Travel Photography

Travel Photographyhttps://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photographyTravel Photographyhttps://public-web-wn.uat.wng.me/create/learn/landscape-photographyFinding beautiful landscapes is part of travel, but if you want to remember them forever, creating stunning photos is one way to do it.2023-01-31T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/landscape-photographyhttps://www.worldnomads.com<p>Landscape photography is a fine art and, unlike other photography genres portraying the beauty of the vast outdoors, it doesn’t give you the opportunity to create your scene or even to manipulate it at your best convenience. When photographing <a href="/create/learn/photography/a-pro-photographers-guide-to-photographing-the-northern-lights">Mother Nature</a> you are, more than ever, a witness of your subject. </p> <p>However, taking the time to connect with the environment, pushing your creativity, and polishing your skills will allow you to use the power of nature in your favor. These are some tips that are worth keeping in mind to capture the magnificence of outdoor scenes in a compelling way. </p> <h2><strong>1. Take the right gear with you </strong></h2> <p>In contrast to many important decisions that as a photographer you will make in the field right before pressing the shutter, there is one game-changer choice that you should make at home when packing: picking the right gear. </p> <p><a href="/create/learn/photography/camera-or-phone">Phones</a> are not the best option for landscape photography instead, a 35mm DSLR or mirrorless camera will not only improve the quality of your images but will also broaden your options to explore exposure possibilities by playing around with as many manual settings as you may need. Combined with a set of high-quality wide lenses, this is a great starting point. </p> <p>On top of it, you will need to think about key accessories to bump up two fundamentals of landscape photography: <strong>contrast and sharpness.</strong> Add-ons such as filters, a tripod and a remote shutter are always at hand in the bag of a landscape photographer. </p> <p><strong>Polarizers and ND filters</strong></p> <p>To maximize contrast and add drama to your shots you should screw a polarizing filter onto the front of your lens. This filter will improve the colors and overall look of your photo while also helping you reduce invasive and unwanted glare or reflections. </p> <p>Neutral density filters reduce the light coming in through the lens and allow shooting at wide apertures, high ISO levels, or slow shutter speed. They are super handy to have on bright days.</p> <p><strong>Tripod and remote shutter</strong></p> <p>More than ever, these are two must-have accessories in photography. They will both work together to assure <strong>zero camera shake</strong> no matter the weather conditions or camera settings you are photographing at extra slow shutter speeds, heavy wind days, and uncomfortable shots, they are all blur-proof if you are using a strong tripod in tandem with a shutter release.</p> <h2><strong>2. Get technical</strong></h2> <p>Now that your gear is ready, it’s time to get to the field! You should focus on technical settings to achieve your desired <strong>exposure, motion, grain </strong>and<strong> depth of field.</strong></p> <p><strong>Exposure </strong></p> <p>It’s the amount of light in your photo and the result of the combination of three different settings: shutter speed, aperture and ISO. All three of these settings influence the exposure, but while <em>shutter</em> speed also determines <strong>motion</strong> (the slower shutter speed, the most movement in the shot), <em>aperture</em> establishes <strong>depth of field</strong> (the wider the aperture, the less depth of field) and <em>ISO</em> defines the <strong>grain</strong> of your photo (the bigger the ISO value, the more grain). By adjusting these camera settings you will give more or less of an artistic look to your landscape photos.</p> <p><strong>Motion</strong></p> <p>When you choose a shutter speed you set the time that the shutter remains open and this creates the dramatic effects of freezing action or blurring motion. For example, you can take two completely different photos of the same waterfall shooting with your camera in the exact same position, set the shutter speed to around 3 seconds and you will recreate the movement of blurred water falling down opposed to the sharp still waterfall that you will have by taking the same photo at 1/1000s.   </p> <p><strong>Depth of field</strong></p> <p>Landscape photos don’t have to look all the same, shot with wide lenses and great depth of field, with every detail of a never-ending landscape in focus. Sharing your own point of view of a certain subject is what photography is about, so customizing your shots to a variety of focal lengths and depths of field to get original results is also an interesting choice.</p> <p>All you need to know is that adjusting the aperture to a higher aperture number, for example, f/11, will mean getting more of your photo in focus than if you set it to a low number like f/2. A shallower depth of field can be used in landscape photography to make a certain part of the landscape stand out, for example, a blossomed tree which you want the eye to focus at first. On the other hand, a deeper depth of field will show everything in focus and will invite us to travel around every corner of the place.</p> <p><strong>Grain</strong></p> <p>Selecting higher ISO levels adds grain to the film. Many would not go for this option as you lose image quality but others love giving this artistic look to their photos. </p> <h2><strong>3. Take advantage of the best light</strong></h2> <p>Every photographer knows that light is essential to photography. As a landscape photographer, you should also keep in mind that you won’t be able to artificially illuminate your subject like you might do when taking photos in a studio. When outdoors, the sun is your main light source and to make it your ally rather than your enemy, you will need to plan ahead. </p> <p>To avoid getting frustrated with harsh shadows and overexposed highlights, take your time for some pre-production research. Get to know the places where you will be taking photos, if possible visit the place at different times of the day and get involved with usual and extraordinary weather conditions—all this will help you skip surprises and shoot when the light is best for your subject. <br /><br /></p> <h2><strong>4. Where to focus?</strong></h2> <p>When watching a photo the eye immediately looks for the point of focus. Therefore, in photography, focusing is another tool to build the story you want to tell. If Wally (Waldo) would have been focused at an f/1.4 aperture he would have not been able to travel the world without being noticed. But he was <em>photographed</em> at a narrower aperture to be told as a lost guy in the middle of multitudes.</p> <p>That being said, in landscape photography, it is often nice to get a good portion, if not most, of your photo in focus. To do so, shoot at a higher f-stop, which will allow greater depth of field. You can start by trying values between f/7.1 and f/16. You can contrast your results and keep experimenting with higher and lower f-stops values.</p> <p>What really matters about focusing is getting your subject – whatever your subject is – accurately in focus. Nowadays you can do a lot of fixes in post-production, like correcting light, cloning and stamping different areas of your photo, you can even completely change its colors, but if your main subject is slightly out of focus your photo might be ruined.</p> <h2><strong>5. Push your creativity</strong></h2> <p>If landscape photography was only about visiting <a href="/create/learn/photography/how-to-master-rainforest-photography">beautiful places</a> and photographing the scene in front of you, all photos of a certain destination would look alike. The key here is creativity. </p> <p>You can look for elements around you to nourish your shot. Look for leading lines that guide the watcher’s eye to your main subject; add blurred foreground elements like rocks, flowers or branches that create an extra layer in front of the background; try panoramic shots or unexpected points of view; bring a character into your frame; play with patterns.</p> <p>While all these techniques might enrich your photo, pushing your creativity to its limits will make your work unique, it will add a personal stamp and will make it recognizable as yours. </p> <h2><strong>6. Create drama</strong></h2> <figure><img src="https://media.worldnomads.com/create/learn/photography/landscape-photography-in-copy.jpg" alt="Two hikers look out over water and mountains." /> <figcaption> Two hikers look out over a view in northern Norway. Photo credit: Getty Images/Marco Bottigelli</figcaption></figure> <p>Drama is a great value in photography and if you know how to achieve it you have half of the work done. </p> <p>A pretty straightforward way to do it is by introducing a human element among nature. It could be people, animals, or human-made objects such as cars or boats. Actually, anything that we can easily recognize its dimensions will work well to show scale and give a dramatic look and feel to your picture.  </p> <p>When adding this kind of element to your landscape photography, make sure you give them some extra power by positioning in an interesting point of your frame and by having them hit by good light. <br /><br /></p> <h2><strong>7. Use water reflections to your advantage</strong></h2> <p>No matter its dimensions, any form of water, from a small pond to a river or lake, can be used in your <a href="/create/learn/photography/pro-tips-long-exposure-photography">landscape</a> photos to create mirror effects. To get the best results, try different points of view, and don’t miss going low with your camera as close to the water as you can, setting your camera next to the water source will give your photo a bigger area of reflection. </p> <p>Not to forget: to create this effect you should be aware that polarizer filters neutralize reflections. Better avoid using them when trying to create this mirror effect.</p> <h2><strong>8. Expect the unpredictable</strong></h2> <p>Photographing outdoors means putting yourself in the hands of nature, and this could be a challenge. </p> <p>From sudden weather changes and extreme temperature conditions to the encounter of wild animals or an invasion of insects- anything can happen in the wild. Before you hit the road you should plan ahead and get ready for every possible scenario. Think about the weather, clothes, light hours, communication, and even a plan B to spend the night safe on the road if needed. </p> <h2><strong>9. Leave no trace</strong></h2> <p>As <a href="/create/learn/photography/landscape-photography-7-pro-tips">landscape photographers</a>, and as travelers too, we should move around and behave according to a priority responsibility: to protect the planet we live in. This means understanding the environment, learning about the place and cultures that we get to know, being responsible about what we share online, and NOT being a disturbance of any kind both to nature and local people.  </p> <p>If we as photographers learn how to take amazing landscape photos while leaving no trace, then we will be double satisfied. </p>Getty Images / Matteo Colombo 0 Road runs to mountains on horizon

https://public-web-wn.uat.wng.me/create/learn/photography/taking-photos-to-next-level-in-post-productionTaking good photos isn’t just about pressing the shutter button. The work you do in post-production can be a real game-changer.2022-10-21T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/taking-photos-to-next-level-in-post-productionhttps://www.worldnomads.com<p>Thinking about how to improve your photos of your next trip? Taking good photos isn’t just about pressing the shutter button – even if you pay attention to technical details like composition, exposure, and lighting when taking your photos, there is game-changing extra work to be done in post-production that will take your shots to the next level.</p> <p>Here are some tips on how to approach the post-production stage.</p> <ul> <li><a href="#pre">The importance of pre-production</a></li> <li><a href="#formats">Camera formats</a></li> <li><a href="#RAW">Must-know tips for shooting RAW</a></li> <li><a href="#better">The better the photo, the better the post-production results</a></li> <li><a href="#story">Mind the story</a></li> <li><a href="#classify">Use classifying tools to rank your photos</a></li> <li><a href="#color">Color-correcting your photos</a></li> <li><a href="#details">Final touches on details</a></li> <li><a href="#metadata">Captions and metadata</a></li> <li><a href="#export">Exporting your photos from Lightroom</a></li> </ul> <h2 id="pre">The importance of pre-production</h2> <p>Post-production always starts in pre-production. Actually, every single decision you make when packing <a href="/create/learn/photography/camera-or-phone">your photography equipment</a> will have an impact – positive or negative – on the final results of your post-production process.</p> <p>As a golden rule, bring on your trip the gear you are familiar with. Buying a new camera or fancy accessories prior to a trip may sound exciting, but while many would think that new equipment will directly improve the quality of your photos, it could mean serious risks too: exploring never-ending menus and complex settings of a new camera during a short trip might leave you missing some precious opportunities for amazing photos.</p> <p>On the other hand, feeling confident with the camera and lenses that you have been using for years will keep you fast and agile during the shoot, letting your mind focus on what really matters: identifying what each scene requires to get the best shot possible.</p> <h2 id="formats">Camera formats</h2> <p>Your <a href="/create/learn/photography/camera-or-phone">camera</a> setup plays a key role in what you will or won’t be able to do with your <a href="/create/learn/photography">photos</a> in post. Nowadays cameras offer a great variety of formats that you can choose from, JPEG and RAW being the most popular ones. The results of your editing process will be highly conditioned by the format you shoot with.</p> <p>JPEGs are small-sized, highly compressed files where camera settings strongly affect the image, giving you limited recovery options in post. These lossy compressed files are easier to share, they can be opened in most devices, take less space in your memory cards or hard drives, and can be easily uploaded to social media. Sounds tempting, right? They are the perfect choice, but only if you don<span>’t </span>plan to edit your photos.</p> <p>To work in post-production, RAW is your best editing-friendly option. RAW files are uncompressed and contain unprocessed data from the camera sensor. When you shoot in RAW, the sensor of your camera captures tons of unseen details in the highlights and shadows as well as a much higher dynamic range, both of which will allow you to bring back those details in post. This kind of file is many times larger and requires post-processing, but the extra data recorded opens up a new world of possibilities when being processed with software like Lightroom.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/morocco-scholarship.jpg" alt="A photographer walks through an ornately tiled building in Morocco." /> <figcaption>Shooting in RAW helps you capture all the details of your subject. Image credit: Richard I'Anson</figcaption></figure> <h2 id="RAW">Must-know tips for shooting RAW</h2> <p>One of the most important tips, if you are planning to shoot in RAW, is to plan ahead and bring enough storage space to your trip. Extra memory cards and even an external hard drive are always a good idea for RAW photographers.</p> <p>Once in the field, “expose for the highlights”: RAW files have incredible detail in the shadows, and you will always be able to develop shadow details in post. However, overexposing the highlights means that details are burnt, there is no information recorded, and therefore it is impossible to recover any details.</p> <h2 id="better">The better the photo, the better the post-production results</h2> <p>No matter if you plan to edit your photos, always take the best photo possible. Leaving all the magic for post-processing is a bad idea as you will only be able to adjust in Lightroom what you have already created with your camera.</p> <p>The flexibility that you get by shooting RAW is great but also limited. You will be tweaking parameters to get the best out of the information that you have already recorded when shooting.</p> <h2 id="story">Mind the story</h2> <p>Once you have imported all your content to Lightroom and before you start playing around with the different adjustment sliders take your time to connect with the story you wanted to tell when you took the photo. Lightroom is a super-powerful editing tool that provides your creativity with unlimited possibilities, but always remember that by manipulating the temperature, contrast, noise, and colors of your photos you will be affecting your story. This way you will avoid over-tuning that could end up betraying the story you hoped to tell.</p> <h2 id="classify">Use classifying tools to rank your photos</h2> <p>In the digital era, only a small percentage of the photos we take are actually worth <a href="/create/learn/photography/5-tips-to-create-a-winning-photo-story">editing</a>. Thus, good photo processing starts with a conscious selection of the photos we will be working on. Use Lightroom’s classifying tools like stars, flags and colors to create a ranking of photos within your library. It doesn’t matter if you have taken too many photos and the task feels overwhelming; if you are picky you will end up with a short selection of your best photos. Just remember to keep the 5-star ranking for those photos you really love.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/stars-ranking.jpg" alt="Image ranking and classification tools in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <h2 id="color">Color-correcting your photos</h2> <p>Now that your selection is done it is time to start playing with basic corrections. Over the right margin of your “Develop” module in Lightroom you will find the “Basics” adjustments panel.</p> <p><strong>Temperature:</strong></p> <p>You can start by tweaking the temperature of your photo. Pull the slider towards the blues if you want to create a cold atmosphere for your shot or pull it towards the right for a warmer image.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/temperature.jpg" alt="Adjusting the temperature of a photo in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <p><strong>Exposure and contrast:</strong></p> <p>With the exposure slider, you can adjust how bright and how dark an image is. Use the contrast slider to add some drama to your photos as dark areas become darker and light areas go lighter. Both these sliders will adjust the overall look of your shot.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/exposure-contrast.jpg" alt="Adjusting the exposure and contrast of a photo in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <p><strong>Highlights, shadows, whites, and blacks:</strong></p> <p>These four together are another way to adjust the exposure and contrast of your photo but, instead of tweaking the overall look, by tweaking these sliders you will be adjusting just certain areas of your photo.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/highlights-shadows.jpg" alt="Adjusting image highlights and shadows in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <p><strong>Texture, clarity and dehaze:</strong></p> <p>The texture slider works on medium-sized details and is useful when working, for example, with hair. Move it all the way to the left and then all the way to the right to understand how it decreases or increases the texture of a photo while keeping fine details.</p> <p>The clarity slider can be used to add pop to your photo, which will also create a more dramatic atmosphere. Technically what it does is increase or decrease the edge contrast in a photo.</p> <p>The dehaze slider is useful to restore color and contrast to a washed-out image but be careful not to use it too heavily as it can make colors unrealistic.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/texture-dehaze-clarity.jpg" alt="Adjusting image clarity and texture in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <p>There is no “good” or “bad”, “right” or “wrong” when editing: some people may like saturated images while others prefer to go for a more natural look. Whatever looks good to you is OK as long as you are happy with the final results and you feel they represent the story you wanted to tell. If you doubt any of the adjustments you have done, you can go for the safe option and make them a bit more subtle.</p> <h2 id="details">Final touches on details</h2> <p>For fine details like color-correcting a very specific area, all of the previous features can be applied selectively. Click the mask button (right below the histogram), choose from the brush, graduated or radial filter and select the area you want to work on. Then apply your adjustments using the same sliders mentioned above.</p> <p>On the panel below the histogram, you will also find extra features like red-eye correction and a stain remover. All the way on the left of the panel there is a tool that will allow you to crop and straighten the horizon of your photos.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/mask-tools.jpg" alt="Adjusting fine details on an image in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <h2 id="metadata">Captions and metadata</h2> <p>The last step before exporting should be adding key information to your files. This should be done in the “metadata” panel of the “Library” module. You can type specific information for each photo, or you can adjust all your photos together by creating presets. To do so, click the “presets” drop-down menu, go to “edit presets” and choose “save current adjustments as a new preset” on the first dropdown menu. Then go back to your library, select all the photos you have been working on and apply the preset you have just created to your selection.</p> <figure><img src="https://media.worldnomads.com/learn/photography/post-production/metadata.jpg" alt="Adding metadata to a file in Lightroom." /> <figcaption>Image credit: Andrés Brenner</figcaption></figure> <h2 id="export">Exporting your photos from Lightroom</h2> <p>Once you have finished all your hard work, on the export panel you will find the final adjustment options including export format (now is the time to choose JPEG), quality (always pick the best possible) and size of the image among others. Make sure you change the resolution to 72 dpi when exporting for screens (including social networks) or 300 dpi when sending to a printer.</p> <p>And that’s it! Now you’re ready to share your photos with the rest of the world.</p>Andrés Brenner 0 Andres Brenner A smiling woman on a bus in India.

https://public-web-wn.uat.wng.me/create/learn/photography/7-ways-to-improve-food-photography-when-travelingWhen traveling, food is a huge part of the adventure. When telling stories about travel, food photography is a great way to share. 2022-06-30T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/7-ways-to-improve-food-photography-when-travelinghttps://www.worldnomads.com<p>Traveling and eating new things go hand-in-hand, and discovering local food is a great way to connect with locals and understand their traditions. </p> <p>These tips will help improve your food <a href="/create/learn/photography">photography</a> results, but always keep an eye out for new approaches to shooting your dishes and let your imagination be your guide. <a href="/explore/southeast-asia/food-in-vietnam-cambodia-and-laos">Food</a> photography takes dedication. But when it comes to getting great photos of food, the bad news is that dedication to achieving the perfect shot might mean eating your food once it’s gone cold.</p> <ul> <li><a href="#2">Food is the story</a></li> <li><a href="#3">Make it look good enough to eat</a></li> <li><a href="#4">Light it right</a></li> <li><a href="#5">Be original with framing</a></li> <li><a href="#6">Choose the right lens</a></li> <li><a href="#7">Useful extra tools</a></li> </ul> <h2 id="2">Food is the story</h2> <p>When taking a photo of the pad Thai you just got at a local <a href="/explore/eastern-asia/japan/best-japanese-markets">market</a>, you are shining light on part of Thailand’s rich culture and legacy. The art of cooking is sprinkled through stories of colonization, war, independence, and migration along with the spices, ingredients, tastes and textures from around the world mixed in a single dish.</p> <p>Take advantage of everything that you have at hand to create a context for your dish: objects such as cutlery, glasses, grinders, tablecloths, cups and jars will tell a lot about the location or region where the recipe comes from. If you add some of the key ingredients and dressings to the frame, you will be giving clues about the origins and variations of this delicacy.</p> <figure><img src="https://media.worldnomads.com/LearnImages/food-photography-in-article1.jpg" alt="Thai street food in Bangkok, shrimp tempura with vegetables" /> <figcaption> Thai street food in Bangkok, shrimp tempura with vegetables. Photo credit: Getty Images / lechatnoir</figcaption></figure> <h2 id="3">Make it look good enough to eat</h2> <p>Once you get your food order, the first thing to do (yes, before you try a bite) is to find the main subject of your photo and to make it stand out by creating a background that works together – but does not compete – with it. The trick is to set up the table in a way that you get the best out of textures, colors, patterns and lines.</p> <p>There are no rules of thumb, but great contrast can be achieved by positioning your dish over dark or neutral backgrounds, while patterns and lines can be smartly used to drive the eyes to the main object. Bright colors will catch the eye so it’s wise to keep them to the center of attention of your composition.</p> <p>When introducing complementary items to tell your story be careful not to oversaturate the frame with too much information – you still need your dish to be the protagonist.</p> <h2 id="4">Light it right</h2> <p>Food is enjoyed by your eyes first. To achieve a great food photo, it’s essential to understand how light interacts with, and affects food. A photo of food with poor light can make the best dish look unappealing.</p> <p>If you are traveling, you might not have packed your fancy lighting equipment so rather than your camera flash or phone torch, natural light will be your best ally. A good strategy to get interesting and soft natural light on your subject is to place it close to a window and, at the same time, protect it from being hit by direct hard light. You can use any kind of diffuser that you may have close by, for example, a white curtain. Avoiding deep blacks is also important to make the dish stand out: any other white object – such as a sheet of paper – will work to reflect light into the shadows.</p> <figure><img src="https://media.worldnomads.com/LearnImages/food-photography-in-article2.jpg" alt="Rustic Italian Pizza " /> <figcaption> Rustic Italian pizza. Photo credit: Getty Images / Michael Barrow Photography</figcaption></figure> <h2 id="5">Be original with framing</h2> <p>Once you have the light you want for your shot, it’s time for action. Play around with as many frames as you can. Try the popular overhead, from-the-table and side shots but also get creative and locate your point of view at different angles. Whatever shot you try, keep an eye on getting the horizon leveled. Always remember that food photography is not just about the dish, but also about its story and where it comes from. A rich set of wider shots that put things in context will result in more powerful details.</p> <p>And keep in mind the <em>less is more </em>rule: get rid of anything that adds noise or distraction to the story you want to tell.</p> <h2 id="6">Choose the right lens</h2> <p>When it comes to lenses and traveling you should also think about weight.</p> <p>Generally speaking, prime lenses are the best: they are faster, sharper and lighter than zoom lenses. They will allow you to achieve a shallower depth of field which for food photography looks amazing, but at the same time, they offer just one focal length per lens. This is a big downside when traveling unless you are up for carrying a lot of weight distributed in various prime lenses, which would be the only way to achieve cool details but also wider context shots.</p> <p>On the other hand, a zoom lens such as a 24-70mm f2.8 will offer you a great variety of possible shots still with a beautiful and fast aperture in just one lens, meaning less weight and less hassle – no need to change lenses, no worries about potentially getting your camera’s sensor dirty.</p> <figure><img src="https://media.worldnomads.com/LearnImages/food-photography-in-article4.jpg" alt="Sashimi bowl" /> <figcaption> Freshly made sashimi bowl. Photo credit: Andres Brenner</figcaption></figure> <h2 id="7">Useful extra tools</h2> <p>Besides your camera and lenses, there are some other light and affordable accessories that can help you overcome unexpected situations with style.</p> <p>A tripod is always handy to avoid <a href="/create/learn/photography/camera-or-phone">camera</a> shake, especially if you are shooting with low light during dinner. If that’s too heavy, you can always look for the lighter option of a mini tripod but just make sure it’s strong enough to support the camera you will be shooting with.</p> <p>ND Filters can be attached to your fast lenses to be able to shoot at a low aperture like f1.4 even in bright conditions. By taking a couple of ND filters with you on your trip, you will make sure you can shoot at a shallow depth of field no matter what.</p> <p>Depending on where you travel to, a camera raincoat could be a must especially if you are going to a tropical area and don’t want to come back from your trip either with no photos at all or with a sunken camera.</p>Getty Images/Nazar Abbas Photography 01271294789

https://public-web-wn.uat.wng.me/create/learn/photography/camera-or-phoneFormer World Nomads scholarship winner Andres Brenner shares his tips on whether to use your smart phone or camera to capture your travel memories.2022-05-04T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/camera-or-phonehttps://www.worldnomads.com<p>Traveling is one of the most beautiful and meaningful ways of spending time, taking you to <a href="https://www.worldnomads.com/explore">incredible places</a> that will blow your mind and to unexpected situations that help you connect with yourself.</p> <p>Once back home, photos and videos are arguably the best way to recall how all that felt and to bring all experiences back to life and live them again.</p> <p>The dilemma of whether to take a camera on your trip is a very personal one. Each traveler will have their own arguments in favor or against it, but the truth is that nowadays it looks like the discussion won’t be about choosing between taking a camera or a phone, but more about adding a camera to your backpack. Your phone is always with you, while a camera is now an extra. To pack or not to pack is a decision to be made based on each traveler’s needs.</p> <ul> <li><a href="#1">Phone or camera?</a></li> <li><a href="#2">What will you be taking photos for?</a></li> <li><a href="#3">What sort of trip will you be photographing?</a></li> <li><a href="#4">How easy will it be to travel with camera gear?</a></li> <li><a href="#5">What quality are you after?</a></li> <li><a href="#6">What level of performance do you want?</a></li> <li><a href="#7">What format do you want?</a></li> <li><a href="#8">Connecting to Wi-Fi</a></li> <li><a href="#9">Battery life</a></li> <li><a href="#10">Lenses and accessories</a></li> <li><a href="#11">Image editing</a></li> </ul> <h2 id="1">Phone or camera?</h2> <p>Every traveler wants stunning photos of their trips, but things get blurry when it comes to deciding between packing a bulky camera or just freeing up some extra memory space on your phone. Here are a few things to keep in mind when choosing between a phone or a camera for travel photography.</p> <figure><img src="https://media.worldnomads.com/LearnImages/camera-or-phone-in-article-4.jpg" alt="Smartphone phone taking a picture" /> <figcaption>Taking a photo with a smartphone. Photo credit: Getty Images / Csondy</figcaption></figure> <h2 id="2">What will you be taking photos for?</h2> <p>In the last few years, phones have evolved so much that their image quality certainly competes with some of the best consumer cameras. One of the first questions that will definitely help is knowing what you will be using your content for; is it to share with friends on your social networks? Are you an aspiring content creator and would like to increase your audience with outstanding images? Is there a chance that you will need your shots to be included in a professional project in the future?</p> <p>Answers to these questions will start to tilt the scale towards one or the other side, but it is the combination of this first factor and many others that will give you a certain idea of what best fits your needs.</p> <h2 id="3">What sort of trip will you be photographing?</h2> <p>Admiring the <a href="/create/learn/photography/a-pro-photographers-guide-to-photographing-the-northern-lights">Northern Lights</a>, sunbathing at the <a href="/explore/southeast-asia/indonesia/exploring-west-papua">Raja Ampat</a> archipelago or hiking in the <a href="/travel-safety/southern-asia/nepal/nepal-mountain-safety">Himalayas</a>? Every trip is different and there is not a general rule of thumb or a professional consensus about which kind of gear is best for a certain trip: your itinerary will give you its own clues. Destination, weather, and the kind of activities you will be performing during your journey are key to deciding your photo equipment. Does your device match these conditions?</p> <figure><img src="https://media.worldnomads.com/LearnImages/camera-or-phone-in-article-3.jpg" alt="Photographer on mountain" /> <figcaption>Photographer on top of a mountain. Photo credit: Getty Images / Witthaya Prasongsin</figcaption></figure> <h2 id="4">How easy will it be to travel with camera gear?</h2> <p>Think about the weight and size of your chosen tool, combined with the means of transportation during your travels, which are crucial to your comfort. If you are taking a gap year to backpack around the world traveling light will be a priority, but if you’re going to a beach for a week and moving around by car or taxi, weight and size of a camera will be something that won't bother you at all.</p> <h2 id="5">What quality are you after?</h2> <p>Most phones deliver excellent photo and video quality, and most of us won’t be able to tell the difference between footage taken on a phone versus a camera. But other functions, such as sound recording, grain, and dynamic range, will be superior on a digital camera.</p> <h2 id="6">What level of performance do you want?</h2> <p>When it comes to performance, there is a lot to keep in mind, both in phones and cameras. While a camera’s image stabilization has been considerably improved with 5-axis image stabilization built-in that lets you zoom, snap close-ups, and capture night scenes with great clarity, the digital stabilization of high-end phones looks astonishing, too. However, if you also want to access manual shooting, being able to play with focus while filming, wide opening your diaphragm, setting detail your white balance, and meticulously choosing your shutter speed you might need to go for a camera. Also, with a phone, you might never match a camera in low-light photography.</p> <figure><img src="https://media.worldnomads.com/LearnImages/camera-or-phone-in-article-6.jpg" alt="Smiling photographer" /> <figcaption>High-performance photography equipment. Photo credit: Getty Images / Westend61</figcaption></figure> <h2 id="7">What format do you want?</h2> <p>Both phones and cameras allow you to film or take photos in a great variety of formats, but if you are planning to create videos for social networks, such as IG or TikTok, you might find it much easier and more comfortable to film in a vertical format (9:16) with your phone. Turning your camera 90 degrees just feels odd.</p> <h2 id="8">Connecting to Wi-Fi</h2> <p>Although most cameras have Wi-Fi connection to download your photos directly to your phone, if you are a content creator, influencer or just a devoted Instagrammer or TikToker, it will always be easier and faster to share what you have natively created with your phone. Also, for live streaming, a camera won’t be able to help.</p> <h2 id="9">Battery life</h2> <p>It’s not only about how long batteries last but also about how many batteries you will need to bring with you and how bulky camera-battery chargers are. While your phone may last all day without needing to be recharged, taking extra batteries for your camera plus a battery charger might be a pain if you are traveling for a long time or to remote areas.</p> <h2 id="10">Lenses and accessories</h2> <p><a href="/create/learn/photography">Photography</a> is all about light, and before getting to the sensor light travels through a lens. The quality of your lens and its inner composition will define the sharpness of your image, will let you play with different depths of field, and will be responsible for a beautiful bokeh. These days, phones incorporate several good quality lenses to give the photographer various options that are more than enough for the average traveler, but if you are looking for an artisan look there is nothing like an interchangeable lens camera.</p> <p>The bigger and heavier the device, the bigger and heavier its accessories. If you are a keen photographer, you might also consider taking filters, a tripod (for your camera) or mini tripod (for your phone) and a stabilizer and microphone if you think about shooting some videos too. All these accessories – and their weight – should also come into consideration when choosing your preferred photo device for your trip.</p> <figure><img src="https://media.worldnomads.com/LearnImages/camera-or-phone-in-article-5.jpg" alt="Camera and accessories" /> <figcaption>Camera and accessories. Photo credit: Getty Images / Aramyan</figcaption></figure> <h2 id="11">Image editing</h2> <p>Your photo isn’t finished yet when you hear the click of the shutter, that’s why editing capabilities of the files you captured are vital for flexibility in post. Phones include built-in editing tools that are good enough to share amateur content on social networks, but unless you have a high-end phone, cameras will offer a greater variety of professional formats for both photo and video files.</p>Getty Images/ArisSu 0 Person holding a camera

https://public-web-wn.uat.wng.me/create/learn/photography/how-to-master-drone-photography-and-filmmakingDrone technology has rapidly changed in the last few years, as have the rules around where you can fly.2024-10-28T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/how-to-master-drone-photography-and-filmmakinghttps://www.worldnomads.com<ul> <li><a href="#licence"> Do you need a licence to fly a drone?</a></li> <li><a href="#safe"> Tips for flying your drone safely</a></li> <li><a href="#plan"> For better photos, plan ahead</a></li> <li><a href="#different">How to make your work stand out</a></li> </ul> <p class="p1">When I wrote an article in 2017 about drones, I flew a DJI Phantom 4 drone, one of the larger white quadcopters that have become synonymous with drones. It went everywhere with me and <a href="/travel-insurance/whats-covered/baggage">needed its own backpack</a>. Over the last several years, technology has changed and now I have a drone that fits in the palm of my hand. As technology has improved and changed, the popularity of drones has increased, and they have become more affordable. The drone I have now cost just a third of what my previous drone did, yet it is just as capable. With all these changes and some high-profile drone incursions and incidents, the rules have changed too.</p> <p>When traveling with a drone, here are some things you need to consider.</p> <figure><img src="https://media.worldnomads.com/learn/create/maize-maze.jpeg" alt="A maize maze in Cambridgeshire, UK." /> <figcaption>A maize maze in Cambridgeshire, UK. Photo credit: Ryan Howell</figcaption></figure> <h2 id="licence">Do you need a licence to fly a drone?</h2> <p>This depends on a number of factors and will depend on the country you intend on flying in. It’s always advisable to check with the relevant Aviation Authority to be sure. In the UK and the USA, for example, almost all drones/operators need to be <i>registered</i> and display the registration/operator number on the aircraft.</p> <p>In both the UK and the USA, the magic number in terms of your drone’s weight is 250g. The rules differ depending on the weight and your intended use of the drone, but aircraft under 250g in weight have the least rules and restrictions.</p> <p class="p1">Registration comes at a cost, in the UK it’s currently around £11 and in the USA, it’s around $5.</p> <p>You must always adhere to local ‘drone codes’, privacy rules and laws and, <b>always</b>, fly safely.</p> <p>Flying a drone in an unsafe manner will land you in trouble with the Aviation Authority and this can and does result in large fines and the real threat of prison. </p> <p>Check if you need a licence/registration/operator ID:</p> <p>(UK) <a href="https://register-drones.caa.co.uk/drone-code" target="_blank">https://register-drones.caa.co.uk/drone-code</a></p> <p>(USA) <a href="https://www.faa.gov/uas/getting_started/register_drone/" target="_blank">https://www.faa.gov/uas/getting_started/register_drone/</a></p> <p>(Europe, by Country) <a href="https://www.easa.europa.eu/domains/civil-drones/naa" target="_blank">https://www.easa.europa.eu/domains/civil-drones/naa</a><br /><br /></p> <figure><img src="https://media.worldnomads.com/learn/create/pier.jpeg" /><figcaption>A Pier with sea defenses. Photo credit: Ryan Howell</figcaption></figure> <h2 id="safe">Tips for flying your drone safely</h2> <p>As indicated above, the rules you must adhere to depend on the drone you are using and what you are doing, but there are some rules that apply to almost all flights, in almost all countries. When deciding if you are flying safely, these rules (which are part of the UK Drone Code) are a good measure:</p> <ul class="ul1"> <li class="li1">Keep your drone within Visual Line Of Sight (VLOS)</li> <li class="li1">Don’t fly above 120m (400ft) from the Earth’s surface</li> <li class="li1">Stay at least 50m from people (and don’t fly over them)</li> <li class="li1">Stay at least 150m from residential, recreational, commercial and industrial areas</li> <li class="li1">Never fly in an airport’s Flight Restriction Zone (FRZ)</li> </ul> <p>The onus is always on the aircraft operator to ensure every flight is safe and within the rules.</p> <p>The more things you can do to make sure your flight is <a href="/responsible-travel/make-a-difference/participation/ethical-drone-photography-filming">as safe and responsible as possible</a>, the better position you’ll be in if something does go wrong. I call it due diligence.</p> <h2 id="plan">For better photos, plan ahead</h2> <p>I used to fly aimlessly on location, hoping that I would see <a href="/create/learn/landscape-photography">something worth photographing</a>. I’d get lots of flight time in, but I wouldn’t be entirely happy with the photos. If you invest time before going on location with your drone, you’ll find that your flights are more productive, and you achieve more in less time. Average battery life is around the 20-25-minute mark, so the more you can do without changing batteries, the better.</p> <p class="p1">When I reach the location now, I know exactly where I’m going to take off and land from, I know where the sun will be, I know about any hazards (pylons, cliffs, airports etc) and I know specifically what I’m going to photograph. I tend to use 50% of the battery and I’m done. I come away from flights now with three times as many photos.</p> <p>These are some really useful apps for planning flights:</p> <p><b>Altitude Angel</b> is an app that allows you to see details of restricted flight space, NOTAMs (Notices to Airmen) and other information that relates to hazards and airspace information. This app also lets you log a drone flight, always a good idea, and see drone flights logged by other pilots. Altitude Angel will also email you a pre-flight report, showing you location-specific information, great for that ‘due diligence. This app works for many countries across the World.</p> <p><b>Advisory</b> lets you check the weather, in detail and my favourite bit of this app is the ability to see <i>exactly</i> where the sun will be at any given time. Knowing where the sun (and light) will be, is a really important factor when planning for photography.</p> <p><b>UAV Forecast</b> lets you check lots of factors that help you decide wherever you should fly or not, the wind speed, cloud cover, chance of rain, location of airports and how many satellites your drone may connect to. You can set the limits in this app to match your drone or local rules.</p> <p><b>Google Earth</b> is the best app for exploring the terrain of your flight location. I use it in 2D and 3D modes to get a real feel for what I can expect when I arrive on location. I know if there’s a hill to climb or avoid. I decide where I’m going to set up my take-off and landing by using Google Earth. I’ve stumbled across some great photo opportunities from just browsing Google Earth.</p> <figure><img src="https://media.worldnomads.com/learn/create/plane-wreck.jpeg" /> <figcaption>DC3 Plane Wreck, South Iceland. Photo credit: Ryan Howell</figcaption></figure> <h2 id="different">How to make your work stand out</h2> <p>If you fly a drone and take photos, then you’re an aerial photographer. There are millions of you. By following the planning advice above, you’ll make sure you know what it is you want to photograph before you even touch the flight controller. This will increase your chances of finding that one image that no one else has taken or seen. Here are some other tips:</p> <p><b>Only share your best work</b> – You’ll take several photos, but one will be the best. Only share that one photo, archive the rest. You want people to see your best photos, no one likes mediocre.</p> <p><b>Rotate it</b> – Sometimes I take a photo and something doesn’t feel <i>quite</i> right. Try rotating the photo a few times, you’ll be surprised how different you’ll feel about it.</p> <p><b>Nadir</b> <b>is best</b> – A photo of the lens looking directly down on your subject often gives a very unique perspective. These shots, referred to as nadir, will stand out, because it’s a view people aren’t used to seeing.</p> <p><b>Perspective</b> – Try to include something in your photo that gives its viewer an idea of scale. Sometimes aerial photos can be underwhelming because it’s not clear how amazing the photo really is. Include something that everyone can relate to the size of.</p> <p><b>Don’t be afraid of the water</b> – Fly over water, it’s scary for the first few (hundred) times, but waves look fantastic from above. You should ensure that your drone isn’t set to automatically land if it loses connection, instead have it return to the take-off point unless that’s a boat that’s on the move.</p> <p><strong>Explore close to home</strong> <span>–</span> Don’t underestimate what’s right on your own doorstep. All flights increase your experience and you’ll find some hidden gems just down the road. Remember, you live where others travel.</p>Ryan Howell 0 Ryan Howell Durdle Door, Dorset, UK shot from above

https://public-web-wn.uat.wng.me/create/learn/photography/pro-travel-shotsMulti-award-winning photographer Dan Avila shares how he shot and edited five standout travel photos.2020-06-30T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/pro-travel-shotshttps://www.worldnomads.com<ul> <li><a href="#joy">Elephant joy in Zambia</a></li> <li><a href="#Bison">Bison in Yellowstone</a></li> <li><a href="#caves">Ice caves of Svalbard </a></li> <li><a href="#Colorado">Colorado trainyard</a></li> <li><a href="#stowaways">Antarctica's stowaways</a></li> </ul> <h2 id="joy">Elephant joy in Zambia</h2> <p>I thought to myself, “This is it; you could actually die today.” I was in a canoe, just starting to navigate a seven-mile (12-km) section of the lower Zambezi River in Zambia. The first bull hippo charge caused me to contemplate my mortality, but he was only one of dozens of hippos encountered on that trip, causing my adrenalin to pump so hard I could feel my eyeballs throbbing.    </p> <p>It’s a strange feeling, yet I think this hyperaware state made me a better photographer on the day.</p> <p>At the end of the hippo-canoe trip, this elephant and his pals ran into the water, sending the hippos into a quick retreat. As soon as he emerged from the water, his drab grey skin become wonderfully reflective of the late afternoon sun.  I knew the shot I wanted – a direct stare, with the sun on his side. I positioned myself perpendicular to the sun, ready to shoot him head on and prepared the camera with the right settings for the situation. After a swim with his buddies, I got the stare, with the ears out, in perfect light. I love this shot because it reminds me of the pure fun this guy and his pals were having in that hippo-filled river.</p> <h3>Camera gear </h3> <p>Camera: Canon 1DX Mark II DSLR body. <br />Lens: Canon 200-400mm f/4 L with its in-built tele-extender that increases its reach to 520mm without any loss in sharpness. It’s a heavy setup but allows me to fill the frame with the subject.</p> <h3>Settings</h3> <ul> <li>Aperture f/4 – the widest aperture available. It allowed me to blur out the background, isolating the subject. It also provides the greatest amount of light to hit the sensor allowing for faster shutter speeds</li> <li>Shutter 1/640<sup>th</sup> of a second – certainly fast enough for this slow-moving guy, ensuring a super-sharp result.</li> <li>Focal length 340mm – mid-range on the zoom</li> <li>ISO 1000 which is quite high, necessary because of diminishing daylight and well within acceptable noise parameters for this camera</li> <li>Shot in RAW (always)</li> </ul> <h3>Editing</h3> <p>This was shot so late in the day, that there was no harsh contrast to contend with.  I processed the RAW image in Adobe Lightroom. </p> <ul> <li>I reduced the brightness in the sky</li> <li>I globally warmed up the image to enhance the sunset feel</li> <li>I used a brush to selectively process the elephant, keeping the shadows dark but balanced, and enhancing the clarity, sharpness and texture of the skin.</li> </ul> <br /><br /> <figure><img src="https://media.worldnomads.com/learn/photography/buffaloDANAVILA.jpg" alt="BISON IN YELLOWSTONE" /> <figcaption> Photo credit: Dan Avila</figcaption></figure> <h2 id="Bison">Bison in Yellowstone</h2> <p><a href="/explore/north-america/united-states/the-best-american-adventures-youve-never-heard-of">Yellowstone</a> National Park in winter is a Narnian wonderland. In the warmer months, millions of people descend on the park, but in mid-winter, there are no crowds in this phenomenal landscape, which provides incredible photo opportunities.</p> <p> The American Plains Bison is a fascinating photographic subject and easy to locate with a guide. Setting out in a specialist snow truck, with temperatures hovering around -4<span>°F (-</span>20°C), I knew the exact bison image I wanted to capture. It had to be head-on and shot from a low angle to capture the power and shape of this prehistoric beast.</p> <p>We approached this small herd making a fast march on a snowy track and put the plan into action. Our guide pulled out about 500ft (150m) in front and my wife, Zora, and I jumped out and took a position in their direct path. I shot from a kneeling position – a little below snout height, to really capture their oversized necks. The big bull led the pack and didn’t slow or deviate at all. As I fired off the final shot, Zora dragged me up by the shoulder into the truck just in time, as the bison passed by in all their snow-covered glory.</p> <h3>Camera gear </h3> <p>Camera: I shot this on a Fujifilm GFX50S medium-format, mirrorless camera. Medium format is a slower shooting option compared with DSLR, but the image quality, resolution and dynamic range are breathtaking.<br />Lens: Fujifilm GF 120mm Macro R LM OIS WR. In hindsight, a longer lens would have been a safer alternative, but this focal length allows for some nice compression and subtle isolation of the dominant bull.</p> <h3>Settings</h3> <ul> <li>Aperture f/4 – the widest aperture available</li> <li>Shutter 1/160<sup>th</sup> of a second – barely fast enough and really should be at least 1/400<sup>th</sup> for moving animals</li> <li>Focal length 120mm</li> <li>ISO 320</li> <li>Shot in RAW (always)</li> </ul> <h3>Editing</h3> <p>I processed the RAW image in Adobe Lightroom. </p> <ul> <li>I set black and white points for maximum contrast</li> <li>I manually adjusted the white balance, using the black areas as a reference</li> <li>I painted on exposure in dark areas and selectively reduced highlights in overexposed zones</li> <li>I increased sharpness, clarity, dehaze and contrast to bring out the details of the ice.</li> </ul> <br /><br /> <figure><img src="https://media.worldnomads.com/learn/photography/icewcaveDANAVILA.jpg" alt="ICE CAVE" /> <figcaption>Photo credit: Dan Avila</figcaption></figure> <h2 id="caves">Ice caves of Svalbard</h2> <p>Taking adventure photos just isn’t the same when the process is too easy, so nailing the shot in a pitch-black, high-arctic glacial ice cave is super satisfying. </p> <p>Getting to the ice cave on this Norwegian archipelago <span>is half the fun. We ventured out into the great white wilderness on a dog sled with an armed guide – this is polar bear country. Cave access is via a small opening where we unceremoniously reversed through an inconspicuous entry before the caverns of silky smooth ice layers became illuminated by our headlamps. With our headlamps off, the inky darkness is so absolute, it feels heavy. </span></p> <p>Using my widest lens on a medium-format camera, I framed the shot on a sturdy tripod and preset focus. Zora sat completely still on the ledge and focused her headlamp directly toward the camera.  I set the shutter release for a two-second delay to ensure I would not cause any camera shake by hand. As soon as I heard the beep indicating the 10-second exposure had started, I used my headlamp to paint all the surfaces of the cave with light, never holding still on a single spot, trying to be as even as possible. While painting, reflected light is accumulating on the sensor, building the image. The final reveal is incredible – capturing the magic of a small space in this 1,000-year-old permafrost.</p> <h3>Camera gear</h3> <p>Camera: Fujifilm GFX50S medium-format, mirrorless camera<br />Lens: Fujifilm GF 23mm f/4 R LM WR</p> <h3>Settings</h3> <ul> <li>Aperture f/8 – the sharpest setting with good depth of field.</li> <li>Shutter 10 seconds</li> <li>Focal length 23mm which is approximately 16mm equivalent on a full-frame DSLR</li> <li>ISO 400</li> <li>Shot in RAW (always)</li> </ul> <h3>Editing</h3> <p>I processed the RAW image in Adobe Lightroom. </p> <ul> <li>I set black and white points for maximum contrast</li> <li>I manually adjusted the white balance using the black areas as a reference</li> <li>I painted on exposure in dark areas and selectively reduced highlights in over-exposed zones</li> <li>I increased sharpness, clarity, dehaze and contrast to bring out the details of the ice.</li> </ul> <p> </p> <figure><img src="https://media.worldnomads.com/learn/photography/trainDANAVILA.jpg" alt="MAN WITH STEAM TRAIN" /> <figcaption>Photo credit: Dan Avila</figcaption></figure> <h2 id="Colorado">Colorado trainyard</h2> <p><a href="/explore/north-america/united-states/skiing-in-colorado">Colorado </a>has a proud American history. As part of a 10-day shoot across the state, we had the chance to capture its <a href="/explore/north-america/united-states/native-american-journeys">Native America</a>n, Western, and industrial heritage. Steam locomotives and the people who still work with them, embody the pure grit and endurance of the American pioneers, so when we were granted access to the Durango trainyard, we knew we were in for some amazing photo opportunities. With perfect blue skies, a fired-up locomotive and a willing engineer caked in coal, I got this shot of a proud man and his machine.</p> <p>My approach was to capture strength and pride. I used a wide-angle lens from a low position to shoot up at the subject – directing him to face down the line, in the same direction as the train. As the coalsmoke billowed, it framed the shot nicely and added impact to the image.</p> <h3><span>Camera gear </span> </h3> <p>Camera: Fujifilm GFX100 medium-format, 102-megapixel mirrorless camera<br />Lens: Fujifilm GF 32-64mm f/4 R LM WR</p> <h3>Settings</h3> <ul> <li>Aperture f/4.5</li> <li>Shutter 1/100<sup>th</sup></li> <li>Focal length 32mm which is approximately 23mm equivalent on a full-frame DSLR – point of focus is the engineer</li> <li>ISO 250</li> <li>Shot in RAW (always)</li> </ul> <h3>Editing</h3> <p>I processed the RAW image in Adobe Lightroom. </p> <ul> <li>I set black and white points for maximum contrast, and then boosted contrast, clarity and texture to achieve a gritty finish</li> <li>I manually adjusted white balance and colors to achieve a chromic, industrial color palette</li> <li>I used an adjustment brush to paint on some extra brightness, sharpness and clarity on the engineer. The image had enough range in the RAW file to achieve a similar outcome to using a strobe light on the subject.</li> </ul> <p> </p> <figure><img src="https://media.worldnomads.com/learn/photography/antarcticaDANAVILA.jpg" alt="ANTARCTICA VISITORS" /> <figcaption>Photo credit: Dan Avila</figcaption></figure> <h2 id="stowaways">Antarctica's stowaways</h2> <p>Antarctica is completely astounding and defies expectations. When the sun sits low on the horizon and the wind drops, there is nowhere on earth with more interesting light and with wildlife so ambivalent or curious about human explorers. It is a photographic wonderland.</p> <p>This shot was taken in Yankee Harbour, off the Antarctic Peninsula. Expeditioners in bright red jackets were returning from a visit to a gentoo penguin colony to the landing zone. The pair of Gentoos in this image filed onto the path and joined the explorers, doing their best to remain inconspicuous, as if planning a stowaway. </p> <p>When I noticed this happening, I got into position to capture this pair in context with the human visitors. I used a medium telephoto lens to compress the scene and shot from my knees at penguin height. The position of the sun was almost directly to my right, meaning that the polarizing filter on my lens cut out all glare, providing amazing clarity in this capture.</p> <h3>Camera gear</h3> <p>Camera: Fujifilm GFX100 medium-format, 102-megapixel mirrorless camera<br />Lens: Fujifilm GF 120mm Macro R LM OIS WR with a circular polarizing filter</p> <h3>Settings</h3> <ul> <li>Aperture f/6.4</li> <li>Shutter 1/250<sup>th</sup> of a second</li> <li>Focal length 120mm which is approximately 85mm equivalent on a full-frame DSLR – point of focus is the lead penguin</li> <li>ISO 100 (base ISO)</li> <li>Shot in RAW (always)</li> </ul> <h3>Editing</h3> <p>I processed the RAW image in Adobe Lightroom. </p> <ul> <li>I did very little to this RAW file</li> <li>I set black and white points for appropriate contrast, then reduced highlights to bring back detail in the snow and ice.</li> </ul>Dan Avila 0 An elephant crosses a river

https://public-web-wn.uat.wng.me/create/learn/photography/do-you-have-what-it-takes-to-be-a-photojournalistAn unexpected turn of events may call for a travel photographer to switch into photojournalism mode, advises seasoned photographer Nicola Bailey.2020-02-05T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/do-you-have-what-it-takes-to-be-a-photojournalisthttps://www.worldnomads.com<p>Travel photography may be rewarding, but it also contains an element of risk. If you’re embarking on a photographic career focused on travel, keep in mind that you may find yourself facing situations that are unsettling and even traumatic.</p> <ul> <li><a href="#events"> Unexpected events </a></li> <li><a href="#great"> Why travel photographers can make great photojournalists </a></li> <li><a href="#beyond"> Beyond the technicalities </a></li> <li><a href="#yourself"> Looking after yourself</a></li> </ul> <h2 id="events">Unexpected events</h2> <p>Over the years, I’ve witnessed a lot of extreme poverty and been in situations where culture shock is real. I’ve also seen the fallout from a landslide in Pakistan, experienced an earthquake in <a href="/travel-safety/middle-east/turkey">Turkey,</a> and had to make a rapid exit from the mountains in Nepal during a Maoist uprising.</p> <p>One of the biggest challenges I’ve faced as a photographer, however, occurred in Bangladesh. I was there doing some work for a not-for-profit while also enjoying the beauty this small country offers – from the mountains of Chittagong to the tea plantations of Srimangal. It was while I was in the capital city of Dhaka, though, that a garment factory, Rana Plaza, collapsed. The tragedy killed 1,134 people, mostly women.</p> <p>All of a sudden, I found myself in amongst the rubble photographing the crushed bodies of the workers and coming face to face with families looking for their loved ones. Over the following days, I met and photographed survivors in both the hospitals and in their communities. For the first time, I understood what collective trauma looked like.</p> <p>At that moment, I was fuelled by adrenaline and outrage at what had happened. I felt it was important to take images that would capture the horror of this preventable accident and inspire change. I wanted to do what I could to stop anything like this from happening again.</p> <p>In the end, I won some awards for that work, and did what I could to raise awareness of the issues around garment worker rights. It was sometime later though that I finally had the space to reflect on the experience and think about lessons I could pass on to anyone finding themselves in a similar situation.</p> <h2 id="great">Why travel photographers can make great photojournalists</h2> <p>There are many aspects of travel photography that can be useful in a <a href="/travel-insurance/whats-covered/natural-disasters">disaster</a> or conflict setting. Travel photographers are experienced at capturing the locations, people and events that work together to create a complete picture of a place.</p> <p>Working as a photojournalist requires much the same approach. While every situation is different, disasters and other newsworthy events typically require the coverage of those three things too.</p> <p>Travel photographers often want their photos to tell a story, just as photojournalists do. While a travel photographer may want to shine a light on culture, for example, a photojournalist may wish to highlight an issue. Both missions require skills in building powerful narratives through images.</p> <p>While storytelling is important, if it’s done well one image can speak volumes about a situation and tell a powerful story in its own right. Some of my strongest photos from Bangladesh are the ones that stand out without being flanked by any other images. A woman crying, family members holding up photos of their loved ones. They speak to feelings of loss, love and grief; emotions that are felt by everyone without distinction.</p> <p>In my view, taking images that speak to our collective emotions is the best way to have a lasting impact on the public consciousness.</p> <h2 id="Beyond">Beyond the technicalities</h2> <p>Many travel photographers, particularly those with a focus on <a href="/create/learn/photography/portrait-photography-etiquette" target="_blank" title="How to Take Great Portraits">portraiture</a>, will be skilled at building rapport with their subjects despite language or cultural barriers. Photojournalists typically require the same skillset, however, they may also find themselves up against additional layers of trauma, requiring them to be able to express empathy and understanding.</p> <p>Remember to be a human being before being a lens in someone’s face. Even if you don’t speak the same language, a simple look or gesture can be enough to communicate that you feel their pain and empathize with what they’re going through. The ability to connect is not only an important personal trait, but it will also come across in the quality of work you produce.</p> <p>Along with empathy, photojournalists also need resilience, energy and courage. Accessing your inner strength during those challenging situations will help you get the photos you need.</p> <p>While getting great shots is important, so is ethics. Intuition is often a good guide as to what’s right and wrong, but keeping professional guidelines in the back of your mind can make the decision-making easier. The Society of Professional Journalists in the US has a <a href="https://www.spj.org/ethicscode.asp" target="_blank" title="SPJ Code of Ethics">code of ethics</a>, as do journalism bodies and news outlets in many other countries. Typically, a code of ethics highlights what is acceptable from both a humane and media perspective.</p> <h2 id="yourself">Looking after yourself</h2> <p>Numerous studies show that photojournalists who cover traumatic events often experience physical, emotional, interpersonal and cognitive stress.</p> <p>As a travel photographer who may inadvertently find themselves in a situation that’s particularly hard, it is most important to look after yourself. There’s not a lot of point in winning awards if you aren’t around to enjoy them.</p> <p>Think carefully about the risks you accept and the situations you’re prepared to enter into. Take note of your surroundings and work out the best way to move safely within them. Be mindful and listen to the advice of on-location emergency services for valuable information about safety.</p> <p>While resilience and courage may be needed to get the images at the time, be sure you have appropriate support afterward to assist you to process what you have seen or been through. And don’t be afraid to seek professional help.</p> <p><em>Editor’s note: although getting the story and being first on the scene is every journalist’s dream, heading to unsafe locations such as natural disaster zones can void your travel insurance and make a risky venture downright dangerous. Read your travel insurance policy carefully before you go, and make sure you understand the terms and conditions, limitations and exclusions, and how they might apply to you.<br /><br /><br /></em></p>Nicola Bailey 0

https://public-web-wn.uat.wng.me/create/learn/photography/pro-tips-long-exposure-photographyFrom tripod use to polarizing filters, learn more than just the basics to mastering long exposure photography.2019-11-04T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/pro-tips-long-exposure-photographyhttps://www.worldnomads.com<ul> <li><a href="#tripod">Proper tripod use</a></li> <li><a href="#filters">Filters for the digital world</a></li> <li><a href="#night">Bring on the night </a></li> </ul> <p>In our world of faster and faster modes of transportation, and smartphones with state-of-the-art <a href="/create/learn/photography">cameras</a>, it's perhaps more important than ever to stop and smell the roses or at least take pictures of them.</p> <p>While I’m not an anthophile (a person who loves flowers), there is an endless number of subjects in the natural world for me to focus on. Often these are aspects of nature that are best captured at shutter speeds slower than 1/60th of a second, my traditional cut-off point for handholding a camera. My image of the magnificent Gruta do Lago Azul (Blue Lake Cave) in Bonito, <a href="/explore/south-america/brazil">Brazil </a>(pictured above, shot with a Nikon 810 on a Really Right Stuff tripod set to 10 seconds, f/22, ISO 100) serves as an example. The low ISO allowed for a grainless photo while the f/22 aperture on my Nikkor 14-24mm f/2.8 lens gave me an almost limitless depth of field.</p> <h2 id="tripod">Proper tripod use</h2> <p>Just mounting a camera on a tripod doesn’t guarantee a sharp image, especially on a digital single-lens reflex camera (DSLR). When a DSLR’s shutter release is depressed, the mirror that allows you to see through the lens flips up out of the way for the sensor to record the image. This rapid movement causes vibration, so even if you’ve put your camera on a timer or you’re using a cable release, the vibration will still occur at the beginning of your exposure.</p> <p>To avoid this movement affecting the image, many cameras allow for the mirror to be locked up out of the way in advance. In this mode, the first depression of a cable release will lock up the mirror; the following will trigger the shutter. A good cable release has the second advantage of allowing the shutter to be locked open in the “B” (bulb) position for exposures longer than the camera’s longest-timed exposure.</p> <p>To make changing from hand-held to tripod a quick transition, I have dedicated quick-release plates on all my camera bodies and my longer lenses. For vertical images, my L-bracket mount keeps the camera on top of the ball head on the tripod rather than fighting gravity with it on the side. When the lens is so big that it outweighs the camera body, it’s better to mount the lens rather than the camera body to the tripod. These longer lenses often have rings on them so they can be rotated from horizontal to vertical positions and everything position in between.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-long-exposure-mark-article2.jpeg" alt="Waterfalls over rocks with moss" /><figcaption>Iriomotejima, Okinawa, Japan. Image credit: Mark Edward Harris</figcaption></figure> <p>Keep in mind that all tripods are not created equal. A tripod made of carbon fiber will be lighter without giving up quality and therefore is the best type for travel photography. Some tripods have the ability to have a weight hung from below the center column to help add stability, especially useful in windy conditions. Carrying an empty sandbag that can be filled on location can be a great asset.</p> <p>When using a tripod, make sure to turn off image stabilization/vibration reduction on a lens that has this option before depressing the shutter. The lens can react to its own vibration when it’s on a tripod in what is known as a feedback loop. I also close the viewfinder window on my DSLR to avoid any ambient light pollution coming in from the back of the camera during a long exposure.</p> <h2 id="filters">Filters for the digital world</h2> <p>Digital <a href="/create/learn/photography/how-to-master-drone-photography-and-filmmaking">photography </a>has greatly reduced, but not eliminated, the need for filters. When I started my career, it was an analog world of daylight and tungsten films. In order to capture the desired results, filters were often needed. Digital has made photography so much easier in terms of attaining proper color temperatures, especially when <a href="/create/learn/photography/portrait-photography-etiquette">shooting</a> in RAW. Since all the camera information is retained in that setting, global adjustments are easy to make in post-production.</p> <p>Two types of filters that cannot be replaced by digital are neutral density (ND) and polarizing filters. Polarizers increase saturation and reduce reflections making them extremely useful in shooting scenes with water while an ND filter cuts down the amount of light that passes through it to the sensor without changing the color balance of the scene. This is extremely helpful when a long exposure is required during the day. The painterly results created with a slow exposure of a waterfall on the Okinawan island of Iriomotejima (pictured above) exposed for 2 seconds, f/22, ISO 50 serves as an example. Loupes, such as those made by Hoodman, can be extremely useful for seeing images on an LCD screen when using ND filters or for reviewing images in bright conditions.</p> <p>Neutral density filters attenuate (reduce) the light by 1 to 10 f-stops depending on its strength. Here are some examples of neutral density filters and their strengths:</p> <p>ND.3 = 1 stop compensation<br />ND.6 = 2 stops compensation<br />ND.9 = 3 stops compensation<br />ND1.8 = 6 stops compensation<br />ND3.0 = 10 stops compensation</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-long-exposure-mark-article3.jpeg" alt="Rock formation in water" /><figcaption>Mono Lake, California, USA. Image credit: Mark Edward Harris</figcaption></figure> <p>A variation of the same ND theme is a graduated neutral density filter. These are often rectangular filters that fit into holders so that they can be adjusted to just the right height - typically around the horizon line in a landscape or cityscape – most often to tame a bright sky. Some photographers use HDR in post-production (combining two or more bracketed exposures of the same scene) for this purpose but if you want to capture the scene in camera as I do, a neutral density graduated filter is an excellent solution.</p> <p>For my image of tufas (porous rocks composed of calcium carbonate deposits) rising out of Northern <a href="/explore/north-america/united-states/the-best-american-adventures-youve-never-heard-of">California</a>’s Mono Lake (pictured above), I combined a Schneider soft edge Graduated Neutral Density 0.9 filter for the sky with a Schneider Neutral Density 4-stop Circular Polarizer which reduced the light for the overall image. The moonlight illuminated the tufas in my Nikon D850’s exposure of 30 seconds, f/22, at ISO 100.</p> <h2 id="night">Bring on the night</h2> <p>For astrophotography, long exposures are mandatory. My photo of an aurora photographed from Alaska’s Chena Hot Springs (pictured below) was shot with a Fujifilm X-Pro2 with an XF 14mm f/2.8 lens set in manual to 7 seconds, f/2.8, ISO 1600. If I were just shooting for the stars, I could go up to a 20 to 25-second exposure with a wide-angle before seeing any movement in them. An aurora, however, dances around too much for that long of an exposure.</p> <p>In low-light situations, long exposures reveal details and open up a world the naked eye cannot see, another part of the magic of our shared medium.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-long-exposure-mark-article1.jpeg" alt="The northern lights shining green over snow-crusted trees" /><figcaption>Chena Hot Springs, Alaska, USA. Image credit: Mark Edward Harris</figcaption></figure>Mark Edward Harris 0

https://public-web-wn.uat.wng.me/create/learn/photography/tips-on-getting-your-work-published-from-a-photo-editorFrom pitching to promotion, Nicola Bailey, Photo Editor at Adventure.com, explains what travel photographers can do to form strong working relationships with photo editors.2019-10-25T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/tips-on-getting-your-work-published-from-a-photo-editorhttps://www.worldnomads.com<p>As both a travel <a href="/create/learn/photography">photographer</a> and the Photo Editor for the travel site <a href="http://adventure.com/?utm_source=worldnomads">adventure.com</a>, I’m in the somewhat unique position of being able to view photography pitches from opposing sides. I look back at my often failed attempts at getting my work published in the early days of my career, and can now reflect with hindsight on everything I was doing wrong. Working as a photo editor has given me the experience to gain a rich understanding of what someone in this role wants from a photographer, and also importantly, what they don’t want.</p> <p>Before building a relationship with a photo editor, it’s important to have an understanding of what it is they do. The role of the photo editor, or picture editor as they are sometimes called, will vary depending on the size of the publication they are working for (and therefore their budget), as well as the type of publication it is, and the type of content they need to create.</p> <p>Generally speaking, the photo editor will work closely with the editors to identify photo needs, collect, review and choose photographs for publication, edit images, position photos within articles, negotiate licensing agreements and fees and allocate and coordinate photography assignments.</p> <p>Instagram and the proliferation of travel bloggers would make you think that the travel photography market is saturated, however, there’s still a demand for high-quality travel imagery. With so much content now digital, photo editors are under the pump to upload a daily continuous stream of unique, quirky, awe-inspiring or helpful travel content. We more than just welcome pitches from travel photographers; we need them. If we can build a relationship with a photographer to work with regularly, then that’s ideal. It makes our jobs easier and means ongoing work for you.</p> <p>So, what are the tricks to creating and maintaining a good working relationship with a <a href="/create/learn/photography/taking-photos-to-next-level-in-post-production">photo</a> editor? Read on to find out:</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/nicolabailey/create-learn-photo-editor-relationship-nicola-article2.jpeg" alt="Many boats rowing down a river with mountains in the background" /><figcaption>Trang An, Vietnam. Image credit: Nicola Bailey<br /></figcaption></figure> <h2>Learn to pitch well</h2> <p><a href="https://www.worldnomads.com/create/learn/photography/how-to-pitch-a-travel-photo-story">The pitch</a> is often the first way the photo editor will find out about you. They receive a lot of pitches and it’s important yours is to the point and addresses everything they need to know. Research the publication before sending your pitch; don’t, for example, suggest a slideshow of images if the publication only ever does long-form visual narratives.</p> <p>Typically include no more than a couple of paragraphs explaining your suggested feature, and ensure there is some kind of a hook. It isn’t enough that you’ve been to India and we don’t want a day-by-day account of your trip. We want to know what interesting visual stories you discovered while there. Once you’ve got your paragraphs, include sample images for the photo editor to look through. If you’ve been published before, it also helps to send links to previously published work.</p> <h2>Do what is asked of you</h2> <p>So your pitch has been approved, hooray! Typically the photo editor will then send you a brief that summarizes the piece you’ll be doing, provides a content deadline, sends you a licensing agreement to sign, and asks for content to be provided in a particular way. The photo editor has developed this format because it works best for them, and so if you want to develop an ongoing relationship, it’s best to help them out. <br /><br />So if they ask for photo captions in a particular format, send them that way. If they want images sized a certain way, do that. Also, if they have set a content deadline, it will be linked to a whole schedule of other content going up on the site and on social networks etc. If you fail to deliver, it can really throw a spanner in the works. Sometimes things do come up and that’s okay, just be sure to discuss them sooner rather than later.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/nicolabailey/create-learn-photo-editor-relationship-nicola-article1.jpeg" alt="Women playing instruments and dressed traditonally" /><figcaption>Omo Valley, Ethiopia. Image credit: Nicola Bailey</figcaption></figure> <h2>Carefully curate and edit your images</h2> <p>When sending through your images, make sure these are carefully curated, tell the story you’re pitching and show consistency with your shoot style and editing.</p> <p>For me, in a travel feature, I like to see a combination of landscapes, <a href="/create/learn/photography/portrait-photography-etiquette">portraits</a> and details to create visual interest though obviously, this may vary depending on the piece. Your editing should be consistent across all images; we don’t need to see that you’ve experimented with every preset in Lightroom.</p> <p>When sending through your images, the photo editor should guide you on how many they expect, but in the event they don’t, choose carefully. Don’t send your best 100; cull to perhaps 20 of the strongest images that tell the story most effectively.</p> <p>Before sending them off, check the metadata and make sure all the relevant information is in there; caption and copyright info in particular.</p> <p>If you have a suggested layout for your photo feature, it can often be helpful to send it through. It demonstrates your vision for the visual progression of your story and shows us photo editors that you're keen to make our jobs easier.</p> <h2>Promote, promote, promote</h2> <p>Finally, all sites want features to generate as much traffic as possible and so if you share the feature widely through your own networks, it helps. It shows us that you are proud of your work and committed to working with us.</p>Nicola Bailey 0 A traveller looks out over a mountain view

https://public-web-wn.uat.wng.me/create/learn/photography/how-to-build-a-photo-essayWondering how to find and construct your own story through images? Learn how from seasoned professional Mark Edward Harris.2019-10-25T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/how-to-build-a-photo-essayhttps://www.worldnomads.com<ul> <li><a href="#subject">Find your subject </a></li> <li><a href="#components">Components of a photo essay</a></li> </ul> <p>Professional photographer Mark Edward Harris has been on photographic <span>assignments that have taken him to more than 100 countries on six continents.<span>  Here, he offers his advice on getting your photo essay ready for publication.</span></span></p> <h2 id="subject">Find your subject</h2> <p>A photo essay is a series of images that make up a story. Simple enough. The key, then, is to find a compelling story to tell visually and, if you want to see the end results in print or online, understand what type of story will most likely get an editor’s attention. <a href="https://www.biography.com/artist/annie-leibovitz">Annie Leibovitz</a> told me while discussing concept development, “sometimes photographers overlook the thing that is right in front of them – it just seems too obvious”.<br /><br />In other words, the best photo essays are often the ones that come from a personal interest, so search inside yourself before you go looking outside for ideas. Your own hometown will undoubtedly have some hidden, and not-so-hidden, treasures that could yield great photo essays. This, at the very least, is a great starting point.</p> <p>Before venturing out into the world keep in mind that editors have a mantra, “a location is not a story.” Rather than a place, they want you to explore deeper with your camera. Get inside your location, find human-interest stories, and for publications try and peg your photo essay to the anniversary of a special or historic event (find my tips on <a href="https://www.worldnomads.com/create/learn/photography/how-to-pitch-a-travel-photo-story">pitching to editors here</a>). Look for stories that give both you and the viewer an inside look into a culture by focusing on a person, a ritual, a unique aspect of history - the list is endless.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-photo-essays-mark-article1.jpeg" alt="Three figures bathing under cascades" /><figcaption>Beppu, Kyushu, Japan from <em>The Way of the Japanese Bath</em> by Mark Edward Harris</figcaption></figure> <p>Let’s take my <em><a href="https://www.markedwardharris.com/the-way-of-the-japanese-bath">The Way of the Japanese Bath</a></em> series as an example (pictured throughout). The third book edition was released on October 31 2019, and the images have appeared in hundreds of publications including more than a dozen magazine covers around the globe. Rather than trying to photograph Japan, I was looking for something that gave a glimpse into a culture that has fascinated me since childhood. I discovered my long-term photo essay in the hot spring resort of Beppu, a town often shrouded in water vapor on the southern island of Kyushu. It converted me into a <em>furo-aholic</em> (bath-aholic) in the early 1990s.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-photo-essays-mark-article2.jpeg" alt="Man and child bathing" /><figcaption> Arima Onsen, Kobe, Japan from <em>The Way of the Japanese Bath</em> by Mark Edward Harris</figcaption></figure> <p>Three decades later, I still find the magical waters an endless source of both visual and visceral pleasure. I don’t think I could have done this project without the ability to speak conversational Japanese. What special skills, insights, and interests do <em>you</em> have? One of the reasons the great <a href="https://thephotographersgallery.org.uk/print-sales/explore-artists/sebastiao-salgado">Sebastiao Salgado</a> has been so successful with his photo essays and book projects is because his advanced studies in economics have given him special insight and understanding of how these forces play such an impactful role on the human condition. If you are not very familiar with his work, watch the documentary, <a href="https://www.youtube.com/watch?v=OivMlWXtWpY"><em>The Salt of the Earth</em></a>.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-photo-essays-mark-article3.jpeg" alt="“Three" figures="" under="" cascades="" /><figcaption>Ginzan Onsen, Yamagata, Japan from <em>The Way of the Japanese Bath</em> by Mark Edward Harris</figcaption></figure> <h2 id="components">Components of a photo essay</h2> <p>Just like making a movie, the photos that make up the story are not usually captured chronologically. Rather, they are shot in a way that works best logistically and then assembled in an order that works to best communicate the storyline.</p> <p>The establishing shot is a vital component of a photo essay. This opening image should give the viewer a sense of what the story to follow will be about. Be on the lookout for this type of photo opportunity as you’re creating your story.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-photo-essays-mark-article4.jpeg" alt="“Three" figures="" under="" cascades="" /><figcaption>Noboribetsu, Hokkaido, Japan from <em>The Way of the Japanese Bath</em> by Mark Edward Harris</figcaption></figure> <p>Perhaps the most important photograph to take in a human-interest photo essay is the environmental portrait. The idea behind this <a href="/create/learn/photography/portrait-photography-etiquette">type of portrait</a> is to show a person in a context that relates to them. Rather than hiding back with a long lens, try to communicate with the people you are capturing photos of (you can read up on <a href="/create/learn/photography/photo-etiquette-in-nepal-travel-tips">photography etiquette here</a>). Successful travel and documentary photographers have to break through that veil of insecurity and engage with people in a variety of situations.  A few words in the local language can go a long way to achieve that. The goal is to create an image that transmits emotional content and engagement with the subject.</p> <p>A photo essay wraps up with a closing shot. It can be as simple as the setting sun with elements of your location since that time of day conveys a sense of completion.  For my <em>The Way of the Japanese Bath</em> series, I finish with a few images in the room of a <em>ryokan</em> (Japanese-style inn), a logical place to conclude a day of bathing.  </p> <figure><img src="https://media.worldnomads.com/create/learn/photography/markedwardharris/learn-photo-essays-mark-article5.jpeg" alt="“Three" figures="" under="" cascades="" /><figcaption>Kunisaki, Kyushu, Japan from <em>The Way of the Japanese Bath</em> by Mark Edward Harris</figcaption></figure> <p>Back home, I process my images and put my selects in an order that best visually conveys the experience of the Japanese hot spring. In this task, it's vital for each edition of my book that I’m a decisive editor. I have no desire to be on the receiving end of a critique like the one delivered by American satirist Ambrose Bierce – “the covers of this book are too far apart."</p>Mark Edward Harris 0

https://public-web-wn.uat.wng.me/create/learn/photography/5-tips-to-create-a-winning-photo-storyCanon Master and professional photographer Richard I'Anson shares his top tips for how to capture a winning photo story and take out the prize for the Travel Photography Scholarship.2019-10-21T11:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/5-tips-to-create-a-winning-photo-storyhttps://www.worldnomads.com<p>Richard I'Anson, our 2019 scholarship mentor, shares what makes a strong, cohesive photo story. This video covers tips on choosing the right subject, finding an interesting story to shoot, how to approach composition, showcasing technique and using your captions thoughtfully.</p> <p>Watch now and learn how to make your 5-image photo story application for the <a href="https://www.worldnomads.com/create/scholarships/photography/2019/">Travel Photography Scholarship to Mongolia</a> stand out above the rest.</p>Andrés Brenner 0

https://public-web-wn.uat.wng.me/create/learn/photography/a-beginners-guide-to-underwater-photographyFrom choosing the right gear to interacting with the wildlife, here's the ultimate guide to underwater photography.2019-10-05T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/a-beginners-guide-to-underwater-photographyhttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p>When I started my <a href="https://www.youtube.com/user/Davidsbeenhere" target="_blank">YouTube channel</a> in 2008, the platform was still in its infancy – no one really knew what it would turn into, and opportunities to generate revenue were few and far between. Fast forward a decade, and travel vlogging is now a legitimate industry, made up of thousands of content creators, many of whom ask the same question: How do you grow your audience?    </p> <p>With such a crowded field, how do you make sure your content stands out? How do you get your videos seen? What should your game plan be? While these are important questions, it’s best to start at the very beginning: building and growing your audience.</p> <h2>The gear</h2> <p>It is almost overwhelming how many camera choices there are these days, but, of course, as with any type of photography, it all depends on your budget. If you have a small budget you can always opt for a <a href="https://www.uwphotographyguide.com/gopro-hero-7-review" target="_blank">GoPro</a> which is small, easy to handle and great for video. The underwater models start at around US$ 400.</p> <p>If your budget can stretch to it, you can opt for a compact digital camera. I recommend the <a href="https://www.cnet.com/news/canon-powershot-g-series-compacts-rev-up-for-vlogging/" target="_blank">Canon G series</a> or the Sony RX100 with <a href="https://www.backscatter.com/Fantasea-FRX100-IV-Sony-RX100-MarkIV-Underwater-Housing" target="_blank">Fantasea housing</a> – this is a small camera with a lot of power, and Fantasea housing is relatively affordable and very reliable. They have a range of <a href="https://www.housingcamera.com/blog/guides-tutorials/the-ultimate-guide-to-underwater-wet-lenses" target="_blank">wet lenses</a> that allow you to change from wide-angle to macro whilst underwater. The set up is compact, easy to travel with and suitable for both beginner and advanced divers.</p> <p>If budget isn't an issue, then go for DSLR or mirrorless option with underwater housing. If you’re a scuba diver then you will need <a href="https://www.ikelite.com/" target="_blank">dive housing</a>, which will protect your camera at greater depths. If you shoot shallow water or shoot while freediving you can go for cheaper Aquatech housing which is incredibly reliable. I use <a href="http://www.aquatica.ca/" target="_blank">Aquatica housing</a> which is very reliable.</p> <p>When purchasing your housing make sure you know which lens you will use (macro/wide-angle/fisheye) and contact the manufacturer/stockist about which port you will need.</p> <p>After every photo session make sure to clean your equipment properly. Salt water will cause damage unless properly washed off. The more you look after your gear the longer it will last!</p> <h2>The challenges</h2> <p>There are many challenges to shooting underwater and to overcome these takes time and practice. The big problems are usually the amount of light available, the current, and the depth and visibility in the water. The better the visibility the clearer the photo will be. A big misconception is that you can edit out bad visibility. I usually shoot with a fisheye lens and therefore need to be very close to what I'm shooting. The closer you are to your subject means there is less water and particles, and therefore a clearer image. So, when possible, reduce the distance between you and your subject. </p> <p>A common misconception is that all my imagery is taken while scuba diving, but I definitely prefer shallow water and freediving. Some of the best photos you will take are in the shallows where ambient light is most available. It’s all about your own preference. </p> <p>It’s also a good idea to practice shooting with the sun to your back. This is a good rule to follow when starting out and will dramatically increase the quality of your images.  </p> <p>One of the most helpful tips I was given was about the angle in which the shot was taken. If you’re shooting coral reefs or fish, try to always shoot at the same level as the subject or tilted upward. Shooting this way makes for a more pleasing image and more blue water. One of the biggest mistakes I see is people taking shooting straight down.</p> <p>Shooting in RAW format is an important step to help edit your images or do any post-production. <a href="https://www.diyphotography.net/raw-vs-jpeg-guide-will-ever-need/" target="_blank">RAW files</a> – as opposed to jpeg – contain much more information and therefore are ideal for creating higher quality images. All images will need to be processed (which can include correcting white balance, exposure levels, contrast and curves). Post-production can be time consuming to learn, but there are plenty of free YouTube tutorials on <a href="https://www.youtube.com/watch?v=bN2jqsJgbBs" target="_blank">Lightroom</a> and <a href="https://www.youtube.com/results?search_query=photoshop+tutorial" target="_blank">Photoshop</a>. </p> <p>As mentioned previously, having the correct <a href="https://www.cambridgeincolour.com/tutorials/white-balance.htm" target="_blank">white balance</a> is very important. As you move deeper in the water, you will lose certain colors in the images you shoot, most notably reds. With high quality RAW files, you can adjust your white balance in post-production.</p> <h2>Interacting with wildlife</h2> <p>Always remember you are a visitor to the ocean, so it's important to have the utmost respect for the environment that you visit. When photographing wildlife, it’s always a good idea to watch and observe the animals first. All too often you see people who are too eager for the photos and end up crashing into the reef or end up chasing the fish away. If the animal doesn’t allow you to approach, then its best to let it be.</p> <p>I wish I had someone more experienced to show me how to interact with certain wildlife, when I first started.</p> <p>You can't force a great image but with enough patience the photo will come.</p> <p>It takes time to read the behavior of wildlife so, but you will get better and better at it.</p> <p>If you’re scuba diving, you will need make sure you have perfect buoyancy before you take a camera underwater. Without perfect buoyancy you increase the risk both to yourself and the environment.</p> <h2>And remember</h2> <ul> <li>Take photos and take them often. The more you do this the quicker you will learn.</li> <li>Find a mentor that you can learn from</li> <li>Rules are meant to be broken and it’s all part of the learning process.</li> <li>Find your style and find your niche. This will help you stand out.</li> </ul> <h2></h2> </div> <div class="scholarships-assignment-snippet segment-margin-break"> <p><strong>About the author</strong><br /><br />Alex Kydd is </p> </div>Alex Kydd 0

https://public-web-wn.uat.wng.me/create/learn/photography/the-ultimate-mobile-phone-photography-guideIt’s never been easier to take professional photos on your phone. But where to start? Here’s our beginner’s guide to taking photos on your device.2019-08-22T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/the-ultimate-mobile-phone-photography-guidehttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p><a href="https://www.worldnomads.com/create/learn/photography/the-basics-of-photojournalism" target="_blank">Photography</a> has been transformed in recent years by the advent of powerful mobile devices with excellent built-in cameras. While, even a few years ago, the quality of mobile phone cameras was low, in 2019 you would be hard pressed to tell the difference between a picture taken on a mobile phone and one taken on a traditional camera. </p> <p>This is great news for travelers who don’t want to fork out for or carry bulky camera equipment with them on the road. All the equipment featured below is lightweight and will easily fit into a carry-on bag. <br /> <br /> If you want to master the art of mobile phone travel photography, where should you start? </p> <h2>Choosing the right phone</h2> <p>There’s a huge range of powerful mobile phone cameras to choose from</p> <p>The <a href="https://www.trustedreviews.com/reviews/huawei-p30-pro">Huawei P30 Pro</a> claims to be the best camera phone around, with its 40MP main lens, an 8MP telephoto lens (you can zoom x50), and a 20MP ultra-wide lens. It also uses a RYYB sensor (red yellow yellow blue), instead of the industry standard RGB (red green blue) – this just means it allows the camera to capture more light, adding greater depth to your images. It’s not cheap (expect to pay US$700 depending where in the world you are). </p> <p>A close competitor is the <a href="https://www.techradar.com/reviews/google-pixel-3-review">Google Pixel 3</a>, which has front (8MP) and rear (12.2MP) cameras, which means you can do everything from zooming in for detail shots in low light to creating large-scale panorama shots. Prices differ depending on the market, but expect to pay around US$650.</p> <p>The iPhone has been at the forefront of the mobile photography revolution, and its latest models – the XS and <a href="https://www.tomsguide.com/us/iphone-xs-max,review-5747.html">XS Max</a> – both offer hefty 12MP dual rear cameras. While there are other more powerful cameras on the market, iPhone’s interface is as good as it gets; it’s simple, clutter-free and allows you to take great photos without worrying about the technology. The 6.5-inch display on the XS Max also offers a huge viewfinder, although you pay for the privilege: expect to pay US$999 for the XS and US$1,099 for the XS Max.</p> <p>Last, but not least is the <a href="https://www.t3.com/reviews/samsung-galaxy-s10-plus-review">Samsung Galaxy S10 Plus</a>. The South Korean company has upped its mobile phone game in recent years, and the S10 Plus is a great piece of kit. From the 123-degree ultra-wide lens to the triple-lens rear camera and a huge 6.4 inch screen, this is an exceptionally versatile mobile camera. It costs US$999. </p> <h2>Mobile photography add-ons</h2> <p>The range of mobile photography add-ons is growing, with a range of lenses, tripods and gimbals available if you want to take your mobile photography to the next level.</p> <p><a href="https://www.shopmoment.com/">Moment</a> has a range of lenses and add-ons which can give your photos the boost they need. Here are three of their most popular lenses:<br /><br /></p> <p><strong>Fisheye lens: </strong>this creates a much wider shot than normal, resulting in a slightly curved 'fish-eye' <a href="https://expertphotography.com/fantastic-fisheye-lens-photography-a-basic-guide/">effect</a>. While this lens can produce interesting photos it can, in the wrong hands, be a bit gimmicky, so use sparingly. </p> <p><strong>58mm tele portrait lens: </strong>this lens allows you to magnify the subject of your photo, and 'zoom in' on it. The 58mm, while not as powerful as traditional camera lenses, allows you to x2 optical zoom.<br /><br /><strong>Macro lens:</strong> the <a href="https://www.shopmoment.com/shop/macro-lens">macro lens</a> allows you to capture the tiniest details – perfect for taking photographs of flowers, insects or food. <br /><br />Other add-ons include <a href="https://www.amazon.co.uk/dp/B00M9C9EVS?slotNum=7&ascsubtag=%5Bartid%7C10060.g.3131%5Bsrc%7C%5Bch%7C%5Blt%7C&linkCode=g12&imprToken=GV4itsAvx1rf0ttPMgZp3A&creativeASIN=B00M9C9EVS&tag=hearstmagazin-21">tripods</a>, <a href="https://www.theverge.com/2019/8/19/20808795/dji-osmo-mobile-3-gimbal-phone-stabilization-battery-price-video-hands-on">gimbals</a>, <a href="https://www.youtube.com/watch?v=7ct6TZbid-w">sliders</a> and <a href="https://www.smartphonefilmpro.com/what-are-the-best-lights-for-smartphone-filmmaking/">LED light kits</a>. Don't get too wrapped up in the accessories, however. It's important to first understand the basics of photography, and from there, you can</p> <h2>Understand the limitations</h2> <p>For all the developments in mobile phone technology, you still need to be aware of the limitations of your camera phone. You obviously won’t get the same quality as you would in a <a href="https://expertphotography.com/what-does-dslr-stand-for/">DLSR</a> or <a href="https://www.digitaltrends.com/photography/what-is-a-mirrorless-camera/">mirrorless camera</a>, so be aware of what type of shots work best on your phone. <br /> <br /> For example, mobile phone cameras generally have poor depth of field (the depth the camera can take photographs before things get blurry), which is why taking photos of flat surfaces (doorways, walls, etc) look much better than say, photos of crowded markets or groups of people.</p> <h2>Decide on a style</h2> <p>The best mobile phone photographers have a signature style – and while it's good to understand a broad range of styles when you are starting out, it's a good idea to focus on what are both good at and enjoy. Maybe that's taking photos of <a href="https://www.instagram.com/nicolestruppert/?utm_source=ig_embed">architecture</a>, <a href="https://www.instagram.com/heroesforsale/?hl=en">people</a>, <a href="https://www.instagram.com/shainblumphotography/?utm_source=ig_embed">landscapes</a> or <a href="https://www.instagram.com/davidlloyd/">wildlife</a>. Of course, you may start off taking photographs in many different styles and eventually decide you like taking abstract photos, or photos of people, or detail shots. There's no right or wrong to this; it's important to have fun, be creative and do what comes naturally to you. </p> <h2>Editing your photos</h2> <p>There’s a whole range of photography apps, ranging from the useful to the pointless, but again it's important not to get too caught up in the sheer choice on offer – no filter will make a bad photograph good, so remember to use these sparingly. </p> <p>While Instagram has a range of filters, its popularity these days is due to the size of the potential audience. If you want to promote your images or build up a following, you simply have to be on Instagram. For actual photo editing, there's a lot better out there – here are some of the best:</p> <p><strong>Afterlight 2: <br /></strong>One of the most regularly updated photo apps, <a href="https://afterlight.co/">Afterlight 2</a> offers a huge range of editing options such as Curves, Selective Hue and Tone. It’s one of the easiest photo apps to use, and has some rather interesting functions, such as the ability to zoom in on your photos while editing and the ability to create your own filters. It costs US$2.99 for a one-off download with no other costs, so it's very good value. </p> <p><strong>VSCO Cam<br /></strong><a href="https://vsco.co/">VSCO Cam</a> is like Instagram’s cooler, more functional older brother – it has a range of editing tools (including exposure, contrast and alignment) as well as a whole range of filters and pre-sets. The basic version is free, but you will pay $US19.99 a year for the advanced version.</p> <p><strong>Carbon<br /></strong>Developed for photographers who specialize in black and white imagery, <a href="https://admin-cms-web-wn.uat.wng.local/Admin/Contents/Edit/Carbon%20-%20B&W%20Filters%20&%20Effects%20on%20the%20App%20Store%20-%20Apple">Carbon</a> has range of monochrome filters that were apparently developed with photographers. The app is free, although to unlock all the options, it'll cost you a one-off payment of US$20. </p> <p><strong>Lightroom CC</strong><br /><a href="https://apps.apple.com/us/app/adobe-lightroom-photo-editor/id878783582">Lightroom CC</a> is probably the best photo editing app on the market, which is no surprise given it's created by Adobe. It can also link to your a desktop version, so you can finish off your edits at home. The free version will be enough for most photographers, but if you want access to all the options, you'll pay US$14.99 for the first year, US$19.99 a year thereafter.</p> <p>So, you have your phone, your apps and your add-ons – now all you need to do is get out there and start photographing. Whether you want to photograph <a href="https://www.worldnomads.com/create/learn/photography/how-to-master-desert-photography" target="_blank">deserts</a>, <a href="https://www.worldnomads.com/create/learn/photography/how-to-master-rainforest-photography" target="_blank">rainforests</a>, <a href="https://www.worldnomads.com/create/learn/photography/how-to-photograph-wildlife-ethically" target="_blank">wildlife</a> or <a href="https://www.worldnomads.com/create/learn/photography/landscape-photography-tips" target="_blank">landscapes</a>, it's meant to be fun, so enjoy yourself!<br /><br /></p> <p> </p> </div>Getty Images / Steve Smith 1644001101 Getty Images

https://public-web-wn.uat.wng.me/create/learn/photography/how-to-master-desert-photographyLearn the basics of desert photography, from staying safe to understanding composition as Michael E. Gordon gives us the inside track. 2019-07-10T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/how-to-master-desert-photographyhttps://www.worldnomads.com<p>Desert environments pose a range of challenges for photographers and their gear, with harsh temperatures, high winds and drought just some of the obstacles to be overcome. But, there are a few things you can do to ensure you are prepared. While the desert can be hard work, it’s also undeniably beautiful and can reward the prepared photographer with spectacular shots.</p> <ul> <li><a href="#understand"> Understand your gear </a></li> <li><a href="#protect"> Protect your gear </a></li> <li><a href="#look"> Look after yourself </a></li> <li><a href="#wildlife"> Wildlife </a></li> <li><a href="#light"> Use the light </a></li> <li><a href="#composition"> Understand composition </a></li> </ul> <h2 id="understand">Understand your gear</h2> <p>Arriving in the desert is not the right time to find out you dislike the design or functionality of your camera, or that your tripod head becomes jammed in high winds. Practice using your gear at home. Dust and sand can invade unsealed hobby-grade lenses, so consider ‘prosumer’ or professional-grade gear, which is more likely to keep working in even the worst conditions. Paying more upfront for higher quality gear will cost you less in the long run. Carry your gear in a comfortable, weatherproof backpack, and make room for water, food, and extra clothing.</p> <h2 id="protect">Protect your gear</h2> <p>Most prosumer and professional-grade cameras are already well-sealed against the elements. If you wish to further protect your camera body from bumps, scratches and grime, consider wrapping it in a <span><a href="https://www.ebay.com/b/Camera-Skins-Armors-for-Canon-EOS/107894/bn_2457978?_pgn=3">custom-fit silicon skin</a></span> (available at most major camera retailers). You might also consider affixing a <span><a href="https://www.howtogeek.com/355998/what-is-a-uv-filter-and-do-you-need-it-to-protect-your-camera-lens/">UV filter</a></span> [a glass filter that blocks ultraviolet rays] to the front of your lenses to protect the glass from wind-blown sand.</p> <p>Your camera is a tool. Don't be afraid to change lenses in windy, gritty conditions, but do it with care. Challenging conditions have provided me with some of my most dynamic photographs, and I would have missed them if I had prioritized gear safety over getting the shot. Sensors can be cleaned; missed photographs cannot be recovered.</p> <h2 id="look">Look after yourself</h2> <p>You will be a more productive photographer if you stay safe. Drink plenty of water throughout the entire day – don’t wait until thirst arrives; then it’s already too late.</p> <p>Dress in layers of synthetic wear with long sleeves and a brimmed hat. You might initially feel uncomfortable, particularly when it’s hot, but it will ultimately keep you cooler and more productive while protecting your skin from damage. Wear sunblock, and remember that you can get sunburnt fast, even in overcast conditions.</p> <h2 id="wildlife">Wildlife</h2> <p>All wildlife should be respected, so keep a safe distance from any animals you intend to photograph. Research the area you are traveling to, so you understand the wildlife that lives there and keep yourself – and the animals you encounter – safe. When in doubt, keep your distance.</p> <h2 id="light">Use the light</h2> <p>Many outdoor photographers prefer to shoot during the ‘Golden Hour’; that is the first or last hour of daylight when the colors and contrast seem to be at their richest. But this is not the only time to photograph. When midday light seems too harsh for wide-open country, consider moving into a narrow canyon, if possible, where reflected light from one canyon wall can beautifully illuminate the other. Or look towards the ground and the ‘small stuff’. By carrying a <span><a href="https://www.amazon.com/Neewer-Portable-Shooting-Diffuser-SoftBox/dp/B00UIT24ZM">hand-held diffuser</a></span>, you can continue taking close-ups of interesting rocks and plants all day long.</p> <h2 id="composition">Understand composition</h2> <p>What you choose to exclude from the frame is as important as what you choose to include. Eliminate any elements that don’t contribute to a cohesive composition. Take a visual inventory of what you want to include in a photograph before you take it. Use the elements you want to include to tell a story; this often results in stronger images than photographing a pretty landscape. Use all of your lenses and <span><a href="https://www.howtogeek.com/353144/what-is-focal-length/">focal lengths</a></span> and experiment with different types of photos, from close-ups to large-scale stitched-frame panoramas. Try including a person or building for scale; this can sometimes be the key to a more effective and balanced photograph.</p>Ruben Bagues 0 A dramatic shot of sand dunes in the desert

https://public-web-wn.uat.wng.me/create/learn/photography/how-to-master-rainforest-photographyFrom kit care to working in low light, pro wildlife photographer Sam Rowley shares his insights on getting the most from this challenging environment. 2019-08-12T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/how-to-master-rainforest-photographyhttps://www.worldnomads.com<p>One of the most difficult habitats to photograph is the rainforest. These tropical environments are jam-packed with life, unpredictability and excitement, but also offer a steep learning curve. Photographed well, this chaotic environment could be your most rewarding photographic challenge yet. Here’s what I have learned photographing the amazing wildlife in the Central American and Madagascan rainforests.</p> <h2>Take care of your kit</h2> <p>Tropical rainforests are crawling with equipment-destroying opportunists, are instigators of unpredictable downpours, and are home to some of the most humid atmospheres on our planet. When not shooting, try to keep your kit in a zip-locked bag with <a href="https://www.amazon.co.uk/7dayshop-Moisture-Absorbing-Dehumidifier-Sachets/dp/B0044T8T7E">silica gel pouches</a> to remove moisture. This will make your bag a relatively dry sanctuary from the dampness of the rainforest. The stricter you are with this, the more difficult it’ll be for fungi and algae to propagate inside your equipment.</p> <p>However, just before you head out to shoot, leave your equipment out for about half an hour to adjust to the humid air. If you don’t do this, your first few batches of photos will be fogged up and unusable. </p> <p>When I’m shooting in the rainforest, I usually keep my camera out at all times – you never know what might cross your path, only to quickly disappear into the undergrowth, so you need to be ready to get the shot. Rain can come just as suddenly, so I also keep a waterproof poncho handy to keep myself and my camera dry.</p> <p></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/august2019/rainforestphotography/indri.jpg" alt="" width="735" height="490" /><br /><figcaption> This indri came and went in just a couple of minutes. Without having my camera at the ready, I'd have never got the shot. Photo: Sam Rowley.</figcaption></figure> <h2>Chase the light</h2> <p>Only 10 percent of light penetrates down to the rainforest floor. With many plants struggling to grow, what hope do we have as photographers to get a fast enough shutter speed?<br /><br />First, check your settings. Push your camera to the highest <a href="https://photographylife.com/what-is-iso-in-photography" target="_blank">ISO setting</a> you’re comfortable with. Increasing the ISO increases your camera’s sensitivity to light but can also introduce ‘<a href="https://photographylife.com/what-is-noise-in-photography" target="_blank">noise</a>’ [a grainy layer] to your image. Choosing a low <a href="https://photographylife.com/what-is-aperture-in-photography" target="_blank">f-number</a> will give you more light to play with [the smaller the f-number, the more light the lens allows in], but will also throw your background out of focus. Decide on your ISO limit and play around with a variety of f-numbers before heading out.<br /><br />I use a small but sturdy <a href="https://expertvagabond.com/best-travel-tripods/" target="_blank">travel tripod</a> which I find is a good balance between providing support for my camera and allowing me to duck and dodge through the undergrowth. Sturdy camera support will provide you with a steadier, sharper shot.<br /><br />I sometimes throw a little flash onto my subject. This not only creates more light but also adds some definition to any shadows on the subject. A combination of a high ISO, a nice wide-open aperture (low f-number), sturdy camera support and a light dose of flash will give you the fastest shutter speed possible to get a sharp image, even in the gloom of the rainforest floor.<br /><br /></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/august2019/rainforestphotography/motmot.jpg" alt="" width="735" height="490" /><br /><figcaption> This rufous motmot was very still. I was confident I could get away with the slow shutter speed of 1/30 by using a tripod. This allowed me to increase my f-number slightly and keep my ISO down. A bit of flash brightened the image and reduced shadows. Photo: Sam Rowley.</figcaption></figure> <h2>Do your research</h2> <p>One of the most important elements in wildlife photography is knowing your subject – something which is often overlooked. You’ll miss out on countless photographic opportunities by not understanding the movements, behaviors and habitat preferences of what you want to photograph.<br /><br />Employing a local guide helps, but guides aren’t photographers. They won’t always understand the species or behaviors that suit you. Reading <a href="https://www.worldnomads.com/explore/guides" target="_blank">travel guides</a>, researching the rainforest’s wildlife and contacting other photographers who have visited the site previously will make your rainforest trip a success.<br /><br /></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/august2019/rainforestphotography/chameleon.jpg" alt="" width="735" height="490" gt="" br="" /><figcaption> Having spoken to a photographer who had been to my rainforest destination, he told me about the number of chameleons found on the overhanging branches on a stretch of beach. With this knowledge, I'd pre-visualized and practiced this photograph with sticks in my garden before traveling. Photo: Sam Rowley.</figcaption></figure> <h2>Build your expertise</h2> <p>Being at the eye level of your subject is vital. By being at the level of the animal you are <a href="https://www.worldnomads.com/create/learn/photography/how-to-photograph-wildlife-ethically" target="_blank">photographing</a>, your audience will immediately feel more of a connection with your subject and make the photo far more compelling. <br /><br />Back home in England, this has meant lots of time lying in the mud. However, in the rainforest, many of your subjects will be high up in the treetops. You should aim to get as high as possible in order to get the best shots.<br /><br />This can often be straightforward. Some of the more expensive rainforest resorts provide access to a canopy walkway or a tower hide, and cliff tops can also give you an elevated view. Arriving at these locations before the crowds just before dawn may provide you with some truly memorable encounters. Failing this, head to forest glades, salt licks or water sources. These three locations should provide you with a clear view of wildlife upwards.<br /><br /></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/august2019/rainforestphotography/redruffedlemur.jpg" alt="" width="735" height="490" /><br /><figcaption> I was lucky enough to find a clifftop overlooking a fig tree with a resident pair of red-ruffed lemurs. They provided me with eye-level encounters almost every day for a week. Photo: Sam Rowley. </figcaption></figure> <h2>Isolate the clutter</h2> <p>The rainforest is jam-packed with nature's clutter, making it very difficult to isolate your subject in the frame. Make sure to choose a low f-number to help blur out as much unwanted mess as possible. Getting as close as you can to your subject will also help this.<br /><br />Clutter isn’t just made up of physical matter – it can also be unwanted light. Shooting in harsh light conditions can throw undesirable highlights in your background. To reduce this, use some flash to lift your subject, or simply choose to shoot on an overcast day in flatter light conditions. <br /><br />Lastly, your composition choice can naturally lead your viewer’s eye to your subject. Many are often drawn to areas just off center in the frame – a phenomenon defined by the famous <a href="https://www.photographymad.com/pages/view/rule-of-thirds" target="_blank">Rule of Thirds</a>. Making sure your subject’s eye reflects the light makes them stand out all the more.<br /><br /></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/august2019/rainforestphotography/howlermonkey.jpg" alt="" width="735" height="490" /><br /><figcaption> Using a low f-number and the Rule of Thirds, and a catch light in its eye, I managed to pick out this mantled howler monkey amongst the clutter. Photo: Sam Rowley. </figcaption></figure>Sam Rowley 0

https://public-web-wn.uat.wng.me/create/learn/photography/understanding-street-photographyFrom blending in to keeping safe, here's how to master street photography as a traveler. 2018-09-14T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/understanding-street-photographyhttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p>Street photography can be nervewracking at times, even in familiar places. But what about when you’re traveling to countries where city populations routinely top 10 million? Here are some of the things I have learned while photographing people in the Indian Subcontinent.  <br /><br /></p> <h2>Know where you're going</h2> <p>Destination research is vital, especially when traveling to developing countries where safety may be a primary concern. Hire a guide and read up extensively before setting foot in a place, especially if there are any safety issues, or where photography by visitors is not welcomed. <br /><br />You can also use Google Maps to figure out a route to follow before you arrive. Think about what you want to capture before you get there. Where do people gather? Are there any festivals that would provide some great photo opportunties?<br /><br /></p> <figure><img src="https://media.worldnomads.com/learnimages/2019/july2019/globalsouthphotography/photo5.jpg" alt="" width="759" height="506" /><br /><figcaption>I shot this from Worli Fort to contrast the foreground-background relationship, that of the old fishing village against the modern Mumbai skyline. Photo: Craig Boehman </figcaption></figure> <h2>Choose the right kit</h2> <p>I’d recommend a full frame or APS-C<span> </span><a href="https://www.techradar.com/news/best-entry-level-mirrorless-camera">mirrorless system</a><span> </span>[smaller than a DLSR and you can see the photo on the digital monitor] with a 35mm<span> </span><a href="https://www.techradar.com/news/prime-lenses">prime lens</a><span> </span>[the opposite of a zoom lens] or equivalent. A camera with a telephoto lenses such as the<span> </span><a href="https://www.ebay.co.uk/b/Canon-16-35mm-Focal-Camera-Lenses/3323/bn_64183128">16-35mm</a><span> </span>or 24-70mm would also suffice. The prime lenses are smaller, while the telephoto lenses are bigger, but will allow a greater range of shots. It's all about balancing size vs. power; and of course, your budget. </p> <p>Mirrorless systems are generally easier to safeguard against theft in crowded areas than<span> </span><a href="https://www.lightstalking.com/dslr-vs-mirrorless/">DSLRs</a><span> </span>due to their smaller size. Keeping them close to your body, either in your hand or around your neck, is recommended.</p> <p>Mirrorless systems have a number of other advantages over DSLRs:</p> <ul> <li>You can see the<span> </span><a href="https://photographylife.com/what-is-exposure">exposure</a><span> </span>in real time before you click the shutter</li> <li>The ability to see the frame on the digital monitor instead of having to put the viewfinder up to your eye</li> <li>Generally, more technology inside to allow for greater photographic freedom.</li> </ul> <h2>Blend in</h2> <p>It’s a daunting task to blend in when you’re the visitor. In some instances, it may even be impossible. Here are a few tricks I’ve learned in Mumbai and Kolkata.</p> <ul> <li>Don’t hesitate. Once you determine who your subject is, immediately frame-up and take the picture.</li> <li>Immerse yourself. The opposite to acting fast is to spend as much time at the scene as possible in order to capture your subject once he or she loses interest in you.</li> <li>Don't make eye contact. If your subject is looking at you and you still want that frame, look above or to the side of your subject and click the shutter button. More often than not you'll see them turn to figure out what you were photographing behind/beside them, and you can get a profile shot. </li> </ul> <figure><figcaption><img src="https://media.worldnomads.com/learnimages/2019/july2019/globalsouthphotography/Photo1.jpg" alt="" width="760" height="506" /><br /></figcaption><figcaption> Mumbai, India. Sometimes storytelling methods (foreground-background relationship) and blending-in tactics come together in one image. I approached these boys with my camera half-raised, my eyes towards the bridge so as to not provoke them into breaking their natural poses. Photo: Craig Boehman </figcaption></figure> <h2>Understand the ethics</h2> <p>For practical considerations, the ethics of street photography often boils down to how comfortable you are photographing people, balanced with the legality of public photography in the country you are shooting. [For example, in the United Arab Emirates, it's illegal to take photos of people without their permission].</p> <p>When you are in a place where it’s legal and safe to practice street photography, it’s relatively easy to ask permission to photograph someone who doesn’t speak your language. Simply make eye contact and mime taking your subject’s picture with your camera; ask “Photo?”; Smile. Smiling goes a long way to transcend language. Simply taking someone’s picture with an acknowledgement and a smile is generally acceptable. Of course asking permission isn't always possible and unless someone explicity asks you not to take their photo or seems uncomfortable in front of the camera, it's generally fine to snap away. <br /><br /></p> <figure><figcaption><img src="https://media.worldnomads.com/learnimages/2019/july2019/globalsouthphotography/44602104700_c844af1184_k.jpg" alt="" width="759" height="506" /><br />Kolkata, India. Over time, my comfort level grew so that I was no longer only taking pictures of the railroad colony from the blue bridge in the distance. Photo: Craig Boehman.</figcaption></figure> <h2>Tell stories</h2> <p>People’s routines make great storytelling devices for photo essays. Look for people doing day-to-day activities which involve repeating actions such as a fruit seller working at a stall or someone washing clothes in a river.   </p> <ul> <li>Capture the beginning, middle, and end of any scene or cycle. Every good story has these three elements.</li> <li>Get in close. Make sure to capture facial expressions, hands or feet – elements which help to add emotion or expression. You can also include objects which have special meaning for your subject.</li> <li>Find and shoot a header image: one frame which will represent your entire photo essay.</li> <li>Imagine you are shooting for your favorite publication. What kind of shots would editors be looking for? Determine what those shots would be and take them.</li> </ul> <p>Look for strong foreground-background relationships. Photo essays with literal depth will help keep your audience interested.<br /><br /></p> <figure><figcaption><img src="https://media.worldnomads.com/learnimages/2019/july2019/globalsouthphotography/Pic3.jpg" alt="" width="759" height="506" /><br /></figcaption><figcaption> Raichak, India. I had been watching a fleet of fishing boats entering the Ganges River from an extremely small tributary. I wanted to show how they entered the river and then made their turns down river towards the sea. Thanks to a steady stream of boats (repetition) I was able to capture an apt scene. Photo: Craig Boehman </figcaption></figure> </div>Craig Boehman 0

https://public-web-wn.uat.wng.me/create/learn/photography/how-to-make-the-leap-from-amateur-to-professional-photographerProfessional photographer Jody MacDonald can't give you a short cut, but she can offer some great advice to focus your efforts and harness your passion.2018-09-14T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/how-to-make-the-leap-from-amateur-to-professional-photographerhttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p>One of the hardest transitions for any artist or photographer is making the leap from amateur to pro. It is the number one question that amateur photographers ask me. What to do next? What are the secret tips? The bad news is there are no secrets, you have to do the hard work. Here's some of the advice I give people to help them move in the right direction.</p> <h2>Create a mission statement</h2> <p>Creating a mission statement lays the foundation for your work and is critically important. When you have a mission statement, it prevents you from getting distracted on projects that lead you away from the work you really want to be doing. And, while that sounds easy to do, it is actually quite difficult when you’re learning.</p> <p>When you start out, it’s natural to want to shoot everything and anything, which is a valuable part of the learning process, but sticking to what you’re passionate about can help focus your efforts towards your chosen goal. For example, if you want to be a travel photographer, don’t do weddings on the side. It’ll take away from the valuable time you should be working on your travel photography, and you'll find you keep getting asked to shoot weddings. Before you know it, you'll be known as a wedding photographer rather than a travel photographer.</p> <p>Trying to do both well is not only incredibly difficult but sends mixed branding messages, too. Whenever I’m offered a job, I ask myself, “does this fall into my mission statement?” If it doesn’t, then I won’t do it, regardless of how hard it is to say no. Your mission statement will hone your vision and will lead to you getting hired for the work you really want to be doing.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/leap-from-amateur-to-pro-in-article.jpeg " alt="a local Mauritanian draped in violet, walking past a doorway" /><figcaption><span>Mauritania. Photo credit: Jody MacDonald</span><br /></figcaption></figure> <h2>Shoot, shoot, shoot and then shoot some more</h2> <p>You should be always trying to improve your craft.  If you’re not pushing yourself to be better, then your photography is not going to get noticed. Keep challenging yourself to create better work. You should be your own worst critic. Whenever I look at my photographs, I’m constantly analyzing them and trying to figure out how they could be better. Famous photographer Henri Cartier-Bresson said, “your first 10,000 photographs are your worst.” Being very critical of your own work and trying to constantly improve creates a high standard for yourself and motivates you to strive to be better. You need to produce work that is worthy of being published and that takes a lot of practice.   </p> <h2>Find a niche and do work that excites you</h2> <p>Yes, you might have heard it all before – but do work that you're passionate about, whether its capturing <a href="/create/learn/photography/landscape-photography-7-pro-tips">beautiful landscapes</a>, <a href="/create/learn/photography/photographing-for-non-profit-organizations">humanitarian work</a> or going on <a href="/create/learn/photography/6-adventure-photography-tips">wild adventures</a>. You need to be very passionate about your photography because it’s going to provide you with the motivation to work hard to get the shots you want and to help you push through the tough times. Without the passion I have for my work, I would never do half of what it takes for me to get the images I do. I sailed around the world for a decade despite being seasick <g class="gr_ gr_125 gr-alert gr_gramm gr_inline_cards gr_run_anim Grammar only-ins replaceWithoutSep" id="125" data-gr-id="125">because</g> my love for exploration and photography was more important to me than feeling sick. That passion helped me persist, year after year, through incredibly challenging times.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/leap-from-amateur-to-pro-in-article2.jpeg" alt="humpback whales diving just below the oceamn;s surface" /><figcaption>French Polynesia. Photo credit: Jody MacDonald</figcaption></figure> <h2>Submit your work</h2> <p>Find publications or companies that publish the kind of work that matches your own and <a href="/create/learn/photography/how-to-pitch-a-travel-photo-story"><g class="gr_ gr_494 gr-alert gr_gramm gr_inline_cards gr_run_anim Grammar multiReplace" id="494" data-gr-id="494">start</g> submitting</a> to them. My recommendation is to start with smaller publications. Don’t start by submitting to <em>National Geographic</em>; you have to earn your way there. Your odds will be better with smaller publications and you will learn a lot in the process. I used to be a photo editor and know what it’s like to be on that side of the business. I recommend sending in only your best images, and only around 20 to 40, depending on the story. Editors receive a lot of submissions so don’t waste their time. Don’t send them a ton of images to go through, or a bunch of similar images. <br /><br />The reality is, you will only have a handful of images that are your best – so learn to be critical. Once you start getting published in the smaller publications, it will encourage you to keep working your way up and your photography will get seen. The important thing is to be ok with rejection. Get used to hearing them say no... it’s ok, it’s all part of the process. Always try to get feedback and never give up.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/leap-from-amateur-to-pro-in-article1.jpeg " alt="crowd of people colored in red and yellow powder" /><br /><figcaption>Holi Festival, India. Photo credit: Jody MacDonald</figcaption></figure> <h2>Find a mentor</h2> <p>A mentorship from someone who has more experience than you is invaluable. They can keep steering you on the right course. While I never had one single mentor, I wish I had. Mentors can be difficult to find, but if you have the opportunity to meet one, through school for example, take advantage of it. World Nomads run an annual Travel Photography Scholarship which comes with mentorship from an industry professional. If you haven't already applied for this opportunity, <a href="/create/scholarships/photography/">find out more here</a>.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/leap-from-amateur-to-pro-in-article3.jpeg " alt="a ferryman rows his boat" /><figcaption>Varanasi, India. Photo credit: Jody MacDonald</figcaption></figure> <h2>Persistence is key</h2> <p>If you are passionate about photography, then you hopefully have the dedication to keep going despite all the setbacks. The photography industry – like most creative fields – is challenging, but the most important thing is not to give up. I love photography so much that I cannot not do it. I will always find a way to keep taking photos and that's what it takes to improve your craft and also have your work stand out. If I have to live in my car or rent a place with 10 other people in order to make ends meet so that I can keep doing photography, then I'll do it without hesitation.</p> <p>The more focus you have the better. Staying true to your vision, while continuing to practice your craft and submitting to magazines and websites, will help you transition from amateur to professional. Learn as much as you can and don’t give up. You will be surprised at what will start to happen to your photography career.</p> </div> <div class="scholarships-assignment-snippet segment-margin-break"> <h2>Are you an aspiring travel photographer? Keep an eye out for our next <a href="/create/scholarships/photography/">Travel Photography Scholarship</a>!</h2> </div>Jody MacDonald 0

https://public-web-wn.uat.wng.me/create/learn/photography/the-basics-of-photojournalismAlison Wright's job is to find compassion in a world of chaos and give people a voice. Here she breaks down what it takes to be a photojournalist. 2018-08-29T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/the-basics-of-photojournalismhttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p>I was working on my high school newspaper and yearbook when my English teacher pulled me aside and told me that I could actually make a living at doing this. <a href="/explore">Travel</a> the world and take photos? I was 15 years old when I first heard the word photojournalist, and from that moment on I knew that’s what I wanted to do. </p> <ul> <li><a href="#photo">Photojournalism vs travel photography </a></li> <li><a href="#journalist">What does it take to be a photojournalist? </a></li> <li><a href="#safe">Staying safe </a></li> <li><a href="#advice">Advice for aspiring photojournalists </a></li> </ul> <h2 id="“photo”">Photojournalism vs travel photography</h2> <p>Photojournalism is the process of storytelling through the use of images and covers a variety of <a href="/create/learn">storytelling</a>. It is often associated with hard news, quite often in conflict areas or difficult situations. Photojournalists are encouraged to not 'editorialize' when editing of a story and never manipulate photographs. </p> <p>T<span>ravel photography</span> tends to show the splendor of a place; it encourages the viewer to want to go there. Sometimes I’ve had to portray both the attractiveness of a travel destination as well as its shadow side; for example, showing the exquisiteness of <a href="/explore/southeast-asia/cambodia/alternative-ancient-historical-sites-of-cambodia-beyond-angkor-wat">Angkor Wat</a>, and then doing a story on children affected by landmines. <br /><br />I am often called a photojournalist because I do those kinds of stories but I also consider myself a documentary photographer as I often return to the same place, where I’ll spend weeks, months, or even years immersing myself into a story, culture or situation rather than jumping in and out of it as news photographers tend to do. I turn these meatier long-term projects into books, articles, gallery shows, and public <a href="/create/learn/photography/taking-photos-to-next-level-in-post-production">photo</a> presentations.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/alison-wright/alison-wright-photojournalism-basics-in-article.jpeg " alt="A Burmese woman holds her child in a refugee camp" /><figcaption>This Burmese woman paid for her and her children to cross the Thai/Burmese border but he took her money and deserted her.  Photo credit: Alison Wright<br /><br /><br /></figcaption></figure> <p>Travel photography is a wonderful way to make a living. I have photographed all over the world, in about 150 countries, for major magazines and websites, and thought I'd retire on stock photography sales. But the advent and ubiquitousness of the <a href="/create/learn/photography/camera-or-phone">smartphone</a> and widespread use of DSLR cameras have encouraged most travelers to feel they are photographers. Anyone can give their photos away, but the key to being a professional is to get paid for your work.</p> <h2 id="“journalist”">What does it take to be a photojournalist?</h2> <p>As glamorous as being a photojournalist may sound, it’s a lot of hard work and it's not for everybody. It’s a lifestyle choice. I’ve stayed in $ 10,000-a-night resorts and I’ve slept on the ground in refugee camps. I have lived overseas for years and when traveling I am on the road for at least three quarters of the year. I am often hired not just for my photography skills but because I’m good at navigating my way around the planet; I’m up on my immunizations, visas, and passport is always up to date. My bag and equipment are always packed and ready to go. I’ve been asked to be at a specific place in the Congo on a certain date and I don’t tell my client I don’t know how; I need to figure it out. I also take good notes and provide full captions to my photos – clients love that.</p> <p>I love what I do. I witness the absolute worst and the absolute best of humanity. My job is to find compassion in a world of chaos, to give people a voice. How do you make people care when you hear that 300,000 people have been killed in an earthquake in Haiti, or there are more than a million Rohingya refugees in Bangladesh, all with similar tragic stories? I try to focus on individuals, to tell their stories, which gives them a chance to be heard.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/alison-wright/alison-wright-photojournalism-basics-in-article1.jpg " alt="Heart Lake, Canada" /><figcaption>A child with landmine injury at Red Cross Rehabilitation Center, Kabul, Afghanistan 2007. Photo credit: Alison Wright</figcaption></figure> <h2 id="“safe">Staying safe</h2> <p>You have to learn to anticipate strangers and situations. Over the years, I have developed a strong inner intuition. I rely on a good translator or fixer to help me navigate potentially tricky situations, especially in countries where I don’t speak the language.</p> <p>I am the poster child for <a href="/travel-insurance/">travel, medevac and camera insurance</a> and I have been nicknamed the master of disaster. I’ve been in a near-death bus accident in Laos, run over by a horse in Mongolia, gotten a worm in my head and Thailand, and suffered from dengue fever, malaria, hepatitis, giardia <g class="gr_ gr_303 gr-alert gr_gramm gr_inline_cards gr_run_anim Punctuation only-ins replaceWithoutSep" id="303" data-gr-id="303">and</g> dysentery too many times to count. Being a photojournalist can be a risky job so you've got to be well prepared, trust your instincts and take all necessary precautions to ensure you're safe and healthy. </p> <h2 id="“advice”">Advice for aspiring photojournalists</h2> <p>Too many inexperienced young people start out thinking they need to make a name for themselves as photojournalists by flinging themselves into a war zone. Please don’t do this. Great stories can also be told closer to home. Work your way up and learn the art of how to tell a good story before endangering your life. Photojournalism can be an incredibly rewarding career, but not one to die for.</p> </div>Alison Wright (post-tsunami, Batticola, Sri Lanka. A woman after losing her children to the sea). 0 A devastated woman on a beach

https://public-web-wn.uat.wng.me/create/learn/photography/6-adventure-photography-tipsJody MacDonald from NatGeo Creative reveals her insider tips on how to make your photography stand out from the crowd.2018-08-29T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/6-adventure-photography-tipshttps://www.worldnomads.com<ul> <li><a href="#shoot">Shoot what you love</a></li> <li><a href="#fast">Having fast gear helps</a></li> <li><a href="#unique">Find unique angles </a></li> <li><a href="#interest">Go on interesting adventures </a></li> <li><a href="#background">Think about the background first </a></li> <li><a href="#fail">Fail often</a></li> </ul> <div class="scholarships-assignment-snippet segment-margin-break"> <p><em></em>Adventure photography is obviously exciting but it is also challenging and a lot of hard work. While there are no shortcuts to getting experience and practicing your photography skills, there are a few things you can do to help you take better photos and make your work stand out.</p> <h2 id="shoot">Shoot what you love</h2> <p>Documenting whatever sports you participate in is a great way to start developing your adventure photography skills. It allows you to photograph something you enjoy and you already have an understanding of the nuances of the sport. Your experience will help you anticipate the action and capture the critical moments as you know what’s likely to come next. It not only adds authenticity to your images but you can also inspire your audience through the depth of insight into the hardship and passion required to pursue the sport.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/jody-macdonald-adventure-photography-tips-in-article.jpeg " alt="a man surfing a wave on a paddle board" /><figcaption>The Maldives. Photo credit: Jody MacDonald</figcaption></figure> <h2 id="fast">Having fast gear helps</h2> <p>I personally don’t think camera gear is that important; photography is much more about the way you see the world than the camera and lens you are using. However, there is an exception to this – when shooting adventure sports. It’s not 100% necessary, but if you have a camera body that has a rapid-frame rate and a fast lens or two, then you’re more likely to be able to capture the action when it happens.</p> <h2 id="unique">Find unique angles</h2> <p>Capturing images similar to what you’ve seen before can be an important part of learning photography skills, but once you’ve got the hang of it, try to take pictures from unique angles and perspectives.</p> <p>Take an experience I had on a paragliding expedition in a very arid desert area. The grass around me was brown and the landscape was lifeless. I had nothing interesting to add a sense of place to my imagery. I was struggling to take interesting photographs so I decided to use what was around me which didn’t seem like much. I found some rocks, got right down onto the ground and used the rocks to frame the image in the foreground. That photograph (pictured below) ended up winning two awards and being a finalist in the Red Bull Illume photography contest.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/jody-macdonald-adventure-photography-tips-in-article3.jpeg " alt="a paraglider photographed between 2 rocks" /><figcaption>The Sierra Mountain Range, USA. Photo credit: Jody MacDonald</figcaption></figure> <h2 id="interest">Go on interesting adventures</h2> <p>A big part of photography is not only about taking good images but taking unique images. There is a famous quote from photographer Jay Maisel that says, “if you want to make more interesting pictures, become a more interesting person.” I think that is also true for adventure photography. If you want to take more interesting adventure photography, go on more <a href="/create/learn/photography/alpine-photography-get-prepared">interesting adventures</a>. You’re more likely to get your work published if you’re taking images, unlike anything anyone else has seen. Everyone loves unique content.</p> <p>When I went on my train-hopping surfing adventure through the <a href="/explore/north-africa/morocco/three-day-itinerary-in-sahara-desert-morocco">Sahara Desert</a> (pictured below), I took images that not a lot of people had seen the likes of before and quite a few magazines wanted to publish them as a result. I often say that chasing the absurd has never let me down and that trip, in particular, is a great example of that.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/jody-macdonald-adventure-photography-tips-in-article1.jpeg " alt="Train hopping in the Sahara desert" /><figcaption>The Western Sahara Desert. Photo credit: Jody MacDonald</figcaption></figure> <h2 id="background">Think about the background first</h2> <p>Taking photos of the action is obviously important but what’s really going to make your work stand out is if you also use the background to create a sense of place in your photographs and tell a bigger story. I think a lot of photographers, especially in the beginning, just shoot the action or subject and don’t think about the composition. Slow down and imagine the shot you want in your head. Shoot for the <a href="/create/learn/photography/landscape-photography-7-pro-tips">background first</a>, wait for the subject to come into the frame and then take the shot. The result will give you a well-thought-out photo that’s interesting from the foreground to the background. It will add layers and depth to the story you’re trying to tell.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/jody-macdonald/jody-macdonald-adventure-photography-tips-in-article2.jpeg" alt="paragliding over the desert" /><figcaption>Mozambique. Photo credit: Jody MacDonald</figcaption></figure> <h2 id="fail">Fail often</h2> <p>Being an adventure photographer is a tough job and a tough industry. You are likely to get rejected a lot, but once you learn that failing is an important part of any learning process, it can make it more bearable. I try to embrace adversity and failure as much as I can because in my experience the most growth and learning opportunities come from adversity and overcoming it. Don’t be afraid to fail. It’s always more important that you go for it.</p> <p>There are no shortcuts to taking great photos or becoming an adventure photographer. First and foremost, you have to be passionate. Then you have to go out there and shoot. Shoot and practice as much as you can. Photograph the sports that you connect with and that mean something to you. Be very critical of your own work and submit only your absolute <a href="/create/learn/photography/how-to-pitch-a-travel-photo-story">best shots to editors</a>. You will start making contacts and as you get better you will begin to get published. Be patient and persistent. The photographers who succeed are the ones who don’t give up. Their passion doesn't allow them to stop.</p> </div>Jody MacDonald 0

https://public-web-wn.uat.wng.me/create/learn/photography/photographing-for-non-profit-organizationsEver wondered how to turn your passion for helping others into a career? Alison Wright has done just that, and shares with us how she did it.2018-08-22T10:00:00Z https://wng-kosmos-wn-cms-uat.kaos.nibit.com.au:443/create/learn/photography/photographing-for-non-profit-organizationshttps://www.worldnomads.com<div class="scholarships-assignment-snippet segment-margin-break"> <p>I received my first point-and-shoot camera when I was 10, and my first SLR in high school where I worked on the yearbook and school newspaper. I had an influential teacher, Mr. Lee, who took me aside and told me that I could actually make a living at this. From the first time I heard the word photojournalist at the age of 15, I knew that’s what I wanted to do and I never wavered. I got my undergraduate degree in photojournalism and, after working overseas for 10 years, I went back for a Master's Degree in Visual Anthropology: the study of culture through film and photography.<br /><br />I've managed to carve an ongoing career as a <a href="/create/learn/film/tips-for-aspiring-documentary-filmmakers">documentary</a> photographer focusing on indigenous cultures and humanitarian work in post-disaster-conflict areas. I travel at least three-quarters of the year and have been to 150 countries.<br /><br />I strive to find compassion and hope in a world of chaos. When you hear that 300,000 people have died in an earthquake in Haiti or 1,200 people riding a train in Sri Lanka were drowned by a single tsunami wave, it can simply be too much for our minds to comprehend. How do you make people care?</p> <ul> <li><a href="#passion">Develop Personal Projects, Show Your Passion</a></li> <li><a href="#opportunities">Create Your Opportunities</a></li> <li><a href="#rights">Keep Your Rights</a></li> <li><a href="#getpaid">Get Paid For Your Work</a></li> <li><a href="#selfcare">Develop Self-Care</a></li> </ul> <h2 id="passion">Develop personal projects and show your passion</h2> <p>After I graduated from college, I hitchhiked around the <a href="/explore/middle-east">Middle East</a> and then jumped on a boat to North Africa. It was a defining trip for me; my first glimpse of poverty, refugees and people in need. I knew that I wanted to use my camera to help others in some way. By the time I made it back to California, I had a pretty good travel portfolio and showed it to a newspaper editor in San Diego. To my surprise, she hired me on the spot. I spent a few years cutting my teeth working my way up the ranks as a newspaper photographer, utilizing the fact that Mexico, a developing country, was on my doorstep. During that time, I also developed personal projects focusing on Mexican border orphanages; I was extremely interested in the rights of children. </p> <figure><img src="https://media.worldnomads.com/create/learn/photography/alison-wright/alison-wright-non-profit-in-article1-image.jpg" alt="Women in garment sewing factory" /><figcaption>Gafsa, Tunisia: Selem works at the Marn-Tex Textile garment factory, a supplier to Benetton clothing. Photo credit: Alison Wright</figcaption></figure> <h2 id="opportunities">Create your opportunities</h2> <p>One day, I was flipping through a magazine and saw these beautiful doe-eyed children from India staring back at me. I called the photographer and told him I loved his work. He was a UNICEF photographer and encouraged me to show him my portfolio if I was ever in New York. I bought a plane ticket and went out the following week. He offered me an assignment in Nepal, and I paused five seconds for dignity before agreeing. Once there, my contract to photograph for the Convention for the Rights of the Child, my dream job, was extended. My three-week assignment turned into one that lasted more than four years.</p> <h2 id="rights">Keep your rights</h2> <p>When I lived in <a href="/travel-safety/southern-asia/nepal">Nepal</a> – at the time the second poorest country in the world, and supplemented by massive aid groups – I did contract work for most of them: <a href="https://www.savethechildren.org/">Save the Children</a> UK and USA, US AID, Helen Keller and SEVA. It led me to a career of photographing NGOs all over the world. I am generous with the usage and rights because I want the organizations to use and utilize the photos as much as possible, but I always keep the copyright to my photos so I can use them as well. My goal is to get the photos out of <g class="gr_ gr_134 gr-alert gr_gramm gr_inline_cards gr_disable_anim_appear Grammar only-ins replaceWithoutSep" id="134" data-gr-id="134">house</g> so I can give these stories even more of a voice by publishing stories, exhibitions, and books.</p> <figure><img src="https://media.worldnomads.com/create/learn/photography/alison-wright/alison-wright-non-profit-in-article-image.jpg" alt="A woman dressed in red working in the fields" /><figcaption>Morogoro, Tanzania BRAC PROJECT, GPAF project (Global Poverty Action Fund). Helena Maroda is one of eight women working together on eight acres in maize cornfields a collective crop demonstration to produce corn on the agriculture project. Photo credit: Alison Wright</figcaption></figure> <h2 id="paid">Get paid for your work</h2> <p>It has great meaning to me to create photos that I feel are helping others or benefitting a cause in some way. Still, in order to continue to do so, I need to get paid for my work. It may not be as much as commercial jobs but it’s still important to be compensated so that you can sustain your business.</p> <h2 id="selfcare">Self-care</h2> <p>This kind of photography – which witnesses the suffering of others – can be emotionally challenging. It’s not for everyone.</p> <p>Through these experiences, I was inspired to start my own non-profit, <a href="https://facesofhope.org " target="_blank">Faces of Hope</a>, that supports women and children through education and healthcare. I wanted to do more than just make a photo, I wanted to make a difference. I help support local grass-roots organizations and then highlight their work on the website so that others may be inspired to give their support. </p> <p>While photographing the aftermath of the tsunami in Sri Lanka, I come across a man burying five family members as he read from the Koran. It was dusk, a milky sky, and I approached slowly while taking a photo. I then paused and took his hand and tell him how sorry I was for his loss. He looked up at me from his book. “Please,” he said, “Don’t forget about us.”</p> <p>And this is truly the reason why I do what I do.</p> </div>Alison Wright (Liberia for BRAC International) 0 A smiling Liberian woman in a doorway