Lesson 1
Welcome to the course, and
meet your moderator. The philosophy of travel photography is discussed,
and the concept of the “destination specific” image (photos of famous
locations) is introduced.
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A lot of travel
photography is about shooting “destination specific” images
- shots of locations that are famous. The Peggy’s Cove
Lighthouse, outside Halifax, Nova Scotia, is perhaps the
most photographed lighthouse in the world! The trick is to
photograph it when it is not surrounded by tourists. |
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Lesson 2
This lesson covers almost all there is to say about lighting. We
look at techniques for using natural light and flash, and combinations
of the two. Both direct and indirect lighting are examined. The
implications of fluorescent lighting are mentioned, and ideas for “time
exposure” photography are presented.
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Knowing how to manipulate
lighting is important to any photographer, but doing it with only a
single camera and flash takes some practice. This waiter was
photographed in the El Campanario restaurant, in San Miguel de
Allende, Mexico. The very slow shutter speed allowed the background to
‘burn in’ on the film, and the use of slow sync, rear-curtain flash
nicely illuminated the waiter in the foreground. |
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Lesson 3
Learn to grab the
eye. There are a host of useful techniques in creating compositions that
give impact to an image. We look at framing, leading lines, broken
horizons, unusual points of view, and many others.
Framing is an important compositional ploy, drawing the viewer’s
attention to the main subject of the image. This photo was made at a
religious centre in Mexico, the main church being framed by an arch of a
nearby ruined abbey. |
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Lesson 4
Introducing the “supporting cast”. This discussion covers tripods,
tripod heads, and quick releases, together with monopods and
mini-tripods. Methods of using all of these effectively are examined,
together with the techniques for hand-holding a camera when necessary.
Using a camera support
ensures your photos will be as sharp as is possible. This photographer,
caught photographing in the mountains of Glacier Park in Montana, will
be very happy with his results! |
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Lesson 5
This session examines media exposure, and all that it implies.
Whether you shoot digital or film, exposing your media properly is all -
important. The variables are lens aperture and camera shutter speed, and
the ISO (relative speed) of your media. Well beyond the basics,
however, are the creative use of aperture and shutter speed for specific
effects.
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Controlling the depth of
focus with the lens aperture is a valuable technique of travel
photography. This monarch butterfly was photographed in Vermont, using
a large aperture, to blur out the background completely. |
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Lesson 6
Learn to get
very close to your subject. This is a lesson on macro photography,
all about making effective flower photographs. Shooting the local flora,
as well as insects and small animals, can really augment a travel essay,
but special techniques, and special lenses, are both necessary in order
to do it well.
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Close-ups of local flora
and fauna is an exciting and different way to present views of an exotic
travel location. This blue flag flower was photographed in Detroit, MI
(a very exotic location!) using a 90mm macro lens, while standing
on a step ladder so as to be able to shoot down on it. |
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Lesson 7
Here is where you learn “insider information”. Shooting interiors
(restaurants, hotel rooms, museums, and so forth) is an important part of
travel photography. Understanding lighting temperatures is necessary.
Special compositional techniques, and the use of wide-angle lenses, are
discussed.
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Shooting
building interiors, and people indoors, is an important part of travel
photography. This image was made in the Casa Payo restaurant, a steak
house in San Miguel de Allende, Mexico. The camera, with wide-angle
lens, was placed on a tripod, together with a flash. A very slow shutter
speed allowed the fire (which was lit on my request) to ‘burn in’ on the
film. At the end of the exposure, the flash, aimed up at the ceiling for
“bounced light” was fired. This image uses flash, fire, and electric
lighting! |
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Lesson 8
This lesson examines “people photography” - how to approach people,
how to photograph them effectively, and how to leave them with a good
feeling. Lighting and lenses are discussed, as well as compositional
considerations.
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To show travel photographs
that make people reach for their passports, you must portray people
enjoying themselves. This portrait was made of the owner of a
restaurant in the Laurentian Mountains, outside Montreal, Canada.
Bounced flash was combined with the electric lighting in the room. The
repeat “vees” in the composition (the table, the tray, and the menu)
made a particularly effective composition. It didn’t hurt that the
lady was gorgeous! |
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Lesson 9
Try yourself on a “city assignment”. This session looks at the
techniques for photographing urban areas. Researching an area is always
important, and some information sources are suggested. The concept of
the “destination specific” image is re-examined, together with ideas for
avoiding the “cliché photograph”.
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Everyone photographs the
same “destination specific” locations - the trick is to make your image
different! This shot of London Bridge was made using a wide-angle
lens, filling the “negative space” above the bridge with the wonderful
statue. The weather was awful, and the light very flat, so I introduced
some color into this silhouette shot by sandwiching it with a yellow
filter.
I later found somebody in London, after my return to Toronto, to ask
what the name of the statue was - and he bicycled down to the Thames, to
find out for me!
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Lesson 10
Here is the inside information on how to “carry off” a good travel shoot.
We look at keeping comfortable while doing photography, particularly if walking
long distances. Protecting camera gear and film is important while travelling,
and some ideas are suggested. Gaining access to potential photo sites is
sometimes a problem, and ways around that are discussed. Keeping adequate notes
is always necessary, and easy solutions are close to hand.
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Carrying
your photo gear comfortably, over long distances or for long periods
of time, needs some careful planning. This shot of your moderator
(sorry for the poor composition!) was taken at 10,000 feet of
altitude in Cedar Breaks National Park, in southern Utah. I’m
wearing my favourite photo vest (actually, a fishing vest!), and
carrying a belt bag of camera gear, which I often wear over my
shoulder. The hat protects my face and bald spot from the sun, the
fleece sweater is light and very warm, and my old waterproof hiking
boots have seen me over many a mile. I’m comfortable!
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