Frequently asked questions.
I am flattered to receive many requests for advice on becoming a travel photographer, what equipment to buy, if I offer internships, assistant work and to answer questions for school and university projects. Due to the amount of correspondence, workload and travel schedule I am unable to respond to many requests in a timely manner. Consequently, this is my attempt to provide some insight into my life as a travel photographer and to answer the most common questions and requests - which have come from interviews, questions, speaking events and direct messages to my email and social accounts. Many of the answers I have provided, plus lots more information on my photography, can be found in Lonely Planet’s Guide to Travel Photography, in my Online course, in my episode of Tales by Light, on World Nomads, World Expeditions and Canon Australia websites, Facebook, Instagram and YouTube.
What is good travel photography?
At its most basic, travel photography merely provides a visual record of the places visited. At its best, it gives an insight into the world at large in all its diversity, adding something new to our understanding of a place and the people who live there. It portrays familiar places in unique ways, reveals lesser known places with equal import, captures the spirit of the people with dignity and encapsulates unique moments in time that surprise, inform and intrigue viewers. It’s the counter to the incessant reporting and news footage that focuses on the negative side of people and places. Ultimately,
it inspires in others a desire to see the world for themselves.
Can you describe your approach to travel photography?
I aim to shoot strong individual images worthy of individual attention, but I shoot them in the context of telling a broader story through a series of clearly connected images to present as a visual narrative. These could be taken in one session, such as a morning at a market, or they could be accumulated over many visits and many years. I do this by capturing different subjects, scenes and activities, by moving around constantly, varying my point of view and by composing with different focal lengths to ensure variety in the final presentation. When shooting with a story in mind, my advice is not to hold back. It may feel like you’re taking way too many pictures, but it’s much better to have choices than to miss a key link in the narrative, which you may not discover until you’re actually putting the story together some time later.
How did you get started?
I received my first camera as a birthday present from my parents when I was 16. I shot a roll of colour negatives over the weekend and was hooked. From the moment I saw the prints a few days later, I knew I wanted to be a photographer. Within 3 months I had a darkroom set up in my bedroom and I was reading every photography magazine I could get my hands on. As soon as I started developing and printing black and white film I went berserk with the camera, often shooting 60 frames and then processing and printing until late at night. At age 21, I started shooting friends’ weddings and then I set up a wedding and portrait studio. It was a five-year plan to allow me to start travelling and build a collection of images. During that time, I did a seven-month overseas trip and lots of travelling in Australia. Then I closed down the studio and travelled for 2 years in Asia. By the time I returned to Australia I had a comprehensive collection of images to show picture editors.
How long are you away from home each year?
I travel between 12 and 16 weeks a year.
What equipment do you use?
Day to day I keep my gear as simple as possible but, to cover the range of subjects I know I’ll encounter and to work as fast and as efficiently as possible, I always carry two DSLR cameras, one with a 16-35mm or 24–70mm lens and the other with a 70–200mm lens. I only carry the tripod, 200-400mm lens and flash unit when I know I’ll need them for specific shots. All images are captured in the raw file format. My default sensor sensitivity setting is 100 ISO. I take the same gear on every trip and it consists of the following:
Canon EOS-1D X MKIII DSLR camera body x2
Canon EF 16-35mm f2.8L III USM zoom lens
Canon EF 24-70mm f2.8L II USM zoom lens
Canon EF 70-200 f2.8L IS III USM zoom lens
Canon EF 200-400mm f4L IS USM Extender 1.4X zoom lens
Canon Speedlite 430EX II
Manfrotto Pro Protect filters (permanently attached to all lenses for protection)
Hoya Pro1 digital circular polarising filter
Gitzo G1228 carbon-fibre tripod with Induro ball head
SanDisk 512GB & 64GB Extreme Pro CFexpress memory cards in each camera
Lenovo Laptop Computer with 14-inch screen loaded with Adobe Lightroom
Samsung T7 1TB & T3 500GB portable SSD external hard drives
SanDisk Extreme Pro CFexpress Card Reader
Ona The Astoria shoulder bag
Peak Design Travel Backpack 45L for carrying gear onto planes and trekking
AquaTech Sport Shield rain covers
Gill 60 litre dry duffle bag
What camera & lenses do you recommend for travel photography?
Choice of equipment should match your goals as a photographer (budget notwithstanding). Matching your gear to the kinds of shots you want to take, and the kind of travel you prefer, makes photography more enjoyable and productive.
Digital Single Lens Reflex (DSLR) and Compact System or Mirrorless Cameras are ideal as models are made to suit most budgets, the large lens ranges mean you can tailor your gear to suit your interests and systems can be expanded as required.
If you want to keep gear to a minimum, a camera body with a short zoom lens such as 24-70mm or 24-105mm would cover the majority of situations.
Do you hire assistants or offer internships?
No, I’m afraid not. I am very much a one man show, and I don’t have the capacity or suitable work to delegate. However, for those who want to learn from me there is the opportunity to take private tutorials or travel with me on a Photography Tour.
Do you review folios or Instagram feeds and provide feedback?
Yes, I’m always pleased to work with keen photographers at any stage of their photographic journey. Private tutorials can be conducted in person if you’re in Sydney or if scheduling allows around an international trip. Otherwise this can be done via WhatsApp, Skype or Zoom etc.
Can I interview you for my school/college/university project?
I’m happy to answer questions for these projects but expect that all the information provided on my website and other resources listed is carefully reviewed first.
What tips would you give someone who wants to start travel photography as a career?
Travel photography is arguably the most competitive of photographic genres as often the subject matter is the preferred subject matter of nearly everyone with a camera, especially when they are on holiday. Aspiring photographers need to understand that travelling to take photographs with the aim of making a living, is very different from taking photos while travelling. Like any job, you have to deliver, regardless of the constraints placed on you by time, weather, travel disruptions etc.
It’s important to be aware that the business of travel photography has changed dramatically over the past five years. The need for images is as great as ever but the value has dropped significantly due to the proliferation of free photos. The possibility of earning an income from travel stock photography has all but vanished.
At the beginning you have to be prepared and able to invest time and money in travel to build a substantial collection of high-quality images to license, sell as prints, accompany articles if you also writeand most importantly to prove to potential clients that you can do the job.
For more opinions on the state of travel photography (including mine) the article The road more travelled - the evolution of travel photography, in Capture magazine is well worth reading.
As far as capturing images goes, these are my suggestions for getting started.
Learn the technical stuff (ISO, shutter speed, aperture, exposure) so that the mechanics of taking a photograph become second nature. You’ll then be able to concentrate on, and enjoy, the creative side of picture taking seeking out interesting subjects and great light and you’ll have a much better chance of capturing those fleeting moments and expressions that make unique images.
Compose for impact. For me that means building a composition around a strong point of interest and shooting in light that enhances the subject and in the best-case scenario, including a dynamic element that adds fleeting drama and colour. There is no one single or correct composition for any given subject or scene. Photographers regularly work the subject, exploring the different possibilities, all the time taking photos. I will definitely work a scene after getting the first shot, not necessarily because I think there is a better shot, but because I know there are nearly always other great shots to be had. I call it maximising the moment. I’ve spent a lot of time, effort and money to be in that place and I want to capture as many different images as I can. Of course, one of them will be the best of the series, but others will be useful in a commercial way, such as giving an image buyer options and being able to provide multiple image buyers with different takes on the same subject.
Shoot in the best light. Light has the ability to transform a subject or scene from the ordinary to the extraordinary, and is one of the most powerful tools at the photographer’s disposal. Consequently, I’m obsessed with this transformative power. I work very hard to be in the right place at the right time to give myself the best chance to match my subject to the best possible light, and with that the best possible chance of creating unique images. For me the best light is that which enhances my subject and focusses the viewer’s eye on the point of interest. These days, no matter how magnificent the landscape or built environment or how interesting a person or the activity they’re engaged in is, if the light isn’t right, I tend not to shoot, preferring to find another subject or return at another time.
The ability to ‘see’ light, and to understand how it translates onto the sensor and impacts on your compositions is a crucial element in creating striking images. If this is a new concept, get out there and practice. You can do this in your own backyard, literally. Or pick a favourite landscape or building close to home. Shoot the same subject with the same composition at different times of the day and study how the light affects the composition and mood of the image as shadows lengthen and shorten, colours change and textures and shapes are more or less accentuated.
Practice, practice, practice. There’s no better way to prepare for shooting your trip than getting out there and doing it. You can photograph most of the subjects (or variations of them) that you’re likely to come across on your travels in any town or city in the world, including your own. Planning and executing a shoot of your own city is a great way to practise your research skills, test your camera equipment, perfect your technique, develop your eye and get a feel for changing light. Buy a guidebook, check out the postcards and souvenir books and draw up a shot list. Treat the exercise exactly as you would if you were away from home. You’ll quickly get an insight into just how much walking you can expect to do, how many locations and subjects you can expect to photograph in a day and how suitable and manageable your equipment is. You can then use this knowledge to plan your trips away from home a little more accurately to meet your own goals. As a bonus, you’ll be rewarded with a fresh insight into your home town. You’re sure to see it in a different light, literally, and to discover subjects and places you didn’t know about.
Study the work of established photographers. Especially those who shoot subjects and places you’re interested in. Observe the way they use light, how they compose and how they present their work.
Are there any additional skills that this genre of photography calls for?
Apart from being a great photographer it certainly helps if you’re organised and disciplined to create and then execute shots lists, flexible so as to be able respond to new things that weren’t on the original plan, stamina to keep walking & deal with the long days and patience to wait for everything to come together. You also have to be comfortable with your own company, confident to step into unfamiliar settings and open minded and respectful of what you see.
Do you do much planning before a trip?
After all these years of travel I follow an ingrained process of research, planning and routine for all my trips. My research typically involves reading and marking up a Lonely Planet guide book (old habits die hard) and general image searches on the web. I check out what is available on Getty Images, as that’s where many of my images will end up. The aim with the image research is to get a sense of a place, the photographic possibilities and to generate ideas. I’m looking to find out what makes a place special or different beyond the well-known famous sights. Things like national dress, local food, souveniers, sports, dance and performance. I always check the dates of important festivals, public holidays and market days and whenever possible try to schedule the trip around a major photogenic event.
I create a shot list of all the places and subjects that I’d like to photograph and this allows me to come up with a rough itinerary which in turn informs me as to how long I need, and on what days of the week I should be at a particular destination.
A well-researched shot list will make you the most informed person in town, but don’t be afraid to stray from it. There will be plenty of interesting things to photograph that you haven’t read about or seen pictures of, particularly with regard to the everyday activities of the local people and I always allow time to explore and discover lesser known subjects and to experience the daily life of the people.
Do you set up your shots?
No! I’m a documentary travel photographer so my aim it to capture the moment as I come across it. My version of posed travel photography is getting someone to look at the camera for a portrait or getting them to go back to what they were doing if they stop when I ask to take their photo, or they become aware I’m shooting. I never pose subjects or set up images. I regard posed images, especially where people are choreographed into position, and often paid, to be commercial photography, not travel photography.
What role does post-processing play in travel photography?
I shoot raw files so every image has to be processed (I use Adobe Lightroom) to create a finished and useable file. My aim is to produce images that faithfully portray the subject or scene as I saw it. I don’t use Photoshop!
How do you go about photographing people?
I photograph a lot of people pictures, both portraits and environmental portraits. Either way, for really good people pictures, I believe you have to get close to your subjects. I always ask permission to take someone’s photo, I see it as common courtesy. Asking permission allows you to use the ideal lens, get close enough to fill the frame, provides the opportunity to take several shots, as well as to communicate with your subject if necessary.
How you approach people will affect the outcome of your request for a photo. Simply approaching with confidence, smiling and holding your camera up is usually sufficient to get your intention across and to receive a positive response. I plan the shot before I approach my subject. I think about the composition and make sure I’ve got the right lens on the camera. Should it be portrait or environmental, horizontal or vertical? I also decide on the viewpoint I think will work best. I study the light on the person’s face and check where it’s coming from; this allows me to position myself correctly in the first instance.
Being organised and efficient means I minimise drawing attention to what I’m doing, which helps my subject remain relaxed and results in more natural-looking photos. Finally, I really enjoy sharing the photos by showing the results on the camera’s LCD screen. It’s is a great way to say thank you and, assuming I’ve taken a flattering photo, leave the person with a positive memory of their encounter with me.
In my experience I have found that way more people are happy to be photographed than the few who refuse.
Where’s your favourite place to take photos?
If I have to narrow it down, it’s the Himalaya. It offers some of the most spectacular scenery in the world, a tantalising mix of old and new towns, cultures, religions, wilderness and a living landscape, as the hills are dotted with villages and trails that the people have been using for centuries. It has everything to challenge and stimulate the traveller and photographer.
Which photographers do you admire?
I’m inspired by the work of many photographers – Galen Rowell, Steve McCurry, Sebastião Salgado, Raghu Rai, Michael Yamishito, David Yarrow, Paul Nicklen and my friends Michael Coyne, Art Wolfe, Ignacio Palacio, Darren Jew, Stephen Dupont, Peter Eastway and Tony Hewitt - to name just a few. They all consistently produce work of the highest standard that motivates and challenges me to keep working at and improving what I do.
What are the main challenges in this genre of photography? What are the rewards?
One of the biggest challenges is that of time, there is never enough of it and it’s annoying only being able to be in one place at a time! I’m travelling with a purpose, just as anyone does on business, and I have very clear goals and high expectations of what I want to achieve. These have to be met in whatever time has been allocated, regardless of all extenuating factors such as unfavourable weather, transport issues, misleading information etc.
As for the rewards, I am truly privileged to have seen so much of the world and to have experienced the incredible diversity of environments, landscapes, cultures and celebrations. The mix of travel experience and photographic endeavour that culminates in new images in such different settings, cultures, time zones and climates is exciting to say the least and sums up best why I’m as driven as ever in my constant quest for the next photograph. Although I’m shooting photographs professionally, I love that every picture has a personal story: about the subject or the journey or how the photograph was taken. Often, it’s all three and I get to relive my experiences time and time again as I work with the images.
Has your work changed the way you view the world?
I’ve always had a very positive view of the world and its people and my travels and photographic experience have only ever reinforced that. I am truly privileged to have seen so much of the best of the world, rather than conflict, death and destruction that others deal with. My images are a celebration of the diversity of environments, landscapes and cultures that make up our incredible world. It continues to amaze me how welcoming and willing people are, from the most remote villages to the biggest cities, to share their lives briefly with a stranger and his camera.