A morning's shoot

I got up at the wonderful hour of half past four this morning and took myself for a drive up to the Atherton Tablelands. Even when I don't have an assignment I try to get out and about and photograph the local area to build up my collection of Cairns stock photography images.

Anyway it turned out to be a pretty ordinary morning. Grey skies, drizzling rain and not a hint of sunrise over the two volcanic lakes of Lake Barrine and Lake Eacham. Still I managed to get a couple of nice shots, including one with my favourite model. :) I hope your weekend photography is a bit more successful.

Know what your lenses do and what you want to say

One of the aims of any aspiring travel photographer is to get to the stage where composition, exposure and focus are all instinctual. But before you get to that stage you need to become instinctual in your choice of lens.

In order of things I think about focal length is definitely first. Just by changing your lens you can completely change your image and what you want to say about the subject in front of you.

Take this image here. It was shot with a wide-angle lens. How can you tell? Because the wide-angle increases the apparent distance between objects. How far away does the tip of the peninsula look? A long way away. And that's the feeling I wanted to impart. To show how long and thin this peninsula of land extending from the coastline is. And by placing some people in the foreground I wanted to show that this is a place where people come to enjoy the view.

But if you look really closely you can see a path leading out along that peninsula all the way to the very end. And at the very end there is a lighthouse, stuck in a very precarious position all the way at the end. The wide-angle lens doesn't show either of those things very well at all. So if you wanted to say 'wow look at this amazing path that goes all the way to the end of a peninsula where there's a groovy lighthouse' well this picture has failed at that.

To do that you need to change lenses. The telephoto compresses the perspective, making things look a lot closer to each other than they really are. So our peninsula no longer looks long and thin. In fact you can't really tell it's length at all because everything is so squashed together.

What you can see now though is that meandering path and how it wanders up and down and over hill and down dale to get you to that lighthouse at the other end. So this is a photo that tells you if you want to go and see the lighthouse at the end of Kamui Peninsula in Hokkaido, Japan - well you're gonna have to be pretty darn fit and like walking a lot.

So if you imagine your pictures in a magazine layout they both have different captions. The first picture says ' Kamui Peninsula is a long, thin finger of land that extends from the rugged Hokkaido coastline and is a popular place for tourists to sit and take in the view.' The caption for the second picture reads something like 'The walk to the end of Hokkaido's Kamui Peninsula is not for the faint of heart. It's steep, long and will test even the fittest of day trippers who have to make it there and back before the tour bus leaves them behind.'

Different thing you're trying to say, totally different lens choice. Oh and did I do the walk? Unfortunately it was closed that day because of strong winds so I never got to. Would I have? I'll leave that to your imagination - but just one point about travel photography. If you want something new and original you have to go where not many people do.

Choose your subject for the lighting conditions

This one was taken on the weekend. The local Rotary club have a huge rubber ducky race down at the local Esplanade pool on Cairns' foreshore every September.

For $5 you can buy a rubber ducky, which along with 5000 others will get dropped into the pool from a net hung overhead by a giant crane. The wind blows them all down the pool (with a bit of human help) and the first ducky to make it to the other end wins themselves a prize.

Like most events of this type, they're held at a time of the day that's not particularly photography friendly. In this case it was 3 in the afternoon which might be nice and soft if you live up near the Arctic circle but this close to the equator it's pretty harsh.

So the trick in these types of circumstances is to look for compositions that avoid a lot of shadows. Because we have bright sunshine that immediately says that you've gotta have everything out in the open, or everything in the shade. So it's no use photographing the ducks when they're in the shade of a building because half the frame will be in the dark and half in the light. Too much contrast for the sensor to handle. So you gotta wait until the ducks move down to the pool into the light.

Even then the bright yellow ducks are SO bright that the rest of the frame tends to go a little bit darker than it is in real life. In this case you might need to do a bit of work in Curves (or use the Shadow/Highlight tool in Photoshop) to bring those shadows back up a bit. And keep an eye on that histogram to make sure you don't overexpose and lose the highlights.

Here I'm working with a wide-angle lens which means, compositionally, I need to get as close as I can to something. Preferably something interesting, in this case the ducks themselves. So that involved getting right up on the edge of the pool and leaning out across the ducks - all the while hoping that nobody would push me in for a laugh!

Sneaky travel photography

Here's the thing they don't tell you about travel photography. It's kind of a solo pursuit. You tend to wander around for hours on your own, getting in the zone and photographing away.

Not that you'd ever tell your closest and dearest this but they kinda get in the way. In the nicest possible way (if you're reading this dear!). It's really difficult for us photography buffs to take a holiday (ie a trip to somewhere other than the local supermarket) without a camera.

In fact we positively get withdrawal symptoms if we have to leave the hotel room in some exotic city without being loaded down with bodies and lenses galore.

Which is a bit frustrating for your travel partners who don't share your enthusiasm - especially the little ones. Which can lead to disparaging comments and general harassment every time you take more than two seconds to get a shot off - unless...

The sneaky way to get as much time as you want to photograph when on holiday is to point the lens in the right direction. The right direction according to your better half that is. And that direction would be? Anywhere your kids are. :)

In all seriousness though, photographing your own kids on holiday is great practice for children photography in general. They're already used to you sticking a big lens in their face so they basically ignore you. You get to sign the model releases yourself which means you don't have to ask complete strangers to. Your better half will give you lots of hugs and kisses for being so dedicated at preserving such precious memories. And you get to take your camera wherever you go.

The trick with photographing the kids when you travel is to let everything unfold naturally. Because they're your own you can direct them a little bit, but get too demanding and they'll get cranky, the other half will get cranky and you'll be back in camera-ban land. So as much as possible let things pan out by themselves.

Wait until the kids are doing something that they're totally engrossed in. Here my little boy has just had a Chinese seal with his name on it carved and is paying for it. He has absolutely no concept of money but knows it has some kind of value so was very proud when he handed it over like a big boy. Buying something gave me an opportunity to photograph the carver as he was working. I knew when he was finished that my son would be dying to pay so set myself up on the opposite side of the table and waited for the moment.

Digital photography means that the kids (and other half) will be dying to see how the pictures turned out and to improve on it next time. They actually suggest to you to start photographing. And while you may not want to come home with only shots of the family (ooh I didn't say that!) just by having the camera out and dedicating some time to recording the great family occasion gives you permission to photograph other stuff as well. Hell you might even get some time off to go out by yourself if you do a really good job on the kids. :)

You don't have to be sneaky to be a travel photographer but sometimes it helps!

Oh and for those who don't know you can also follow me on Twitter where I post a heap of great links to photography sites that I don't mention here.

Monday's links

First of all I thought I'd send you to the Photoshelter site to see what the folks there have to say about the fine art of travel photography.

It talks a little about the Photoshelter Collection, which was a stock agency set up by the group that no longer exists but it's a great article to give you some hints on what kind of things to look for in your own images.

Secondly I thought I'd send you over to the Livebooks site to see a great interview with Chris Rainier. Chris is a National Geographic Fellow who has some great insights into using technology to preserve ancient cultures. The imagery is amazing and will have you wanting to jump a plane to PNG. Only a tad north of me and I haven't got around to getting there yet.

Unlike my wonderful friend Susan Turner who has spent the past few decades living and photographing amongst the people. A truly remarkable women with astoundingly beautiful imagery

Enjoy!

Am I ready to be a pro?

Well I guess that all depends on whether you have a groovy enough hat or not? :) Just to show that not all travel photographers are as handsome as Clint Eastwood in the Bridges of Madison County, or as stylish as....actually scratch that thought - I don't know any stylish travel photographers!

I was actually going to title this post 'Am I good enough to be a pro?' but changed the title for the reasons I'm about to give.

My post on Monday was a bit realistic (negative?) about the current state of the travel photography industry but I didn't mean to rain on everybody's parade. If travel photography is in your blood then I believe there are ways to make it pay and there are some important things you need.

The first is clients. I know it sounds obvious but how many of us, myself included, jump into exciting new careers without the slightest thought about where your money is going to come from.

I would hate to tell you (or my wife!) how much money I lost in my first year of business because I jumped in with both feet without the slightest inkling of where my money was going to come from. I'd sold some pics, written a couple of articles and thought I'd just become the next Bob Krist. Yeah right.

So before you think of chucking in the day job you need to know exactly who is going to license your pictures, how much they usually pay, and how many of them you're going to need to help support this addictive lifestyle. Now if you're young, single and living at home with Mum and Dad you're going to need less clients than if you're married with a couple of kids and a mortgage. But here's the point - no matter what life situation you're in you need to make enough money to live on. And you're going to want to move out of home one day. :)

And to figure that out you need to work out how much you need. So you need to know how much your business is costing you every year to keep running. Equipment, insurance, advertising, web hosting etc etc is all business overhead you need to factor in. Then you need to work out how much you need to live on and add that to your total. Then add money for taxes and a profit. And when you've got a total you need to divide that by 365 to work out how much you need to make per day.

That's right - you're going to work 365 days a year without a break right? Wrong. In fact here's the rub with travel stock photography. You don't usually get paid to travel. You get paid when people license your pictures. So that 3 weeks you took off to get some great pictures of Antarctica? Unless you were on assignment (and in this day and age that's highly unlikely!) that was unpaid time and now you have to make that back selling pictures. And even if you were on assignment, you're not going to get paid for the two weeks it takes you to edit and caption all those pictures. There's lots of unpaid down time in photography.

On average you should work on a couple of days of photography a week. What? That's less than I shoot now! You better believe it. The rest of your time is spent marketing, meeting clients, cataloguing, keywording, organising. So you have to take that yearly total you worked out and divide it by about 100 - assuming you want some time off. Then you'll get a pretty high figure that you need to make per day photographing to keep your doors open.

And that's probably the most important thing to consider before you decide to make the decision to go pro. Can you find enough clients to feed you? Remember that the more your clients are willing to pay the more money you'll make. The more you hold on to the rights of your images the more money you'll make. The more you insist on getting paid every time your picture gets used - you guessed it, the more money you'll make.

But what about the images you say? I often see that question on forums. Am I good enough to turn pro? Only the market can tell you that. If people are willing to pay you money for your pictures then you're good enough to license images. There will always be a market for images of varying qualities. The trick is to be good enough on the photographic side as well as the business side to be able to work for the clients who will let you have a life that doesn't involve eating baked beans on toast every night for the rest of your life.

For a great read on the business of Photography I would thoroughly recommend Tim Zimberoff's book photography: Focus on Profit. The world doesn't need more great trvel photographers who don't know the value of their own work. It needs great travel photographers who know how to run a business and succeed based on their ability to make a profit and treat this fantastic profession like the career it is.

How I got started in travel photography

Scott in Colombia (via Australia) posted a question on the Flickr group asking if I could do a post on how I got started doing this.

I'm going to preface this post by saying that this is how I stumbled into this profession. Will what I did help you if you do the same thing? I don't know. I kind of doubt it and at the end of the post I'll tell you why.

I sold my first ever photograph in 1998. But by that time I'd already been to about 45 different countries. So I guess my first piece of advice is if you want to be a travel photographer you have to be a traveller first. You have to love travel almost more than you love photography, but at least equally as much.

Anyway back to the beginning of the career. I was trekking in Nepal with my wife. We were coming to the end of a year traipsing around SE Asia, India and Nepal and were spending about a month or so trekking in the Himalayas. Needless to say I was carrying my camera gear and a lot of Velvia slide film.

On our second day we ran into a dutch couple - Toine and Elsa, and we spent the next month or so walking together. We had dinner together every night, hung out, walked, trekked. It was a good time. Coincidentally Toine was a journalist for Holland's largest newspaper, the deVolkskrant, and when he got back home he wrote an article on the damage tourism is doing to Nepal's environment. He wanted a photo to go with it and I got the sale!

But I don't count that as my entree into the world of professional travel photography. That was a lucky break from a good friend and you'd need a lot of those to build a career. Here in Australia to break into the world of travel photography you need to be a writer as well. I figured that out pretty quickly and set to the task of learning to write travel articles. I submitted an article idea - Trekking in Nepal - to the official magazine of the Youth Hostels Australia. Most of the books I had read suggested you send a one page query letter and wait till you get a yay or nay. I wrote the whole article and sent a sheet of duplicate slides.

A couple of months went by and I heard nothing and then one evening I got a phone call - right in the middle of a cyclone! (That's a hurricane for you folks in the northern hemisphere :) ) Outside there were trees flying through the air, the guttering on my carport was banging against the roof where it had come loose in the wind and the phone rings. It was the editor of the magazine. She loved the article and wanted to commission me to write a second piece for the same edition - this one on travel photography.

I didn't have the heart to tell her that there was a cyclone outside and could she possibly call back in a couple of days if the house hadn't blown away. (Did I ever tell you that Janet?) Anyway that began one of the most enjoyable working relationships and we still keep in contact regularly and I've been on many a great assignment with them.

Since that time I've written numerous articles for various magazines here and overseas. Sounds like a perfect way to make a living but here's the problem. It doesn't pay. Well not very well as many travel writers will tell you. The pay rates at most magazines have't gone up in the past 20 years - I kid you not! Publishing travel articles is a great way to break into things but you're not going to be able to pay the mortgage with it. That combined with the fact that some magazines are turning to cheaper stock photo options (iStock, Shutterstock etc) instead of sourcing their pictures from the writer, or getting their pictures for free from the tourism bureaus, means that this market is rapidly disappearing.

So you need something to supplement that income. Many travel photographers turn to stock photography - mainly representation through an agency. I am represented by Lonely Planet Images and also have images on Alamy. Again it's income that you need to think of as a bonus. It's not dependable because you have no control over how much or how little is sold. Because you don't deal directly with a client you have no idea whether any of your pictures are being considered for a project or how much they will be sold for. You just get your quarterly pay cheque and hope that it's not too bad.

But the problem with agencies is that more and more they take very little of what you submit. Some photographers report only having 10% of their submitted images accepted. So what do you do with the other 90%? More and more photographers are turning to companies such as Photoshelter to license their own work.

Personally I see this as the future of travel photography. I find that when I go somewhere for a short period of time and come back with say a few hundred nice images, then those will do well with a stock agency. But for the areas I specialise in, say my local area of far north Queensland or my wife's home stomping ground of Hokkaido, Japan, I actually do better marketing those images myself. And that's where I intend to head in the future.

And again to supplement that income you need to do things like teach photography courses, run weekend workshops and other stuff like that.

The travel photography marketplace is changing so rapidly it's really hard to know where it's headed or whether there will be a viable future for it in the future. We're being pressed on all sides. More and more print magazines are folding. Everything is headed online but nobody is prepared to pay. So yes you can probably get your pictures in an online magazine somewhere but a credit line isn't going to pay the mortgage.

As more and more aspiring professionals get duped into this dream that they can make money off of microstock the quality of images will go up and many markets for traditional travel photographers will dry up. I already see it on a daily basis as traditional clients of mine turn to microstock to save money. And why not? It's business after all. I don't blame the publishers. They'll save heaps of money, the microstock companies themselves will make lots of money and the poor ol' photographers will get their 20c share of the $1 downloads. It'll take a while to make your fortune doing that.

Here in Australia many, many magazines use a lot of free images from tourism boards. Again why not? Those that want to differentiate themselves in the marketplace will continue to use assignment photographers but for many publishers access to free pictures is too tempting. There is a push by the professional group of photographers ACMP to get the federal government to prevent these images being used for free by large corporations who could afford to pay for them, but where this will lead only time will tell.

So where is it all headed? I think for many people it will be best to keep it as a hobby. For those of you, like me, who have it in their blood and can't imagine doing anything else the trick will be to stay afloat and see where the market goes when things settle down. People will always want to travel, and they will always want to see great travel imagery. The question will be whether those images will come from professional photographers, amateurs hoping to make a few extra pennies to support their hobby or tourism boards. Those of you who do this for a living where do you see things going?