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How does one transcend the “I was here” imagery that is often associated with travel photography and create fine art images of places near and far?

From the dozens of workshops I’ve taught on the subject and carefully studying the work of and talking with many of the great globetrotting lensmen and women in the field, I have developed a methodology, that when applied, should yield impressive and at times spectacular results.

 

Big Picture Thinking

I see a common failing with many beginning travel photographers. They are so focused on the fascinating subjects before their lenses that they forget about the basic rules of composition that make for a great photo. Look at the whole frame and use the space effectively. Ask yourself, “If I were painting this scene, what would I include? What would I exclude?” Treat the camera sensor or the piece of film you are about to expose as your canvas.

Depth of Field

I often shoot in the aperture priority mode so I can be acutely aware of what I will have in focus. You can lead the viewer through your image by careful control of the f-stop. Shooting with a minimal depth of field can yield dramatic portraits whereas a maximum depth of field can create its own unique perspectives especially for architectural photography. It’s important to remember that when you look through an SLR camera you are seeing the lens at its widest aperture which translates as its shallowest depth of field. This lets in the maximum amount of light which gives a bright viewfinder and allows for easy focus. But when you depress the shutter and the lens goes to the selected f-stop, those palm trees that were soft in the distance all of a sudden are growing out of the heads of your subjects like antennas. Most cameras have depth-of-field preview buttons to see what your stopped down lens will have in focus but with enough practice and awareness that knowledge becomes second nature.

Time of Day

Early morning and late afternoon have always been the favorite times for professional travel photographers to shoot. It’s not just the warm Kelvin temperatures that create an inviting mood, it’s the experience of documenting a town coming to life or transitioning to the night. Shadows from an angle are more pleasing to the eye than the harsh light of midday. The middle hours of the day are a great time to photograph people in open shade or to explore museums and other interior locations.

To Flash Or Not To Flash

It’s not always possible to be at the right place at the right time in terms of ideal ambient light. The use of a flash can reduce or eliminate harsh shadows under the eyes that are often referred to as raccoon eyes. I usually have a slight warming gel over my flash head in the morning or afternoon to create a correct color balance. Most flashes fire at a cooler, i.e., more blue color temperature, than the prevailing ambient light. I often also hold my flash at arm’s length off the camera and trigger it with a cord or a remote flash system. This further helps to create a more natural and realistic scene by making the shadows drop down behind the subject. I also often put a Gary Fong Lightsphere Diffusion Dome over the flash head to soften the light. At night, this technique can be used to replicate the light created by a dangling light bulb. Additional flashes can be added and triggered remotely for all types of creative possibilities.

Shooting Contre Jour

Rather then saying backlit, I like the French expression “contre jour” which translates as “against the day.” Shooting with the sun behind the subject eliminates harsh shadows and keeps people from squinting. In-camera meters can get thrown off by contre jour situations and underexpose the scene so it’s important to know how to utilize the camera’s exposure lock controls. This technique requires a lens shade and at times a hand to help block the direct light hitting the lens.

Natural Frames

Natural frames can create a 3-D feel in our 2-D medium. Architectural elements and flora in particular can be utilized in the foreground to lead the viewer into a given scene.

Silhouettes

Creative silhouettes can be created at any time of day by finding a camera position that puts the subject of the shot against a bright background and adjusting the exposure controls. It’s vital to have a strong contrast between the background and the object or subject you are trying to silhouette.

Environmental Portraits

Portraits of people in their environment, whether it is of a sheepherder with his flock or an artist in their atelier, adds an important human element to any travel story. Pros tend to use medium to wider lenses for this type of photograph with the goal of creating an image that transmits emotional content and engagement with their subject. When doing this type of photograph I direct the person to achieve the best angle (e.g. move left, right, back, forward, etc.) and to make sure that the elements of their environment I want to include are not being blocked or too out of focus to not be recognizable. I will talk to the person as a dentist talks to their patients, in other words saying things that can be acknowledged without the need to verbally respond past a simple grunt. Engaging in an active conversation should be done before or after a photo shoot, not during unless you want the person to be caught in all sorts of awkward mouth positions. It’s better to share a quiet human moment one-on-one and let the camera peer into the window of their soul.

Night Exposures

The legendary LIFE magazine photographer Alfred Eisenstaedt was asked after returning from an assignment in Paris what he did in the City of Lights at night. His response was “Expose longer.” While he missed the meaning of the question he was of course right on with the answer photographically speaking. Many cities thrive at night and bring a completely different dimension to the travel experience. For cityscapes and architecture use a low ISO, lockdown the camera on a sturdy tripod, lock up the mirror, and use a cable release. This is especially important on exposures between 1/15th of a second to one or two seconds when the mirror on an SLR hasn’t had the time to settle down and will cause camera shake.

Lowlight

When photographing people in lowlight or nighttime situations I will use either a flash or a higher ISO with “fast” lenses. All my lenses including zooms are able to open to at least a 2.8 aperture. This allows for shooting in lowlight situations without the need to go to such high ISO that the resulting image is full of noise (the digital equivalent to grain).
Shooting without flash is often required when photographing shows and in museums. A lot of work often goes into the lighting of these venues and the use of fast lenses can capture the feeling of what the person in charge of lighting was trying to create.

Macro

Detail shot using a macro lens or close-up filters can bring you up close and personal with a whole other world. A simple set of close-up filters can be carried in the camera bag. I carry a couple of setup and step-down rings so I can use one set with a variety of diopters with any lens.

The Travel Photo Essay

Creating pictures that tell a story have been the mainstay of travel magazines since their inception. Travel editors have a mantra that must be taken to heart before approaching a publication with an idea, “A location is not a story.” Look for stories that give the viewer an inside look into a culture by focusing on a person, a ritual, an aspect of history, the list is endless. The best photo essays are often the ones that come from a personal interest so search “inside” before you go outside looking for ideas.

Mark Edward Harris’ (www.MarkEdwardHarris.com) editorial work has appeared in publications such as Life, GEO, Conde Nast Traveler, The Los Angeles Times Sunday Magazine, The London Sunday Times Travel Magazine and Playboy as well as all the major photography and in-flight magazines. His commercial clients range from The Gap to Coca-Cola to Mexicana Airlines. He is the recipient of numerous awards including a CLIO, ACE, Aurora Gold, and Photographer of the Year at the Black & White Spider Awards. His books include Faces of the Twentieth Century: Master Photographers and Their Work, The Way of the Japanese Bath, Wanderlust, North Korea, South Korea, and Inside Iran. North Korea was named Photography Book of the Year at the 2013 International Photography Awards. He teaches travel photography workshops at the Los Angeles Center of Photography, Samy’s Camera, and the Santa Fe Photographic Workshops.