Transcending Travel eBook

TravelA guide to captivating travel photography

Transcending

a

book

by Mitchell Kanashkevich

ForewordThe aim of this eBook is to provide you with a mix of theoretical knowledge and practical advice which will help you make more powerful travel photos. Before we begin, I would like to mention one thing about the whole idea of travel photography. The travel part of it is somewhat deceiving. We dont in fact need to travel in order to make travel photos. Ones own home town is another persons exotic travel destination. Keep this in mind because what this means is that a lot of the advice in this eBook can be applied outside of the times that you journey to faraway lands. You dont necessarily need to know about the technical side of photography in depth to get something out of this eBook a lot of the tips can be applied with your camera set on automatic. However, it will be ideal if you do have a solid grasp of the technical basics such as aperture, shutter speed, ISO settings etc, because I will refer to the technical side of things and some of the techniques and exercises I mention can only be performed when the camera is set to a specific setting in manual mode. With photography being a visual art form, a big part of learning it is in looking at photos and studying them. It often helps to deconstruct images by finding out how they were made, with what lens and on what settings. For this reason I have used plenty of real life examples to illustrate the subjects I touch on and have included the Exif data: the settings and the lens used, as well as the type of sensor that the camera which I used had, marked by FF (Full Frame) or CS (Cropped Sensor) before the lens focal length. Youll learn why this is important in the Preparation and practicalities section. You will also find that I stated what lighting conditions the images were taken in because as youll also learn light is very important to photography. Finally, whatever tips or bits of advice I give should not be looked at as some ultimate, unquestionable truth. There are different ways of doing the same things and in photography just as in life theres not necessarily a clear cut right or wrong answer to every question. The information here is based on what Ive learnt and have been putting into practice over the past 10 or so years of travelling and making photographs. It is something that definitely works, but dont allow whatever I say limit you in any way, instead let the advice push you in the right direction and let it help you evolve in the way you make your travel images. Note: This ebook is best browsed in Adobe Acrobat Full Screen Mode. Go to View and choose Full Screen Mode. To exit press the Escape key.

A note from Darren Rowse Editor of Digital Photography SchoolIf youre anything like me, travelling is something that you put a lot of time and thought into preparing for. You plan your itinerary and dream of the sites youll see and photograph. You have visions of returning home with hundreds of stunning pictures to wow your friends with and hang on your wall what a photographic opportunity! The reality of travel photography can sometimes be quite different to those dreams. One of the most common emails that I get as editor of a photography site is from people just returned from travelling with images that theyre bitterly disappointed in, so when Mitchell Kanashkevich approached me about producing a travel photography eBook together I jumped at the opportunity. This ebook is all about equipping travel photographers, whether you be travelling near or far, with the knowledge and skills to make your travel photography everything you dream it could be. I hope you enjoy learning from and appreciating the wonderful imagery that Mitchell has ahead of you in Transcending Travel.

About the AuthorMitchell Kanashkevich is a freelance travel and documentary photographer. He travels the world and shoots personal projects as well as travel related stories and stock photos for Getty and Corbis Images. His work has appeared in some of the worlds top photography magazines, on book covers, in ad campaigns and has made its way into private photo collections around the world. When not on the road Mitchell makes his home in Sydney, Australia with his wife (and helper in every possible way) Tanya and his dog Toshka.

Credits and CopyrightWritten by: Mitchell Kanashkevich www.mitchellkphotos.com Publisher: Darren Rowse www.digital-photography-school.com Graphic Design/Layout: Naomi Creek www.starfishblue.com.au Version 1.0 Copyright 2010 Mitchell Kanashkevich All photos and illustrations by the author unless otherwise noted. All rights reserved. No part of this publication may be reproduced, stored or transmitted in any form or by any means, electronic, mechanical or otherwise, without prior written consent from the publisher, except for the inclusion of brief quotations in a review. You may store the pdf on your computer and backups. You may print one copy of this book for your own personal use. Disclaimer: The information contained in this book is based on the authors experience, knowledge and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.

ContentsForeword .................................................................... 2 A note from Darren Rowse .................................... 3 About the Author .................................................... 3 Credits and Copyright............................................. 3 Preparation and practicalities .............................. 5 Research .............................................................. 6 Travel practicalities............................................. 7 Lenses .................................................................. 8 Things to consider when buying camera bodies .................................................. 12 Other equipment to consider .......................... 13 Composition: Communicating with the frame ...14 The frame ......................................................... 15 The famous rule of thirds ................................ 16 Visual weight or What draws the eye? ....... 18 Focal point ........................................................ 21 Perspective ........................................................ 22 Negative space ................................................. 23 Lines .................................................................. 24 Shallow depth of field ..................................... 27 Frame within a frame ...................................... 28 Patterns ............................................................. 29 Light ..........................................................................30 First steps to using light creatively .................. 31 Directing natural and available light .......... 32 Twilight ............................................................. 34 The magic hour ............................................ 35 Harsh light of midday ...................................... 35 Diffused light.................................................... 36 Light in foggy conditions................................. 37 Firelight ............................................................ 38 Photography after sundown ........................... 39 Lighting tools: flashes and reflectors .............. 40 Making photos .......................................................41 The photographic process ............................... 42 Freezing motion ............................................... 46 Motion blur ...................................................... 49 Panning ............................................................. 51 People relations ............................................... 53 Posing ............................................................... 57 Environmental portraits .................................. 61 Landscapes (natural and man-made) .............. 64 Buildings and monuments ............................... 69 Interiors ............................................................ 74 Still life objects ................................................. 77 Final words ....................................................... 80 Want more from DPS? ..................................... 81

Preparation and practicalities

In this chapter you will find advice on preparing for your trip research, choosing the essential equipment, as well as tips on how to make the most out of your trip photographically once you arrive at your destination.


ResearchI cant emphasize the importance of research enough. The more you know about the place you travel to the better it will be for your photography and the smoother your journey and interaction with the people you encounter will be. Here are some specific things that you should research and ideas on how to go about this research:

Learn about the culture and ways of living of the place youre visitingThe first source of information that I suggest is guidebooks. They tell you about all the essentials in a quick and accessible manner. But of course I am by no means suggesting that you should stop there. In fact I like to really submerge myself in all types of information about my travel destination before I go. I watch films, read fictional books, travel magazines and of course search the internet. Every bit of information can prove invaluable and, at times, even inspirational.

Look at photographs of your destinationGood places to start looking at images are Flickr, Getty Images, Corbis and Lonely Planet Images. Type in the name of the place youre going to, the specific cities, towns and even villages you plan to visit and its likely that you will find at least some images (usually lots) which should provide you with an idea of what you can expect from your destination visually.

Check out blogsTheres no shortage of blogs on the topics of photography and travel. These can be great sources of information and inspiration. Some travel photography related blogs I recommend are: Pixelated Image Timothy Allens blog Digital Trekker Gavin Gough The Travel Photographer And of course I recommend you check out my blog too Mitchells Travel and Photography Blog

Connect with people who have been thereSome of these might be the bloggers Ive mentioned; others the photographers youve come across while searching for images of your travel destination. Ask them for practical advice about the place youre going to, but be specific I often get people asking me stuff like, Can you give me any tips for photographing in India? I have no idea what to tell them because I dont know anything about their interests or their plans. Ill either have to spend hours writing a miniguide to photography in India or give brief answers that might be completely irrelevant. Not everyone might have the time to answer, but it never hurts to try. I know Ive made lives of a few people much easier by connecting them with trustworthy guides or just giving technical advice on whether their gear might hold up in particular weather conditions.

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Travel practicalitiesTime managementLike it or not we usually have quite limited time to travel and most of us have limited time that we can devote to photography during our trips. To make the most of this time we have to manage it effectively and need to have some sort of a day plan.

(when possible) and photograph during the time or in conditions when the light is ideal for the story that I want to tell (see the Light chapter for some ideas). If its an overcast day, the plan is a little different. Its possible to shoot outdoors during virtually the entire day, but I usually only photograph people in such situations because I dont feel that the flat light produced in such conditions is very interesting for most other types of outdoor photography.

of the year when you wont see a clear sky for weeks; its important to research this. The last thing youd want is to travel to photograph mountains and see nothing but cloudy skies covering those mountains.

TransportationHiring a vehicle or even buying one for an extended trip is one of the most practical things that a travel photographer can do. Having your own vehicle is very liberating. You dont depend on any schedule, but your own and that really helps to maximize the limited time that you may have.

Having a day planI plan my day around the lighting conditions. I photograph outdoors at twilight, sunrise and sunset and usually move to shoot indoors once the sun is very bright. Alternatively I may cease shooting altogether and do some wandering around to either search for new places to photograph or just to observe and understand the places that Im familiar with a little better. If I come across something or someone photogenic I may come back to the same place or person

WeatherWeather can of course be very important in shaping our photographic decisions. Besides being fairly limited if it rains, well also be limited to what we can shoot if it is cloudy or foggy. I usually find out about the weather conditions in the places I travel to before the trip and try to align my trips so that I can have clear skies at least some of the time. In some areas of the world there are times

Guides and translatorsIf I am in a place where I cant speak the language and I plan to go into areas where it is necessary to know it, I arrange a guide or a translator. It doesnt have to be someone official, it can be a local friend you make along the journey (who can speak your language), which is most often the case with me.

If you do plan to hire a guide or a translator, the guidebooks usually have good suggestions on where to look for one, as do government run tourism offices in many countries around the world.

My favourite method of transportation (the motorcycle, not the camel). This motorcycle was one of the main reasons behind why I could explore and photograph in some of the most remote villages in the Indian countryside; it quite simply gave me the freedom to do what I wanted. If youre the adventurous type, I highly recommend travelling by one in almost any part of South East Asia.

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LensesLenses are the most important piece of photographic gear, even more so than a camera body. This is because in todays quickly changing world of technological advancements the camera bodies become outdated and less usable seemingly every couple of years, while the lenses remain essentially unchanged and very usable for decades.

Here are the main categories of lenses and their uses: Wide and Ultra wide 35mm and below. These are ideal whenever you want to fit more of the scene within the frame. In practical terms wide or wide angle lenses (as they are also called) are most useful for interiors, (particularly in tight situations) landscapes and for times when you want to get right into the action, i.e. when youre photographing some activity from up close. You can see a wide angle lens in use in the photo at the top. In this situation, the choice to go wide was vital for showing as much of the cramped boat interior as possible. Standard 50mm. These lenses are good for all around use and they can be particularly useful in street photography as well as portraits from the chest up.

Categories of lensesLenses are categorized in accordance to their focal length which determines the field of view of a lens and how much magnification it provides. A lens with a smaller focal length, for example 20mm, will have a wider field of view and will magnify things less than a lens with a longer focal length, which would have a narrower view of a scene, but at a higher level of magnification.

Telephoto 85mm 200mm. Ideal when you want to photograph subjects which are some distance away or when you want to magnify things significantly. The bottom image on this page was taken with an 85mm lens; essentially the lens brought me closer to the action to which I could not get any closer physically (the scene took place in a river). Telephoto lenses are also great when you dont want to be intrusive think candid street shots and extreme close ups of faces in situations when its not appropriate to come right up to the subjects face. Super telephoto 300mm 800mm. These lenses are mostly used by wildlife photographers whose subjects are usually far away and impossible (or not advisable) to get close to.Boatmaker Kerala, India.FF, 20mm, ISO 200, f/4, 1/60s (Light diffused by the shade of the boat)

Fun times Chitwan, Nepal.CS, 85mm, ISO 400, f/2.8, 1/1000s (Diffused light during an overcast day)

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Full frame and cropped sensors and their effect on focal lengthIn todays digital SLR cameras there are two types of sensors a full frame sensor and a cropped sensor. The full frame sensor is equivalent in size to the 35mm frame of film cameras, hence the name full frame. The cropped sensor is smaller than the 35mm frame or another way to look at it is that its cropped. There are different types of cropped sensors; the most common cameras on the market have sensors which are cropped by 1.3 times to 1.6 times. This number is referred to as crop factor. The size of the sensor will have an effect on the true focal length of a lens which is measured in relation to the 35mm frame of the film cameras. This means that on a full frame sensor camera a 20mm lens is indeed 20mm; however, the same lens focal length is actually magnified when it is used on a cropped sensor

camera. How much it is magnified will depend on the crop factor, with the focal length multiplied by that number. For example a 20mm lens on a cropped sensor with a crop factor of 1.6 becomes a 32mm lens. All of this does make the matter of focal length and lenses rather confusing and the good thing is that you do not really need to worry too much about the numbers. However, you do need to be aware that a full frame sensor gives you a wider field of view, but less magnification, while a cropped sensor has a narrower field of view, but it gives you more magnification. This is what you need to consider when buying lenses. For instance, if you want to have a wide angle lens, a 28mm on a full frame sensor camera may be sufficiently wide, but on a cropped sensor camera it will not be quite as wide and you might need to get something with a lower focal length.

You can see a simulated comparison of a full frame sensor and a cropped frame sensor camera on the right. The top image is the original taken with a full frame sensor camera and a 20mm lens, while the image at the bottom is a simulation of what the same photo would look like if it had been taken with the same lens and a cropped sensor camera with a crop factor of 1.5. For more information on camera sensor size you can refer to Wikipedias section on this subject. Note: To give you a better and a more accurate idea of the behaviour of different lenses in the photo examples in this eBook I have stated what type of sensor they were used with. I used abbreviations FF Full Frame and CS Cropped Sensor before the lens type and settings in the Exif information for every image in the eBook.

Family Rural Maramures, Romania.FF, 20mm, ISO 1000, f/2.8 (Side light from the window, frame right)

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Prime lenses and zoom lensesPrime lenses have a fixed focal length, for example 20mm. Zoom lenses can cover a whole range of focal lengths. For example a 24-70mm zoom lens can be used at any focal length between 24mm and 70mm. Prime lenses are generally considered sharper and they auto-focus quicker. They are also usually fairly small, until you get into the later stages of the Telephoto and Super telephoto category. Zoom lenses have the advantage of convenience and flexibility. Essentially having one 24-70mm lens is like having a wide angle, a standard and (almost) a telephoto lens in one. The disadvantage is that they generally take longer to autofocus and are usually quite a bit larger and heavier than prime lenses. Zoom lenses can also be somewhat less sharp, though this applies less and less to the better zoom lenses these days.

What does it mean when someone says that a lens is fast?A fast lens is one that allows you to open the aperture iris wider (than a slower lens). As a result it lets in more light and allows the use of a faster shutter speed, hence its referred to as being fast. The way to determine whether a lens is fast is to look at the f-number (aperture is measured with the f-number) which is written in the lens specifications or often on the lens itself. The lower the f-number, the faster the lens. Lenses with an f-number of f/2.8 and below are considered fast lenses.

What are the advantages of fast lenses?Fast lenses are better for photographing in low light situations than slower lenses for the simple reason that they allow more light in. The faster shutter speeds that can be used due to fast lenses help reduce blur caused by moving subjects and camera shake. A faster lens will also give you more room to photograph before having to raise the ISO setting (which as I mentioned can result in grain). The image to the right is a testament to the power of a fast lens. It allowed me to capture a crisp, blur and grain free image of moving subjects in a relatively dark environment. Faster lenses will also give you a greater control over the depth of field. Having the ability to open up the aperture wider allows for a shallower depth of field. Read more on this on page 27.

Variable aperture and fixed aperture zoom lensesWhen a zoom lens has variable aperture it means that the maximum aperture changes as you zoom in and out. In a zoom lens with a variable aperture of f/3.5-5.6 the aperture would be f/3.5 when the lens is zoomed out and f/5.6 when it would be

fully zoomed in. With a fixed aperture zoom lens you get the same maximum aperture regardless of whether you zoom in or not. As youve already read, a lower f-number means that the lens is faster. Thus a lens with a lower fixed aperture like f/2.8 is superior to a lens with a variable aperture.

Battling it out Kolhapur, IndiaFF, 20mm, ISO 1250, f/1.8, 1/80s (Side light penetrating through an opening, frame right)

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Tips for buying lenses and factors to consider Before anything, ask yourself, What type of photography do I plan to be doing? Youve seen which categories of lenses are used for what purposes; let that be your guideline. Fast lenses are always preferable to slower ones. Zoom lenses with a fixed aperture are always preferable to those with variable apertures. With a cropped sensor digital SLR, consider the crop factor, especially when buying wide angle lenses. Seriously consider a zoom lens if you plan to be frequently photographing scenes that are unpredictable (like the scene in the photo to the right). I had missed countless photos before I started using a zoom lens for the simple reason that often when the opportunity arose I was either too close or too far from the subject and I had to change lenses or physically move myself. By the time Id complete either one of those actions, the moment had gone. Not all lenses are built equally; some have weather sealing or magnesium coating for more durability, while others are made of plastic. Consider these factors when choosing lenses with similar features. If the price difference isnt too steep, its obviously always worth getting the better built product, especially factoring in the unpredictable conditions we may face on some of our journeys.

Devotees and the sweeperGokharna, India.FF, 24-70@32mm, ISO 200, f/2.8, 1/320s (Middle of the magic hour)

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Things to consider when buying camera bodiesSensor sizeI touched on this in the lens section there are cameras with full frame sensors and cropped frame sensors. The main factor that plays a part in which camera to buy as far as sensor type is usually the price the full frame sensor cameras are considerably more expensive. Are they better? Not necessarily, but they will definitely let you get more out of the wide angle lenses than cropped sensor cameras.

means you can make larger prints and for most photography enthusiast this isnt such a big issue. Six megapixels are sufficient to print very high quality photos around 12 by 18 inches (about A3) so let that be your guideline as far as what a higher megapixel count can achieve.

can be. This scene was lit only by the candles in the room and some fairly faint light coming in from outdoors, yet it looks fairly crisp in my image thanks to the low light shooting capabilities of the Canon 5D MKII.

Low light performanceSome say that a cameras low light performance has taken over as the must-have feature for digital cameras and most believe this is a good thing. By low light performance I am referring to the cameras capabilities to produce images at higher ISO settings like 1600 and above. A camera that performs well in low light will not only be able to shoot at a higher ISO, but will produce a relatively small amount of grain or noise, which has been inherent in photographing at higher ISOs as long as the feature has existed. You can see in the photograph to the right just how good a cameras low light capabilities

Which one should you get?I will refrain from giving any specific advice, since there are a few models of cameras in various price ranges which will do a great job. However, I will say this it doesnt matter if you cant get the latest, most shiny digital SLR. For a few years I shot with a couple of entry level Canon Rebel series and the images those cameras produced have been used on book covers, in magazines, advertisements and even on billboards. Most digital SLR cameras have been good enough for a few years now. By that I mean that even if theyre not as feature rich as their more expensive, later counterparts, they still produce great quality images. Most importantly though, remember

Monk Tadeus Jerusalem, Israel.FF, 24-70@25mm, ISO 2000, f/2.8, 1/40s (Candle light and exterior light penetrating the scene, front and behind)

that at the end of the day it is the photographer who makes the image, not the camera. There are a few online resources which can help you make your decision. You can check out reviews of almost all the relevant digital cameras on the market on dpreview.com and you can

MegapixelsFor a while high megapixel count was the most overrated musthave feature in digital cameras. The reason was, that having more megapixels essentially

usually see the photos produced by almost any camera youre considering purchasing or any piece of gear for that matter on Flickr. Just type in the camera model or the model of the gear in the search box and you are likely to come across at least a few examples which could help you make your decision.12


Other equipment to considerLighting gearIf youre photographing landscapes, street scenes or really large-scale subjects, no controllable artificial light will be of much use. However, an off camera flash in a softbox or a reflector of about 42 inches can be very useful for smaller things and people. Most photography enthusiasts might not want to bring an entire flash kit or the not-so-compact reflector on a photography trip, but for those more dedicated to light this is a very good idea. If you do choose to use artificial light, Canon and Nikon have their own off-camera flash systems which are great and companies like Photoflex and Lastolite make very decent, portable softboxes as well as reflectors.

These artificial lighting tools can be very effective in helping you use light creatively and to photograph in situations where available light simply wouldnt allow. The image at the top wouldnt be possible without the help of a flash; the scene was too dark to photograph without it, even for a camera with great low light capabilities. The face of the woman in the bottom photo would not have looked as dramatic and defined had I not used a reflector. The available light was quite flat and uninspiring in this situation. Ill briefly touch on the specifics of how the artificial lighting tools can be used in the Light chapter, but the topic of artificial light, particularly flashes, is something that requires an entire eBook dedicated to it. For anyone who wants to learn more about using the flash creatively I recommend the Strobist.com blog, or if youre short on time and want something specific, you can check out my eBook Seeing the Light.

TripodA tripod is one of the most useful tools for the photographer, but a lot of us, myself included, are guilty of either not bringing it on our journeys or not taking it anywhere outside the hotel room. The fact is, tripods can be an inconvenience, especially if they are large, but when it comes to long exposure photography or any situations which require the camera to be very steady, they are indispensible. If you do plan on making the sorts of images that require a tripod, it may be worth investing in one of the more expensive carbon fibre models by Gitzo, because of their lightness. Alternatively Slik make some decent tripods at a fraction of the cost.Camping by the fireKolayat Camel Fair, India.FFF, 20, ISO 800, f/1.8, 1/15s (Off camera flash, bottom right of the frame)

Ancient faceRural North Gujarat, India.CS, 50mm, ISO 800, f/2.2, 1/80s (Reflector, angled at 45, frame left)

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Composition: Communicating from within the frame

When we take photos we essentially aim to tell a story or to communicate how we feel about what we see. If we want that communication to come through effectively to those who view our images we need to be aware of some theories and principles of photographic composition. The most important of these theories and principles are what well touch on over the following pages.


The FrameWhatever we do photographically begins and ends with the frame. The frame is the medium within the limitations of which we as photographers can communicate whatever we want. In the process of making any photograph there are two important decisions to be made: what to include in the frame and what to exclude from it.

These decisions should be based on a simple rule there should not be anything within the frame that doesnt have a role in the story you are trying to tell. In short everything that is in some way relevant to the story stays in, anything thats not goes out. The more tricky part of framing a photograph can come when you have to decide on the specifics; whether the photo should be framed wide or tight (close up),

horizontally or vertically. There are no rules here because there are different ways to tell the same story and neither one of them is right or wrong, nor is one better than another. By far the simplest approach to handle this decision is to take a few differently framed photographs. This is something I do regularly, as you might be able to tell from the images below. You can see that all of

these photographs essentially tell the same story; they just tell it in slightly different ways. In cases when there isnt enough time to take a few photographs youll have to go with what feels right to you. After all, the photographs you make are your stories. Dont be afraid to experiment; remember, theres no right or wrong way. In the early stages everything you do is part of the learning process.

Sure you might end up unhappy with your initial results, but eventually youll develop a good understanding of what works and what doesnt.

Children of the mountains(Diffused light on an overcast, foggy day)

Langtang Region, Nepal. CS, 50mm, ISO 400, f/2.8, 1/200s

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The famous rule of thirdsThe rule of thirds is based on one of the oldest and most time tested theories of arranging elements within the frame in a

way which makes for effective story-telling and leads to a pleasing viewing experience. The idea behind the theory is that each frame can be divided

into nine sections (see diagram) and that when viewing images, peoples eyes usually go towards one of the intersecting points and the imaginary dividing lines more

naturally than towards the centre or other parts of the image. What this means when were composing the shot is that anything we want the viewer to notice immediately focal points/ interest points or in other words those elements which are most important to the story should be placed on the intersections

or along or near the imaginary dividing lines. The rule of thirds is also useful in helping the photographer decide where to place the horizon in outdoor photos. In accordance to the rule the horizon should be along one of the two dividing horizontal lines.Trees at sunset(Late stages of the evening magic hour)

Mandu, India. CS, 18-55@18mm, ISO 400, f/3.5, 1/500s

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The rule of thirds can be applied to various types of subjects, including people. The idea is exactly the same, even if were talking about making photos

which are close ups of the human face. You simply place the points of interest in the human face,

which are usually the eyes and the mouth, on the intersections or along or near the imaginary dividing lines.

Rules are meant to be brokenThe rule of thirds is very useful for arranging the elements in a given scene within the frame, but it is not some commandment of composition, it should not be

followed religiously. You need to understand it and once you do you can break it whenever it restricts you from expressing yourself creatively.

Smiling Indian girl(Diffused light on an overcast day)

Maheshwar, India. CS, 50mm, ISO 400, f/2.8, 1/200s

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Visual weight or What draws the eye?In photos there are certain elements which draw the eye before and more than others, they grab your attention and may even hold it for a while before letting the gaze move on. It can be said that such elements have more visual weight than others in the photo. This concept is important for visual story-telling. What it means in short is that to tell your story effectively youll want to somehow make those elements which are most important to the story draw the eye before and more than anything else, you need to make them the visually heaviest elements in the photo. But how can one do that? Making an element in a photograph more visually heavy isMorning dip(Back light from the rising sun)

not a matter of following precise, unchanging rules or formulas. To some extent, what draws the eye is subjective from person to person, its about perception and we all perceive things somewhat differently. However, there are some common factors that are responsible for drawing the eye and they are what you should be initially concerned with to get a better understanding of the concept. Lets begin by looking at the photo on the left and asking, What is the most visually heavy element here? its a very simple image and not much is actually left to subjectivity, so its a good place to start. The silhouetted figure of the woman is what draws the eye immediately she is the most visually heavy element in the photo. Why? Because she is very distinct from the other elements that make up the photo the rings in the water and the water mass itself.

An elements distinction from everything within the frame is the main factor that draws the eye. Here the woman is distinct because she is much darker than everything else in the photo, but of course there are many ways in which something can be distinct and I will mention some of them over the next couple of pages. Notice that I referred to the other elements in the photo. This is important because there is an interrelation of everything within the scene you see and ultimately within the frame. No element is perceived in isolation from what surrounds it. Had there been someone else in the photo near the woman its possible that we wouldnt be drawn to her quite as quickly or as much. Basically there are lots of variables that will affect how visually heavy something appears the visual weight of elements doesnt remain constant. It changes as the contents of the frame change and as the framing changes we always have to be aware of this.

Dwarka, India. CS, 85mm, ISO 100, f/2.8, 1/1000s

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Some common factors that draw the eyeColour Brighter, warmer colours like red (orange, yellow etc.) are more visually heavy than cooler and darker ones. However, as I mentioned, everything within the frame is interrelated, so this wont always be the case. The red of the girls dress is visually heavy not only because it is bright and warm, but because its distinct from the dominant colours of

the photo. Meanwhile the red in the photo of the monks is what dominates the frame, so its actually the colours of their books and their skin (not as warm as red) that become more visually heavy. One important thing to note is that many different, visually heavy colours (bright and/or warm) scattered all over the photo can become confusing, even overwhelming and whatever story you aim to tell will likely be lost try to avoid such situations.

Sharpness/focus Elements in focus will be more visually heavy than blurred ones. One of the reasons why the smiling monk draws more attention than everyone else is because he is the only one in focus. Human presence When there are people in photographs were almost automatically and instantly drawn to them. If we narrow it down, its the face that pulls us in and when we can clearly see the eyes they usually become the most visually heavy element in the photo. Where the eyes of the person in the photo look is also important the subjects gaze can guide our own gaze. You can see this in the way the eyes of the monk lead us to look to the other monk in the corner of the image.A walk in the forest(Middle of the magic hour)

Bandipur, Nepal. CS, 20mm, ISO 800, f/2.8, 1/160s

Monks in class(Outdoor light coming indoors through a large opening)

Bylakuppe, India. CS, 24-70@65mm, ISO 640, f/2.8, 1/100s

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Position within the frame Positioning elements along or near the imaginary intersections in accordance with the rule of thirds can make them more visually heavy because (as mentioned before) the eye is thought to naturally gravitate towards these intersections. In the image to the right the man, the torch and the hill are made more visually heavy because they are positioned on or very close to the intersecting lines. Another way that we can make elements more visually heavy through positioning is to place them along or at the convergence of leading lines (more on leading lines on page 24). Size Elements of a similar visual weight grouped together become more visually heavy as a larger whole. Elements that are large in the sense that they take up a lot of space within a photo (like the hill) can also be more visually heavy.

Shape recognition If an element forms a recognizable shape, it is more likely to draw the eye. This is one of the reasons why the hill stands out from the larger mass of the more ambiguously shaped ground.

Hierarchical order of elements within the frameWhen the stories we want to tell are more complex: i.e. when there are a few elements within the frame that are important, we need to establish a sort of hierarchical order within the frame, from the most important elements in the story most visually heavy, to the less important elements less visually heavy. The eye should roughly proceed from the top to the bottom of the hierarchy. The photo to the right demonstrates what I mean. The most important elements in the story are the flame, the face, the area around these, the mountain top and then the man in the distance. The eye proceeds through the frame in

approximately that order and because of this we get a sense of who the protagonist is and what the story is essentially about in short the image makes sense. If I had included some visually heavy yet pointless element that would break up this hierarchy, the image and the story would end up being quite confusing.

Putting it all togetherA solid understanding and a feel for the common factors that play a role in drawing the eye will make one a better visual storyteller. There are of course more common factors and countless variables that play a part in drawing the eye, but obviously

they cant all be listed. What I have mentioned should, however, be enough to give you a push in the right direction.Light by the mountain topIjen Crater, Indonesia. FF, 24-70@24mm, ISO 800, f/2.8, 1/25s(Firelight at the break of dawn, camera on a tripod)

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Focal pointA focal point is the part of a photograph through which the viewer can connect with the scene as well as get an idea of what the photo is essentially about. A focal point can vary in size, shape and colour. On this page, the two different images have two completely different focal points one is the small darkcoloured boatman in a boat, the other is the large, light-coloured triangular hill. What they do have in common is that in both cases they are the most visually heavy elements within the frame and this is the way it should be. A focal point should always demand more attention than everything else in the image because we want the viewers to connect with the scene and to understand what the photo is about as soon as they set their eyes on it.

As youve learned from the visual weight section, two of the more common factors which play a role in making an element more visually heavy are its visual distinction from the majority of the content within the frame and its placement within the frame. These factors should always be kept in mind whenever we intend to have a focal point in a photograph. An image can have more than one focal point, but we do have to be careful not to have too many focal points or points of interest (as they can also be called) or the image can start to feel cluttered and confusing.

When there are a few focal points, the photo will greatly benefit if these focal points follow the sort of hierarchy that I mentioned on the previous page. Those elements which are most important to the story should be more visually heavy and those which are less important less visually heavy. Contrary to some beliefs its not absolutely necessary for a photograph to have a focal point in order to be a good photograph. Many good images that lean more towards the abstract side of things do not have any element that can be considered a focal point as such, rather they are made up of patterns and visual rhythms.

Boatman on Lake BaturBali, Indonesia. FF, 24-70@70mm, ISO 160, f/9, 1/500s(Sunset)

Scenery at Jatiluwih rice terraces(Early stages of the morning magic hour)

Bali, Indonesia. FF, 24-70@64mm, ISO 250, f/5.6, 1/500s

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PerspectiveThe perspective from which we view a scene is of utmost importance when were making photos. We arrange elements within the frame and we make them more or less visually heavy through the way we use perspective. As youll learn later on in this section, the perspective we choose is also responsible for whether we see lines, frames and patterns (all of which can add impact to a scene) when we are composing a shot. The importance of perspective should be very obvious, but it is often forgotten. Quite frequently we make photographs from the default perspective whatever spot and whatever angle we see the scene from at the time the idea to take the photo enters our mind. Of course, theres no good or bad perspective. However, there will usually be a perspective from which the story that you the photographer have in mind can be told most effectively or from which the photo can be given more visual impact. More often than not its not the perspective from which we initially view the scene. What Im getting at is that its beneficial to always ask yourself the following question: what viewpoint/perspective is the most ideal to tell my story with the most impact possible? Then alter your perspective in accordance. As you do this, always think three-dimensionally. In practical terms this means not only considering moving to and from the subject, but also around, below and above. Sometimes to see any difference in the appearance of a scene from altering perspective, well have to move a considerable distance because the subject were photographing may be large (e.g. a mountain). Other times even a fairly subtle movement will make a big difference and might turn an average photo into a strong one. Ive used the photo on the right to demonstrate this point. My initial viewpoint at this man was from a few steps away and from around his eye level. A photo from this perspective would be somewhat interesting because the subject is rather unusual and striking, but it wouldnt have considerable impact. The idea that I had in mind was to give the photo a more in your face kind of feel and I also wanted to emphasise the power of this man. I was able to achieve this by simply coming a few steps towards him and getting slightly below his eye level. This subtle move is what ultimately added impact to the shot and helped me communicate the story I had in mind more effectively.Indian wrestlerKolhapur, Maharasthra, India. FF, 20mm, ISO 1600, f/3.2, 1/60s(Side light from the window, frame left)

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Negative spaceNegative space is often described as the empty space around your main subject and the other elements in the image that have immediate relevance to the photograph (these are referred to as positive space). However, this description can be a little confusing and it is not entirely true. The sky in the photo of the church is negative space and it fits the description perfectly, its featureless and essentially empty. The sky in the photo with the girl is also negative space, but it is not empty there are clouds in it and if those clouds looked more

dramatic they could have been an important element in the photograph. The reason why the sky is considered negative space in this case is because the clouds are subtle and in this situation they would serve no purpose on their own. The more accurate way to describe negative space would then be to say that it is the space in the photograph which serves no purpose on its own. Whats important to know about negative space is that it can be used creatively. By including more of it into a photograph you can evoke the sense of scale and vastness; the images on this page are examples of the latter.

You can also use negative space to define the subject within the positive space. Depending on the context, you can make a subject look lonely or insignificant when it is surrounded by a lot of nothingness. Alternatively in a different context the same use of negative space can make the subject appear at one with its surroundings or more important than anything else because for the very reason that there isnt anything else in the frame.

Lonely churchBled, Slovenia. FF, 24-70@62mm, ISO 400, f/3.2, 1/80s(Diffused light on a foggy day)

Girl with jarsRural Rajasthan, India. CS, 20mm, ISO 100, f/2.8, 1/2500s (Late stages of the morning magic hour)

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LinesIn photography there are three main types of lines horizontal, vertical and diagonal. These lines all have one thing in common when their presence is obvious, the viewers eyes will follow them through the image and/or towards points of interest (if theyre placed along or near the lines).

Similarities aside, different types of lines have different characteristics. Making the presence of one type of line felt in a photograph more than the others can lead to different results, which range from evoking a sense of mood and adding dynamic impact to creating the illusion of depth or simply making the image more pleasing to look at.

Road to the Dead Sea(Shot slightly after the magic hour)

Palestine. FF, 20mm, ISO 100, f/7, 1/800s

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Vertical linesWe usually read vertical lines from bottom to top; hence they are often associated with growth, strength and power think tall trees and skyscrapers. In photography three of the more common purposes for vertical lines are: to add interest to the horizon line; e.g. a tree along an empty horizon line to create patterns and a sense of visual rhythm through repetition which is often pleasing to the eye; e.g. the repeating tree trunks in the photo to the right to frame a point of interest when it is placed in between horizontal lines (like columns), more on this on page 28.Man and camelThar Desert, Rajasthan, India. FF, 24-70@58mm, ISO 160, f/2.8, 1/2500s(Sunrise)

Horizontal linesHorizontal lines lead the eyes across the frame. Because we dont associate anything dramatic with them, horizontal lines usually convey calmness and stability; i.e. a flat ground without mountains or trees forms a horizontal line, when people go to sleep, they align themselves horizontally. The horizon is the most common horizontal line well encounter. Its main role is to serve as the

dividing point between the earth and the sky. For most outdoor photos the horizon line will be the foundation upon (or around) which the image is built. Note: An empty horizon line will make for a pretty boring photo. To add impact, let other lines come out of the horizon line or look to include a point of interest; the line of the horizon will lead the eyes towards it, as you can see in the image above.

Traditional houses above tall palm treesSumba Island, Indonesia. FF, 24-70@70mm, ISO 100, f/8, 1/200s(Later stage of the magic hour)

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Diagonal linesDiagonal lines are associated with being more dramatic and dynamic than other types of lines, so much so that to evoke a sense of action, some photographers tilt their cameras to make the horizon line appear diagonal (not something Im usually a fan of). From a practical standpoint diagonal lines are particularly effective at drawing the viewers eyes around and even deeper inside the photograph (converging diagonal lines in particular can be very powerful at doing this) and creating the illusion of depth.

Diagonal lines can be found in many situations, but to see these lines the photographer often needs to consciously look for them. Look at the diagonal lines zigzagging through the photo Morning in Holbav (top left). These lines are formed by the contours of the hills, but they werent obvious until I climbed up on another, higher hill, stood in a particular spot and altered my perspective through the viewfinder; i.e. I consciously looked for diagonal lines. While the converging diagonal lines in the photo The stairs to Mount Bromo are a little more obvious, the same approach was required. A few steps to the side and those lines would not look the same.

ExerciseOne of the best ways to learn to better see diagonal lines and other types of lines once youre in the field is to pay special attention to lines in the photos of those who use them well this way you can also get plenty of ideas on how to use lines in your own photography. Two good places to start are Getty Images or Corbis Images. In the search box type in the kind of lines youd like to get more familiar with and youll have hundreds of images to analyze.

Morning in HolbavVillage Holbav, Romania. FF, 24-70@66mm, ISO 200, f/3.5, 1/800s(Early stages of the magic hour)

The stairs to Mount BromoBromo National Park, Indonesia. FF, 20mm, ISO 100, Aperture f/13, 1/200s(Shot slightly after the magic hour)

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On targetAlor, Indonesia. FF, 24-70@34mm, ISO 250, f/2.8, 1/125s(Flash in a softbox, frame left)

Monk in a classroom(Side light from a window, frame right)

Darjeeling, India. CS, 50mm, ISO 800, f/2s 1/125s

Shallow depth of fieldShallow depth of field (or Shallow DOF for short) is a technique which involves having a part of a photo in sharp focus while blurring the rest of it. The effect is achieved by focusing specifically on one element within the frame while opening up the aperture (done by lowering the f-number setting of the lens).

To really feel this effect the aperture usually needs to be set to around f/3.2 or less. Shallow DOF is often used for the following reasons: To draw attention to the main subject, to emphasize an element within the frame, to make certain details in a background less distracting and to create a sense of depth and three-dimensionality.

Remember: Faster lenses or lenses which allow you to set the f-number low (to about f/2.8) give you greater control over the depth of field. In most cases lenses which do not allow you to set the aperture lower than f/4 will not be suitable for achieving the effect of a shallow DOF.

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Frame within a frameA frame within a frame can be used as a compositional tool that helps to quickly draw attention to a particular subject and to enhance the sense of depth in a scene. The most obvious frames within frames are windows, doorways and archways. Poles, columns, trees or other vertically oriented

elements can also be used to frame a scene, as can almost anything that lets you look through one thing at another. One thought to keep in mind when looking to frame elements in this way is that frames within frames usually work best if they are darker than your main subject or at least not lighter than the subject.

If you bring your mind back to the section on visual weight, you should remember that lighter colours are more visually heavy than darker ones. Making the frame within a frame darker than the subject will ensure that the viewers eyes move towards the subject and wont be caught up by looking at the frame itself.

WorshippersMadurai, India. FF, 24-70@ 24mm, ISO 1600, f/2.8, 1/40s (Light penetrating windows, behind and frame right)

Morning readerMadurai, India. FF, 24-70@30mm, ISO 800, f/2.8, 1/60s(Back and front light)

The way home(Diffused light on an overcast day)

Bandipur, Nepal. CS, 50mm, ISO 800, f/2.8, 1/640s

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PatternsPatterns bring a sense of visual rhythm and harmony to a photograph and emphasizing them within the frame can often make our images more visually pleasing, as well as more engaging to the viewers imagination. Patterns are formed when there is repetition of shapes, lines, colours and tones, but they may not be obvious in a scene right away. Our viewpoint has a lot

to do with whether we notice a pattern or not. For example, the pattern formed by the logs in the top image would not have been obvious from any viewpoint other than from front on, while the pattern formed by the repetition of trees might not have been noticed if I were positioned further away from this particular scene or a few steps in a different direction. The key to seeing patterns is to explore potential subjects from a variety of angles, while the

key to emphasizing patterns is to isolate them from their surroundings as much as possible and to allow them to take up the entire frame. Doing the latter can create the illusion that the repetition is infinite, extending beyond the frame and this in turn can really add to the emotional impact of the photograph.

ExerciseTo train your eye to see patterns it always helps to look at numerous photographs that use patterns effectively. As you (hopefully) already did with lines, go to Getty Images and/or Corbis Images, but this time search for the following keywords: repetition, pattern, travel. This will bring up a whole lot of relevant imagery which you can study closely in order to sharpen your own pattern seeing skills. Logs at sunriseRural Transylvania, Romania. FF, 24-70@66mm, ISO 200, f/3.5, 1/500s (Early stages of the morning magic hour)

Mysterious forest(Diffused light on an overcast day)

Langtang Valley, Nepal. CS, 20mm, ISO 800, f/4, 1/125s

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LightLight is absolutely vital to photography and its importance goes far beyond the fact that we need it to actually make photos. Light can be used creatively, it can help us tell our stories as well as communicate our emotions and evoke emotions in others. This chapter is a sort of a practical mini-guide to different types of light and to ways in which they can be used creatively.

Light

First steps to using light creativelyBeware of the lightThis advice might seem very obvious, but it goes beyond simply being aware whether there is enough light in your scene to make a photograph. Know that light doesnt remain constant it changes and because of that you dont have to shoot under just any given light. You can decide when and where you photograph and these two decisions are what will ultimately affect how your images look and in turn what stories they tell and what emotions they evoke.

relevant to your photography might take years of observing light in various situations and photographing along the way. This doesnt, however, mean that you cant put your initial observations and learnings to immediate use. Begin by observing how light changes throughout the day, in different weather conditions and through different seasons. Observe how it changes from place to place, how its direction changes when you move around, how it interplays with what you are photographing, where it creates shadows and how it interacts with particles like liquid and dust (i.e. forms light beams). Observe different types of artificial light light-bulbs, street lights and neon signs; sometimes these can add a strong sense of mood to a scene youre photographing. Take notes on what you have observed or better yet take photos purely for the sake of recording interesting lighting scenarios.You can begin your observation of light in photos by looking at the work of the following masters of travel and documentary photography: Marc Dozier Steve McCurry Bruno Morandi Olivier Follmi Ami Vitale Nevada Weir

ObserveBy observing youre learning how light can change and how the appearance of everything the light illuminates can change with it. To gain a solid understanding of how this is

Dont limit yourself to observing light in life. Pay attention to light in the photos that you like. Always ask: how does the way that the light is captured affect the way that I feel about the image? Think about where the

photographer would have been positioned to capture light that way.Sunrise and fog in Romanian countrysideMaramures, Romania.FF, 24-70@45mm, ISO 100, f/6.3, 1/320s (30 minutes after sunrise)

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Light

Directing natural and available lightWhen were travelling were mostly working with natural and available sources of light; i.e. the sun, street lights, building lights, etc. We cant actually control these sources; however, we can at times position ourselves and the subject were photographing in a way that will change the direction of light in relation to you and them (the subjects). If you have observed light you will have noticed that you can direct it this way when the sun or an artificial source is close to the horizon or the ground. You can also do this when youre indoors and light comes from just one narrowed down source like an open window or a door.Reang tribal girlTripura, India.CS, 50mm, ISO 400, f/2.5, 1/80s (Angled daylight through the doorway, frame right)

Why direct the light?Lights direction is one of the factors that can radically change the way your subject looks and this obviously affects the stories your images tell and the emotions they evoke.

or costume appear more defined, in a sense sculpted. This kind of lighting effect is really useful for bringing out a persons character in a dramatic fashion and it also adds a sense of depth and volume to a photograph.

Gradual progression of light to dark tones or sculpting with lightWhenever light which can be directed is coming from the side of your subject or when its angled at approximately 45 (in relation to the subjects face/front) youll get a gradual progression of light to dark tones, which you can see this in the photo to the right. The image was taken indoors and light was coming from a narrowed down source the doorway (positioned frame right). As a result the right side of the girls face is lighter than the left side. The light gradually fades from right to left. This progression of light to dark tones usually helps make a persons facial features and body

Other ways to direct lightIf I were to photograph the same girl with light coming from behind her, Id create a silhouette. If Id photograph her with light coming at 45 from the back rather than from the front, I would end up with a completely different photo yet again. Light can come from any direction and its not limited to being directional with only smaller subjects or humans. Light affects larger subjects like landscape features and architecture in exactly the same way. On the next page I have provided some commentary and more examples of a few different scenarios where I directed light in similar ways to what Ive mentioned.32

Light

1. Light from the setting sun is angled at around 45, frame right, from behind the photographer. Notice that the right side of the girls face is brighter than the left, the same goes for her head cover. This is another example of light creating a progression of light to dark tones or sculpting. 2. Light from the rising sun angled at around 45, frame right, from behind the photographer. Notice the interplay of light and dark tones and the definition that it creates in the clefts of the land masses. 3. Light from the setting sun angled at approximately 90, frame left, leaning more towards facing the photographer. Notice how only the outline of the cow herder is bright and the rest fades into darkness. This is particularly evident in the red turban and his left leg. 4. The sun is directly in front of the photographer and behind the subject, creating a silhouette. Notice the separation between the subjects and the horizon; this is necessary to prevent the two from blending together. To achieve this separation youll need to get right down on the ground.

CS, 20mm, ISO 400, f/2.8, 1/4000s

1

FF, 20mm, ISO 100, f/8, 1/60s

2

CS, 20mm, ISO 400, f/3.2, 1/1600s

3

CS, 20mm, ISO 100, f/5.0, 1/500s

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Light

TwilightTwilight occurs between dawn and sunrise, and between sunset and dusk. Its the time when we cant see the sun because it is below the horizon and for most of the duration of twilight everything around us is neither completely lit nor in complete darkness. There are different stages of twilight: civil, nautical and astronomical. They differ from each other in the suns position in relation to the horizon, hence they produce different kinds of light, all of which can be very evocative and dramatic. Civil twilight is when the sun is still very close to the horizon. This means that while there isnt much light around, theres still more of it than during the other stages of twilight and you can still make out some detail on the ground. During this stage of twilight youll manage to photograph without a tripod fairly easily as well as capture

The days end Bali, Indonesia. FF, 24-70@27mm, ISO 640, f/5, 1/125s (Civil twilight)

The climb Java, Indonesia. CS, 24-70@40mm, ISO 800, f/3.2 1/40 (Nautical twilight)

moving subjects without much if any motion blurring. The light during civil twilight is soft and non-directional, unless clouds on one side of the sky are reflecting the sun. This happens under certain weather conditions and when it does, not only is the light directional, it can also be quite spectacular. A dramatically lit sky can be a great backdrop for a silhouette. To photograph during civil twilight you need to

get to the scene about half an hour before the sun rises and stay the same amount of time after it sets. Nautical twilight is when the sun moves further below the horizon and darkness begins to descend. Light during this time is very soft and non-directional. General outlines of subjects that are on the ground may be distinguishable, but any detail will not be visible at all.

Photographing during the darker part of nautical twilight requires a tripod; youve only got a tiny window of time to shoot without it and to shoot any moving subjects without getting motion blurring. I made the photo on the right during this time window. A very well known characteristic of nautical twilight is the bluish tinge which is often associated with mystique, mystery, eternity and romance.

Astronomical twilight is pretty much darkness. Its the time when stars appear in the sky and photography without a tripod becomes impossible. Some fascinating photographs can be produced during this stage of twilight and Ill discuss that in more detail when I talk about photographing under the light of the moon and the stars on page 38.

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Light

The magic hourThe first and the last hour of daylight are both often referred to as the magic hour. Light during this time is probably the best all-around light to photograph in because it can be fairly dramatic and it can be used to communicate a wide range of emotions and stories. The magic hour light is often associated with birth sunrise, and death sunset, as well as warmth, joy, passion, love, aggression, etc. The main factors responsible for this lights versatility are: The lights interaction with colour the magic hour light makes every colour that it illuminates look brighter, more vivid and gives it a tinge that ranges from red and deep orange when the sun is closer to the horizon, to golden/bright yellow when the sun makes its way up or is in the early stages of setting.

Fishermen coming home Bali, Indonesia. FF, 24-70@24mm, ISO 250, f/7, 1/640s (Late stages of sunset)

Morning magic Bali, Indonesia. FF, 24-70@30, ISO 320, f/13, 1/60s (Late stages of sunrise)

The lights direction because the sun is low to the horizon, during the magic hour the light is directional. During this time you can create photos of silhouettes, sculpt peoples faces or landscape features and basically position yourself and/or your subject to make light illuminate it from virtually any angle. Shadows are longer than during any other time of day and can result in a potentially interesting interplay with

the scene; e.g. a shadow of a recognizable symbol on the wall or a shadow of a person that stretches over the ground and becomes an element that balances out the composition.

Harsh light of middayMany photographers, myself included, almost completely avoid shooting out in the open around the midday hours. Light

during this time makes virtually everything look less flattering. Colours are bleached, contrasts are high and can be hard for the camera to handle and if were photographing people, the shadows are around the eyes and faces, which usually isnt good if we want to bring out someones character. The harsh light during the midday hours doesnt ever really compliment a subject; instead it takes over the scene in a crass

way and tells its own story. Of course in some cases this may be exactly what you need. You might for example want to convey the harsh climate of a desert and then this kind of light starts to work well with such an idea. Ultimately the main thing is to understand the limitations of this kind of light so that you can tell stories that work within these limitations or so that you know when it is time to find (or wait for) a different kind of light to shoot in.35

Light

Diffused lightLight diffused by the weatherThe most common type of diffused outdoor light occurs on overcast days, when the suns rays are diffused by the clouds. This type of light is non-directional, it is flat and it isnt particularly dramatic or evocative, one could say that its neutral. Because of this neutrality it is not usually ideal for all subjects. For example landscapes or architecture will usually benefit from almost any other type of light. The ideal subjects to photograph in diffused light during overcast days are people. Because this light is soft it doesnt create any strong shadows and while it also doesnt create the sculpting effect of light which can be directed, it still works well to bring out peoples facial features and textures in their costumes. The photo on the left is a good example of this.

Javanese farmer Rural Java, Indonesia.FF, 24-70@55mm, ISO 500, f/2.8, 1/60s (Diffused light during overcast day)

Son of a sweets-maker Rajasthan, India.CS, 20mm, ISO 800, f/2, 1/25s (Daylight coming through the doorway, frame right)

Diffusing lightWhen the light from the sun is harsh we can sometimes diffuse it ourselves. The idea behind doing this is the same as when directing light. We diffuse light by moving to photograph in the shade, under cover or indoors. Diffused light of this sort can be both directional and non-directional, depending on the situation.

If you find a place undercover which has one narrow source of light, like a window or a doorway, youre actually diffusing light and at the same time putting yourself in the position to direct it similarly to how Ive mentioned on page 31. The image on the right is an example of diffused light being directed at the subject in this way.

Here the light is diffused because the suns rays are not directly shining into the room. But the light is directional because the now diffused rays are coming from one narrow source the door. You can see that this lighting scenario has sculpted the boys face and body and has added a sense of depth to the scene.

In most other cases; i.e. whenever we dont have a narrow opening to direct light and simply move into the shade of houses or any large structures, tree canopy or land masses, the diffused light will be nondirectional and its characteristics will be virtually identical to the kind of light well get on overcast days.

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Light

Even when the fog is thick, the very soft light that it causes can make scenes look quite interesting and again it evokes the sense of mystique and mystery. I try to anticipate foggy conditions and when Im fairly sure that this phenomenon will occur I like to plan my shoots to make the most of the situation; i.e. I go to places where Ill have the fog and subjects that interest me at once. To learn more about when and why fog occurs; take a look at this entry on Wikipedia.

Light in foggy conditionsLight during foggy conditions is diffused and distinctly soft. It can be softer than light on overcast days, but it can also be directional; i.e. you may be able to shoot silhouettes and have a gradual progression of light to dark tones at sunrise or sunset, but to do this you will need light

which is strong enough and this factor will depend on how thick the fog is and whether or not clouds are blocking out the sun. When fog is thin enough for sunrays to penetrate it, the way it interacts with light can become a spectacle in itself. Such spectacles can be evocative of mystique, mystery, magic and divinity all at once. The image to the right is one example of such a scenario.

Man and dogMaramures, Romania.FF, 24-70@35mm, ISO 400, f/2.8, 1/320s (Light diffused by thick fog)

Hindu pilgrim in the mystical fogAllahabad, India.CS, 50mm, ISO 400, f/2.8, 1/1600s (Light interacting with a mild fog)

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Light

FirelightFirelight comes in various forms; some examples are candles, butter and kerosene lamps and camp fires. All of these forms of firelight share the same characteristics they are warm, directional and very evocative, instantly bringing to mind a whole range of themes and emotions warmth, life, passion, magic, devotion and faith are just some. All of these characteristics, themes and emotions can translate into some very dramatic photographic stories, but it can be quite challenging to shoot in firelight. The main challenge of using firelight in photography comes from the fact that often it is simply not strong enough to photograph what we want. The image to the left for example was only possible because there were tens of butter lamps illuminating the scene and this isnt always going to be the case. Had there been less butter

Monk in prayer Sikkim, India.CS, 50mm, ISO 1600, f/1.8, 1/30s (Firelight from tens of butter lamps)

Hindu devotees Madurai, India.FF, 24-70@34mm, ISO 1600, f/2.8, 1/40s (Firelight from butter lamps and daylight coming from outside)

lamps, there would be less light and Id need to lower the shutter speed to a point where Id have to mount the camera on a tripod to keep it steady enough not to create camera shake blur. Even with a tripod not every scene can be photographed effectively in the sense that as long as were only using firelight as our light source, any moving subjects will turn out blurred.

This may be a creative decision sometimes, but certainly not all the time. One way to capture movement with less or no blurring while still using firelight would be to look for situations where additional light can assist the firelight. This is what I did with the photo to the right. You can see that were still getting the warm, evocative firelight from the butter lamps,

but the additional light from light bulbs as well as daylight coming in from the outside are allowing me to raise the shutter speed a little and this helps me capture the movement of the womans hands with no noticeable blur. Alternatively an off camera flash can be used to assist the firelight in such situations. This is something Ill discuss on page 39.

It is when we shoot in firelight that we can appreciate good photographic gear most. Cameras that perform well in low light; i.e. produce little noise at above ISO 1600, can really prove their worth in these situations as can fast lenses. If you arm yourself with such tools, you will increase what you can do with firelight in your photography.38

Light

Photography after sundownAvailable artificial lightAvailable artificial light comes in different colours and varies in intensity; this means that it can be evocative of various feelings and can contribute to telling stories in different ways. Quite often something that looks fairly bland and ordinary during the daylight hours can look extraordinary under artificial light. Because no two available artificial lighting scenarios are going to be identical its important to observe them individually. Keep in mind that when the light source is low to the ground its possible to direct the light as discussed on page 31 and this opens a whole new world of creative opportunities. Artificial light on and around architectural structures is a special case monuments as well asVivid lights on Hong Kong Island Victoria Peak, Hong Kong.CS, 10-22@11mm, ISO100, f/3, 2s (Artificial building lights)

An ancient Kingdom Sukhothai Thailand.CS, 18-55@18mm, ISO 400, f/3.5, 1/30s (Star and moon light)

buildings, ranging from castles to skyscrapers can often look spectacular and dynamic once darkness sets in because the artificial lights are set up with the specific intention of enhancing the appearance of these structures.

you can arm yourself with a tripod and photograph through the night; the stars and the moon will provide enough light to create images with the kind of detail that even the eyes are incapable of seeing at this time. The sort of light youll get from the stars and the moon is distinct from all other types of light and I feel like it can bring a sense

of mystique and eternity to photographs, especially when shooting nature or ancient architectural sites. Photographing in such lighting conditions as well as any extremely low light conditions is pretty straight forward. There is no way that you can create photos without a tripod or some way of stabilizing the camera

because your shutter speed will need to be set to at least a few seconds or even a few minutes. A remote shutter release can prove useful. By setting off the shutter without physically pressing the shutter button you can avoid potential camera shake. Alternatively you can use the cameras self-timer to do the same.39

Shooting under the light of the stars and the moonIf your subjects are inanimate e.g. landscapes or architecture

Light

Lighting tools: flashes and reflectorsAs I mentioned in the equipment section, an off camera flash in a softbox and/or a reflector can be useful lighting tools if youre photographing people or smaller sized objects. I mostly use these tools in people photography. The photo at the bottom was lit by a reflector. Notice how theres a fairly pronounced progression of light to dark tones from right to left; it is particularly visible on the mans face. Essentially this is the main reason why I use a reflector to create this kind of progression/sculpting effect. Sculpting with the reflector is fairly straight forward and intuitive, I simply position this tool where it can catch the suns rays and then direct them at the subjects face at an angle or from the side. The idea is the same

as directing available light, except you can actually direct the source of light the reflector. The main benefit of the reflector is that it is simple to use and quick to set up, the downside is that while it does serve as a somewhat controllable light source, it is not completely controllable it still needs light to reflect in the first place. The flash can be used in exactly the same way as the reflector, but it doesnt need any light to reflect, which is a huge benefit. The flash is the ultimate portable, completely controllable light source; you can even adjust the intensity of the light from a flash as well as the colour of the light it produces if you place a gel (a thin, transparent, coloured film) over the flash head. A flash opens you up to a whole world of opportunities of creative lighting and one of my favourite uses for it is to simulate and to assist certain types of light that are atmospheric and

evocative, but not necessarily strong enough to photograph what I want. The photo to the right is an example of a flash being used to simulate and assist firelight. In this situation I placed a gel of a similar colour to the fire over the flash head, the flash was then put in a softbox, positioned close to the ground at an angle of about 45 (for a sculpting effect) and then pointed up at the face of the girl. As you can see the light Ive created does not feel intrusive, it simply helps accentuate the available light and brings out the mood rather than destroy it, which is something that we often associate with flash photography. Most of my flash use is similar in philosophy to the way Ive used it in this photo. As a documentary travel photographer Im not looking to create obviously artificial lighting effects, I like to work with and build on what light is available.

Both the flash and the reflector can be powerful lighting tools, but to use them effectively one needs to dedicate a bit of time to learning and experimenting. If you are interested in making these tools a part of your photographic repertoire, refer back to page 12, for links where you can find more information.Nomads Kolayat, India.FF, 24-70@25mm, ISO 800, f/2.8, 1/25s (Flash in a softbox, frame left)

Man with a religious song bookRural Rajasthan, India.CS, 20mm, ISO 200, f/2.8, 1/500s (Reflector light, frame right)

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Making photos

There are numerous aspects that are involved in the making of a good travel photograph. The aim of this chapter is to look at these aspects in-depth and to provide you with the relevant advice which will help you make stronger travel photographs.

The photographic processThe photographic process involves more than the press of the shutter button when the perfect photographic opportunity comes along. Theres a certain amount of thought, effort and intention behind any good photograph. Most of the better and more experienced photographers will undoubtedly agree with this. Of course I cannot speak for anyone else and so what Id like to do here is discuss my own photographic process. It involves: observation, visualization, searching, waiting and making the most of the situation. These are the key steps that usually need to take place in some shape or form for a worthwhile image to come into existence.The Traveller(Late stages of the morning magic hour)

Dwarka, India. CS, 20mm, ISO 200, f/2.2, 1/1600s

Making photos

ObservationKeen observation is right at the foundation of all of my photographs. Im not only talking about observation specific to a particular scene thats captured in an image, but observation at large. This means paying close attention to light, the interplay of shapes, colours and tones, dynamics of life on the street, peoples body language in short, observation of the world around me. To be a good travel photographer one must be a good observer.

movement of a person or a particular pose for that person. Other times I might imagine what would happen if there were other elements in the scene which arent presently there. Thats how the photo to the right came to be. I saw the same rice paddy the day before this image was made, I felt it was a good setting for a photo, but it was midday, the light was harsh and the field was empty. The image I envisioned was different, it had dramatic magic hour light and a person walking through that rice field. I observed this sort of scene numerous times before, throughout my journeys around the area, so I had a reason to believe that my imagined photo had a good chance to materialize. I came to the same place the next morning and sure enough I was presented with an opportunity to create the photo you see here. The first purpose of visualizing or creating photos in the minds eye is to explore the various potential

VisualizationVisualization is the creative part of the photographic process; it basically means imagining the photo that I want to make. Sometimes Ill imagine making a photo based on observations of elements that are present in front of me. In my minds eye Ill try different compositions, Ill align the people in the scene differently within the frame, I might picture catching a particular instant during a

Morning in the rice paddy North Bali, Indonesia. FF, 24-70@70mm, ISO 250, f/2.8, 1/5000s (Late stages of the morning magic hour)

ways of telling stories and evoking feelings. By visualizing Im imagining how I can do this with more impact or just differently. The second purpose of visualizing is to place myself in the right situation and to be prepared to make the photo that I envisioned. In the case of the image above

that meant a few things. I had to come back to the same place when the circumstances would be ideal; i.e. I needed people in the field and magic hour light. I also had to know where to position myself, what settings to dial in on the camera and approximately when the right moment to press the shutter button was.

Had I not visualized a similar image in my mind, the photo either wouldnt exist or if I were lucky enough to come across a similar situation randomly, I wouldnt be able to react effectively in time and would end up with a much weaker result.

43

Making photos

SearchingIf all the elements for the perfect shot are right there in front of me theres obviously no need to search, or the search simply involves finding the best vantage point. The real search usually takes place when I visualize a scene with certain elements that arent there. I dont actually know whether I will find them or not. This part of the photographic process is mostly somewhat of a gamble, but its only through searching that I give myself the chance to create the image that I want. The story behind the photo on this page demonstrates the point rather well. I was wandering around a neighbourhood of very narrow lanes in Mumbai, India. These lanes were atmospheric and photogenic in themselves, but I envisioned a human presence in one of those lanes. In my mind thats what I needed for a perfect image. As soon as I thought of this idea I began to search for the right

situation. It made sense that someone could walk through one of the lanes, as theres usually an abundance of people almost anywhere in India; however, ideally I didnt want too many people either, so you could say that my search was for a lane with one or a couple of people in it. As I mentioned, the search can be a gamble. I didnt know if Id find exactly what I wanted, but after a few minutes of searching through the maze formed by these lanes I came across the right opportunity and created this photo.

WaitingThis is one of the more underrated, yet very important parts of the photographic process. There are many factors that cannot be manipulated by the photographer in any way, one simply has to wait in the hope that they will play out as expected. Wait for the right light, wait for a certain alignment of elements within the frame, wait for a person in front of the camera

to get comfortable with my presence. The wait is often as much of a gamble as the search; the desired outcome is based on past observations, but there are no guarantees. Its just that by

waiting I am making the most of the situation at hand, and that brings me to the next key factor of the photographic process that Ill discuss on the next page.

Curious in Mumbai Mumbai, India.CS, 20mm, ISO 800, f/1.8, 1/40s(Light diffused by the shade)

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Making photos

Making the most of the situationOnce I find the perfect situation it only makes sense to get as much out of it as I can. What this involves will depend on the actual situation.

Sometimes it will mean waiting for the ideal light or coming back to photograph a scene or a person at a different time. One of the more common things that I do to make the most of the

situation involves experimenting with different ways of composing the shot and even trying different lenses. In other words it means looking for one or even a few different ways to tell the story

effectively. This idea is not unlike visualizing, only it takes place in reality rather than in the minds eye. The photos on this page should give you some insight into how I make the most of the situation

in practice. Here I had what I consider a perfect subject in a perfect setting. The man was on a cigarette break from ploughing his land and he was happy to be a part of my photo.

The first line of images are just rough impressions, in a sense theyre like photographic sketches. Through these I experimented with different ways of telling the story. I searched for the ideal way to compose the shot. With the second line of images I found the ideal composition and I concentrated on capturing the moment at which the story could have

the most impact. If you look closely youll notice that in the first photo the hand is blocking too much of the face and you dont really see the smoke coming from the cigarette. In the second photo the hand is positioned nicely, but there still isnt much smoke. After a few more shots (not pictured here) I finally came to the third image. This is the one which I feel works best.

Romanian farmer Terggu Mures, Romania. FF, 24-70@42mm, ISO 200, f/3.2, 1/640s (Diffused light during a foggy day) 45

Freezing motionThe effect that motion is frozen occurs when we see a strongly implied movement/action stopped in time, as in the image to the left. Freezing motion can be a powerful way to convey the sense of movement, to make the image feel more dynamic or just plain fascinating, since esentially what were doing by freezing motion is taking a closer look at something that embodies an instant which only lasts a tiny fraction of a second.

The sand collectorMunro Island, Kerala, India. FF, 20mm, ISO 200, f/2.8, 1/640s(Early stages of the magic hour)

Making photos

Things to know about freezing motionThe frozen effect will look more dramatic if you freeze the motion during a critical instant, in other words during the tiny fraction of a second at which the motio

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