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    Top Travel Photo Tips: From Ten Pro Photographers
    Top Travel Photo Tips: From Ten Pro Photographers
    Top Travel Photo Tips: From Ten Pro Photographers
    Ebook160 pages1 hour

    Top Travel Photo Tips: From Ten Pro Photographers

    By New York Institute of Photography and Chuck DeLaney

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    About this ebook

    More families are taking vacations and trips than ever before—over 81 percent of Americans plan to travel for two or more weeks in the coming year. Top Tips from Top Travel Photographers interviews ten prominent and diverse professional travel photographers to get their top tips, techniques, and trade secrets. Chase Guttman, Peter Guttman, Michael Doven, Chris Corradino, and other experts sit down with New York Institute of Photography director Chuck DeLaney. They openly share favorite photographs and advice to help hobbyist and amateur photographers come back from their outings and trips with excellent photographic art for their walls, websites, blogs, and family albums. Book Bonus: an exclusive password to instructional how-to videos from some of the book’s experts.
    LanguageEnglish
    PublisherAllworth
    Release dateAug 6, 2012
    ISBN9781621532354
    Top Travel Photo Tips: From Ten Pro Photographers

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      Book preview

      Top Travel Photo Tips - New York Institute of Photography

      © Peter Guttman

      Taking a Trip? Start Here.

      My guess is that you have this NYIP Quick-and-Easy Everyday Photography Guide™ because you’re excited about an upcoming trip you’ve been planning for awhile. Travel is certainly popular, as over 80% of families and individuals will be traveling on holiday for two or more weeks this year. No doubt you want to take really wonderful photographs of your experiences, show your family and friends the most remarkable aspects of your journey, and preserve those memories for everyone to enjoy later on.

      Well, for anyone who wants to take better travel pictures, this is the book for you. I’ve interviewed ten professional photographers—each one outstanding and well traveled— and asked them to share their favorite tips and techniques for taking great travel photographs.

      Many non-professionals believe that pro photographers bring home great images from their excursions because they’ve invested thousands of dollars in their equipment. The widespread belief is that the average shutterbug can’t possibly capture wonderful images. I want this book to debunk the myths!

      I’d estimate that 85% of all great travel images can be taken with a basic digital SLR (single lens reflex) or high-performance point-and-shoot model camera. The trick is to learn to see like a photographer. That’s a theme we’ll return to again and again in this book.

      In fact, at the New York Institute of Photography, the world’s oldest and largest school of photography, we have a saying that we keep reciting to students from the very beginning of their studies.

      It’s not the violin, it’s the violinist.

      What do we mean by that? People are more important than musical instruments or photography equipment. Camera manufacturers want you to think that the trick to taking great photographs lies in buying the latest camera with more megapixels, more dials, and more features. Pretty soon, they’ll have a camera on the market that can monitor your blood pressure, check your email, and maybe even scratch your back! You know what? You don’t need all those bells and whistles.

      Consider this: I can’t play the violin. If I go out and buy a great violin, even shell out $2 million for a Stradivarius (there are only about 650 of them left on the planet from Stradivari’s workshop in the late 1600s), I still won’t be able to play the violin! I need to learn how to play the violin, not buy an expensive violin and think it will do the job for me. If I don’t take the responsibility to learn how to play the violin—and practice playing it—then it doesn’t matter if I have an inexpensive instrument or a priceless antique. So it is with photography. I bet right now your camera is better at doing its job than you are at controlling it. Today’s digital models are very, very sophisticated instruments. Would you hand the keys of a high-powered Ferrari over to a 16 year old who just got a learner’s permit? I don’t think so.

      That’s why we’re going to teach you how to take control of your camera. We’re also going to help you discover the elements that go into a great photograph. But most of all, we’re going to help you develop the Eye of the Photographer—that special skill that will allow you to see possibilities for great photos in the scene in front of you that you would have otherwise missed. And this is particularly handy while traveling. Seeing opportunities to take great photographs will also help you better appreciate the beauty and spontaneity of people and scenery and sights and events around you as you journey through life.

      True

      There are some photos that require expensive gear-capturing the condor soaring high above the Andes may require a telephoto lens, for example. Michael Doven’s amazing Everest Valley photograph on page 18 of this book was shot using the latest Nikon equipment from 18,000 feet in the air, as his rented helicopter flew between Kathmandu, Nepal to a Mt. Everest base camp.

      Also True

      Most great travel photos can be taken with basic digital cameras.

      We’ll also take up some technical photography matters, but it’s important that you understand that those are in many ways secondary to seeing the possibilities in front of your camera. After all, if you can’t see the photos, you can’t capture them … no matter how much technique and gear you have.

      Because it’s so important, please permit me one more story to illustrate It’s not the violin, it’s the violinist concept. In my professional career, I concentrated on photographing dancers and musicians, along with photojournalism, travel, and general portraiture. Working with dancers has always been a pleasure, they’re very conscious of their craft, and since their art is performance-based, they’re very grateful to photographers who can capture the essence of their talent and skill.

      I had just landed a new client, a big name in the modern/experimental dance world. Most dance photography is done at dress rehearsals to avoid bothering the audience during a real performance, so when I showed up to photograph this rising star for the first time, she kindly took me aside and told me that she had a new boyfriend who’s an extremely talented photographer. Would I mind if he also took photographs of the rehearsal?

      Let’s just say that a professional at this type of job likes working with another photographer about as much as a tomcat likes sharing the fence with a feline competitor, but I had little choice under the circumstances and agreed with her request. After all, we had just started working together, and she was the diva.

      As the lighting designer ran a final check before the dress rehearsal began, up stepped the mighty ETP (Extremely Talented Photographer). He walked to the middle of the stage, cameras on each shoulder and around his neck, bristling with gear. Out of a pocket in his very tailored photo vest he whipped out a very expensive incident light meter, and with a flourish, proceeded to hold it out and measure the light—using it exactly backwards from the way it was designed to work! This was like watching someone pull out an expensive trumpet

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