[»ZLHZ`[VVI[HPUJSVZL\WZOV[ZHS[OV\NO`V\ULLKHYLSH[P]LS`SVUNSLUZ TTVYTVYL[V[HRLPU[PTH[LWVY[YHP[Z 9PNO[!;YPWZ[V(U[HYJ[PJHJHUWYLZLU[NYLH[VWWVY[\UP[PLZ[VWOV[VNYHWOWLUN\PUZZLHSZ HUKV[OLY^PSKSPML)\[`V\»SSULLKHSVUNSLUZHUKHWWYVWYPH[LJSV[OPUN[V]LU[\YLV\[PU ^LH[OLYJVUKP[PVUZSPRL[OVZLZLLUPU[OPZZOV[

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PHOTOGRAPHING WILDLIFE

,]LU[OLILZ[Y\UZHMHYPZJHU»[N\HYHU[LL`V\»SSNL[HJSVZLZOV[SPRL[OPZVMH SLVWHYK:VSP[HY`I`UH[\YLHUKLS\ZP]LI`OHIP[SLVWHYKZJHUILKPѝJ\S[[VZLLPU [OLSVUNNYHZZK\YPUN[OLKH`;OL`HSZV[LUK[VO\U[H[UPNO[ 3LM[!0[»Z\Z\HSS`LHZ`[V[HRLJSVZL\WZOV[ZVMHUPTHSZSPRLaLIYHZHUKNPYHќLZMYVT ZHMHYP]LOPJSLZZPUJL[OL`HYLHI\UKHU[HUKLHZ`[VZWV[

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PHOTOGRAPHING WILDLIFE

HUPTHSZSPRLNPYHќLZaLIYHZ^HY[OVNZ and the many attractive deer species. North America is renowned for iconic species like brown bears, bison and beavers, many of which can be photographed in the popular national parks. But don’t ignore the many birds, which range in size from tiny hummingbirds to large bald eagles as well as insects like [OLTVUHYJOI\[[LYÅ`^OPJOTHRLZHUU\HS migrations involving millions of individuals, from southern Canada and the northern United States all the way down to Mexico. (]VPK\ZPUNÅHZO^OLUWOV[VNYHWOPUN animals and birds, particularly at night. Bright lights will blind them for a minute VYTVYLHUKJH\ZL[OLT[V[HRLÅPNO[ Be prepared to increase ISO speed and accept some noise in your shots in these situations. Sometimes animals – and birds in particular – will come to you. But don’t be tempted to feed them in the wild as it can make them dependent and, often, aggressive. While some public reserves have facilities for feeding wildlife, you will normally be required [VI\`ZWLJPHSMVVKZ[\ќZ

:[LSSLY»Z:LH,HNSLZIH[[SPUNMVYHÄZO [OH[^HZ[OYV^UMYVTH[V\YPZ[Z»IVH[[V H[[YHJ[[OLTMVYWOV[VNYHWOLYZ»JHTLYHZ :OV[ZSPRL[OPZHYLLHZ`[VVI[HPUPUZ\JO ZP[\H[PVUZL]LU^P[OMHPYS`IHZPJLX\PWTLU[ 78 Travel Photography www.photoreview.com.au

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PHOTOGRAPHING WILDLIFE

3PVUZPUNHTLYLZLY]LZZLSKVTZ[PY[OLTZLS]LZ\USLZZ[OLYL»ZMVVKPU[OLVѝUN 4HRLZ\YL`V\JOLJRV\[MLLKPUN[PTLZZV`V\KVU»[TPZZVWWVY[\UP[PLZMVYZVTL ºHJ[PVU»ZOV[Z

6ѝJPHSMLLKPUN[PTLZJHUWYV]PKL opportunities to photograph animals in action, particularly in the reserves and game parks. This is often the only way most tourists can get pictures of the ‘big cats’ running. Like domestic cats, they tend to spend much of the day dozing, which doesn’t make for good photos.

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Useful links Hilary Hann wildlife: www.bit.ly/pg30-17 Doug Gimesy nature and wildlife: www.bit.ly/pg30-18

MANAGING IMAGES AS YOU TRAVEL

CHAPTER 8

Managing images as you travel While travellers with a smartphone can upload images directly to the internet for sharing and/or storage with a couple of clicks, when you travel with a camera it’s a bit more complex. Most cameras come with built in Wi-Fi that can connect to an app on your phone or tablet. Many include Low Energy Bluetooth connectivity that

;OPZPSS\Z[YH[PVUZOV^Z[OYLLIHJR\W VW[PVUZ!ZH]PUNPTHNLZMYVTHTLTVY` JHYK[VHSHW[VW]PHHJHYKYLHKLYJVW`PUN [OLT[VHWVY[HISLOHYKKPZRKYP]LHUK \WSVHKPUN[OLT[V*SV\KZ[VYHNL

works across up to 100 metres with a data rate up to 2 megabits/second. Both technologies require users to load an app in the receiving device and set a wireless network name and password on [OLJHTLYH6UJLJVUULJ[LKÄSLZJHU be transferred from the camera to the linked device. However, when you have to backup tens or hundreds of gigabytes of data you’ll be restricted by the space on your phone or tablet and the speed and reliability of the network. Most travelling photographers like to download each day’s shots to a laptop to free up memory cards and store the images and video they’ve taken. Many also backup shots on an external drive or upload them to online storage. Professional photographers recommend a “3-2-1” rule: make three JVWPLZZ[VYL[^VVUKPќLYLU[[`WLZVM TLKPHHUKVULPUHKPќLYLU[SVJH[PVU For travellers, this could mean keeping images on memory cards and backing up to an external drive as well as online. Whether you adopt this plan depends on your requirements and resources. Your camera will determine the type(s) of memory card you need. Its resolution, www.photoreview.com.au Travel Photography 81

MANAGING IMAGES AS YOU TRAVEL

video capabilities and the extent to which you use continuous or movie shooting will dictate the card speed and capacity required. You should also factor in the need for back-up storage while you’re travelling.

Memory cards Memory cards are the most basic storage devices and slots are present in every camera. SD cards are currently the most popular type. Available in two sizes, regular and the smaller microSD format, they come in three capacity classes: SD, SDHC (High Capacity) and SDXC (eXtended Capacity) and speeds from 2MB/second to 300/MB second. Many smartphones, action cameras and drones as well as a few compact digicams can only accept microSD cards.

4HU`SHW[VWZVUS`WYV]PKLYLHKLYZSV[ZMVY TPJYV:+JHYKZ 82 Travel Photography www.photoreview.com.au

Similarly, most compact laptops only support microSD cards, so you’ll need an HKKP[PVUHSJHYKYLHKLY[V[YHUZMLYÄSLZ Compact Flash cards have been used in many DSLR cameras in the past but face challenges from CFast, *-,_WYLZZHUK?8+JHYKZ^OPJOVќLY faster read/write speeds in a smaller form factor. CFast cards that support read/write speeds up to 600MB/second are normally reserved for professional cameras. Card prices increase with increasing speeds and capacities. If you seldom record movies, you can happily settle on slow or medium-speed cards. 4LKP\TZWLLKJHYKZHYLÄULMVY[OL occasional FHD (1080p/1080i) movie. Class 10 is recommended as the minimum speed. UHS 1 cards should deliver smooth footage. /V^L]LYSHYNLÄSLZMYVTOPNO YLZVS\[PVUJHTLYHZPUJS\KPUNYH^ÄSLZ and RAW+JPEG pairs) will take less time to store on faster cards. Fast cards are also essential for storing 4K movie clips. It’s risky keeping all your shots on one card because it could be mislaid or fail unexpectedly. Don’t re-use SD cards while you’re travelling, even if you take a laptop. Cards are relatively cheap and their weight is negligible. We’d recommend taking multiple cards, each with a capacity between 16GB and 64GB. While you have to change cards more frequently and you

MANAGING IMAGES AS YOU TRAVEL

@V\YJHTLYH^PSSKL[LYTPUL[OL[`WLVMTLTVY`JHYK`V\JOVVZLHUKOV^THU`JHYKZ JHUILSVHKLK;OPZJHTLYHOHZHZPUNSLZSV[[OH[HJJLW[Z[OLWVW\SHY:+JHYKMVYTH[

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MANAGING IMAGES AS YOU TRAVEL

can run the risk of losing a card, if that occurs – or the card ‘crashes’ – at least you won’t lose everything.

Portable storage

*VTWHJ[-SHZOHUK*-HZ[JHYKZ[VWSPUL OH]LZPTPSHY¶I\[PUJVTWH[PISL¶MVYT MHJ[VYZI\[KPќLYLU[PU[LYUHSZ[Y\J[\YLZ [OH[LUHISLZ*-HZ[JHYKZ[VZ\WWVY[ T\JOMHZ[LYKH[H[YHUZMLYZWLLKZ *-L_WYLZZ;`WL)HUK?8+JHYKZ OH]L[OLZHTLMVYTMHJ[VYZHUKIV[O HYLKLZPNULKMVYWYVMLZZPVUHSJHTLYHZ *HTLYHZ^P[O?8+ZSV[ZJHUILTHKL JVTWH[PISL^P[O*-L_WYLZZJHYKZ [OYV\NOHÄYT^HYL\WKH[L

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Portable storage devices come in many shapes and sizes, from tiny USB sticks through to rugged hard drives. They may (or may not) be wireless enabled. For most travellers, durability and reliability will be the key selection criteria, with portability and convenience not far behind. Attaching a portable drive to a laptop PZHX\PJRHUKLѝJPLU[^H`[VZ[VYL images taken during the day. You can purchase shock-resistant portable HDDs with adequate capacity for less than $150, which represents great value for money. Another option is a solid state drive ::+^OPJO\ZLZÅHZOTLTVY`SPRL memory cards and USB thumb drives). Having no moving parts, SSDs are more YVI\Z[[OHU/++ZVќLYMHZ[LY[YHUZMLY speeds and use less power. But they cost a lot more. Capacities range from 250GB to 2TB with prices from around $200 to over $600 for an SSD with 2TB capacity. Around 500GB should be enough for most people on 2-4 week trips, but if you want to store uncompressed videos, raw PTHNLÄSLZMYVTOPNOYLZVS\[PVUJHTLYHZ or music you should consider 1TB or higher capacities.

MANAGING IMAGES AS YOU TRAVEL

;OLSH[LZ[ZVSPKZ[H[LKYP]LZJHUILHZZTHSSHZH[`WPJHS