Being The Calm Travel Photographer

I had the Maasai warrior posed right where I wanted him. He looked strong and confident as he stood on a rock, with the Kenyan grasslands spread out behind him. I made an environmental portrait. It was time for my bread and butter, the close-up portrait.

As I exchanged cameras in my shoulder bag, the camera with the 24-70mm lens slipped from my grasp. The warrior and I watched as it hit a rock, bounced off, and struck another. I picked it up and did a quick check.

Both camera and lens were down for the count. I hid the shock I felt, put it away, and went with my second body and a 70-200mm lens. He looked at me and asked, “aren't you worried about your camera?” I replied, “of course I am. However, this is the only time I will ever have you in front of my camera. The broken one will wait.”

He gave a sly smile, and we made some memorable portraits.

Later, the young warrior approached me and asked if he could give me a Maasai name. The warriors named me “Malubo” and explained it meant I was “the calm one.”

Following the incident, the portraits I made had a more reliable connection. They knew I respected my time there, and our bond became like a chain connecting us. I may not always stay calm, but I will forever cherish the name, and the time spent with the Maasai.

Connecting With People

As a headshot and portrait photographer, I know how important a connection with your subject can be. Often, the relationship is what makes the difference in a technically sound DMV photo, and a photograph with meaningful expression.

Developing a quick relationship with my subjects in the studio has made me better at connecting with people as a travel photographer. However, if you don't photograph people as often, you can still practice.

Make portraits of friends, and practice getting them comfortable in front of your camera. Then go to a busy area in your town or city and approach a few interesting people for a candid shot. I have found if you can approach someone in your town, you certainly can when you are the tourist.

Do You Change The Scene?

I hear travel photographers say they don't want to affect the scene. That's ok for them, but I welcome the interaction. My feeling is that we already change the scene with our presence. Human nature is almost universal. Social norms and culture can influence actions, but human desires are always present. Humans want to be respected and acknowledged.

There are few times a photographer has little or no effect on the subject. One is when the subject doesn’t know the photographer is present.

Other times are when the subject is distracted by intense concentration, such as war or sporting events. I believe almost every time the photographer changes the scene just by being there. That goes for news, documentary, and travel photographers.

© Greg Thomason | https://gregthomason.com

A Few Examples

Does the protestor become more emboldened by the press on-site?
Does the researcher become more self-conscious by the subject's presence?
Does the woman in the market hold herself differently at the presence of the travel photographer?

I believe the answer is almost always yes. That is not to say the subject's behavior is radically influenced, but it is. If we photographers affect the scene, why not do it positively, both for those we photograph and for ourselves? How do we do this as a travel photographer?

Add A Little Humanity

First, treat everyone as a human worth your time. Remember, your subject is a person, not a zoo animal. Acknowledge them with a wave, head nod, or greeting. A common language is not required.

Learn The Language

Speaking of language, learn a few words in your subject's native tongue, even if most speak your language as well. This approach helped with some kidding around when I told a Samburu warrior to look brave, like a lion. We had already been joking around, so he cracked up laughing when I took the photo, looked at the back of the camera, and told him in the Samburu dialect of Maa he looked like a warthog.

Do things to endear you to your subjects. Language and respect go a long way here. However, in the right context joking around can bring you closer. I have attempted to sing along with Samburu tribesmen. I won't be winning any singing awards, but the tribesmen asked me to come back and camp in the village. Be vulnerable; after all, you are expecting your subjects to be.

Know The Social Norms

Of course, research is essential, as it is with any photography. You must know the laws, as well as the social norms, of the locations you visit. Know whether or not certain hand motions are offensive. Look into what extended eye contact may mean. Look into how to greet, and act around, the opposite sex.

Especially in cities, make sure you know what might be off-limits to photograph. I thought I did but ended up getting detained in N'Djamena, Chad, when I took photos in a crowded market. That's another story, but it all turned out ok.

Pay attention to how the locals greet and act around each other. How do they stand? If they stand inside the personal space you are used to having, be prepared. Hugs and kisses are standard in some places. In others, hugs are solely for same-sex greetings only. Know the norms and be ready for them.

Respect People's Wishes

Expect many people to say no when asked if you may take their photo. I haven't run into a situation yet where getting the photograph was worth not respecting the person's wishes (I'm not a journalist, so missing a shot doesn't impact me negatively). Show respect and patience, and you may be rewarded with travel portraits that reflect a special connection with your subjects.

As a travel photographer, these connections make the difference between a snapshot that documents where you went and a photograph that reflects a human connection worthy of a place on your wall!

Is travel photography your calling?

A Photo Project During A Pandemic

When Eric Francis told me about “Isolation In The 402”, it immediately made sense. Unlike the popular #thefrontstepsproject which we have all now seen, Eric's work has both depth and breadth in some very nuanced ways.

Like Paul Gero, who I interviewed a couple of weeks back about his project in Wisconsin, Francis is also on a mission to document his community.

He wants to photograph as many families and individuals as possible in his area code: 402, during this time of self-isolation and social distancing. Hence the name for his project, “Isolation In The 402.”

Eric uses only Fujifilm gear and limits himself to one or two camera bodies and lenses. Most of the lighting you see in some of his portraits (scroll down) is either a porch light or day-light. Listen to the podcast, below, to learn more about his gear.

All the photographs are intentionally in black & white. As I saw Eric post portrait after portrait on his Facebook wall, I repeatedly stopped to read his posts too. Francis displays a sense of respect and curiosity to get know how each of his subjects is feeling on the day on the photo shoot.

Chatting With Eric Francis

Eric and I chat and text each other often. I know I wouldn't have converted to a Fujifilm photographer if it hadn't been for Eric's patient instructions. And yes, we can talk shop all day. When I asked if I could interview him about his project, he wasted no time in scheduling the call. Lean in and listen to how “Isolation In The 402” took shape and where he hopes to take it:

Photographs From The Project

Other Photographers Documenting Life Now

Paul Gero and Eric Francis both mentioned Matt Mendelsohn's project, Not Forgotten: The Yorktown Seniors of 2020. Take a look. If you know Matt, please let him know I would be honored to interview him for what appears to be a series now of chats with photographers about personal photography projects during the COVID-19 pandemic.

If you know of other photographers who are creating a body of work during this time, please have them contact me on Facebook.

I know, I know, as professional photographers we feel as though we shouldn’t be giving away our services for nothing. Sometime there is nothing wrong with this mindset. For a majority of my time as a portrait photographer I thought the same way. Why give away my service? I have worked so hard to get my product to where it is today and I know what it is worth. I certainly have better things to do with my time.

I was recently more or less forced into shooting for free in order to fill my portfolio with some missing pieces. I was looking for specific looking people to put in my portfolio. It became more apparent as time went on that it was pretty unlikely I was going to get these people to purchase a shoot with me, and even less likely they would do it in the time frame I was looking to get them done in.

There are many different reasons one may decide to offer a select few people free sessions for their photography business. Below is a list of some of the reasons one may decide to offer free sessions.

You are in need of some portfolio building.

This is the most obvious reason to do it. If you need people in front of your camera to help build your portfolio, there is no better reason then to offer some people (that you choose) in your area a free session.

You need to test out some new lighting setups or gear that might take time to shift and change.

One probably shouldn’t do this while a paying client is there!

You are looking to keep your photo skills sharp when you don’t have paid work scheduled.

I always feel that if I go a long time in between shoots I am not as sharp as I could be. Scheduling free shoots during times when you don’t have paid work can keep your skills sharpened and your mind engaged.

You are looking for BTS content.

It is without a doubt much easier to convince a non paying client to allow for “behind the scenes (BTS)” to be done during their shoot compared paying customers. Utilize this and maximize the gain from unpaid shoots and create social media content.

Offering free sessions is not for everyone (hence why the title of this article includes the word “sometimes”). If you are too busy with paid shoots, then obviously you shouldn’t make the time to shoot for free, but if you find yourself relating to one of the reasons above, then it could make sense for you to offer some (select few) a free shoot.

Another way to think about these types of shoots is that you are, in fact, being “paid” for them, just not with money. You are still getting something in return for doing the shoot. Whether that be more photos for your portfolio, or BTS content for social media. In time they will pay out in actual currency.

I have achieved some of my favorite and best images during unpaid shoots. I attribute this to the added level of control I have over what and how we are shooting during these sessions.

During a paid shoot, if a client wants to be photographed a certain way, I more or less do it how they want it. When an unpaid shoot is in the studio I am directing every step of the way. I may want the lighting to look a certain way or create a certain mood/vibe to the shot, I am in charge and I can make that happen during this time.

The level of freedom and creativity in these shoots is usually on a higher level than my paid shoots. It really gets my creative juices flowing and allows me to think outside the box.

So ask yourself. Do I have spare time on my hands? Do I need some special look to round out my portfolio? Do I have some ideas I want to try out in a more leisurely way? Perhaps this is the time to give out some free shoots to a few special and lucky people.

Comment below on the conditions when you offer to shoot for free.

For The Love Of The Photograph

Let me cut to the chase. Buy Chloe Lodge's book, “For The Love Of The Photograph” now. In fact, on February 29th, New Zealand time, you can buy the book and the accompanying journal for $29 each.

If you are still looking for that #1 reason, it's built into the title of the book! It's a strong buy from me because you, like me, absolutely LOVE creating photographs.

Other Reasons You Will Want Chloe Lodge's Book

Now that I have the most urgent matter out of the way, let me give you my perspective on the book called “For The Love Of The Photograph“.

Most photography books are pedantic and pedestrian. Lodge's book, within arm's reach on my desk, is conversational and convenient. As you read along, it's as if a dear friend was sitting next to you to explain everything they know about photography.

It's small form factor makes it supremely convenient to carry around town to a coffee shop. It's crisp printing and colorful photographs make the book very engaging. You turn the page and your are brought to a complete halt at Lodge's own gorgeous photography in and around her farm house in New Zealand.

My Takeaways From The Book

What did I take away from it? Be more present with light, to understand moment and gesture, to embrace color and to play to your heart's content with what and who you have right in front of you.

I assure you will be tickled by her observations and her insight. Having been in this business for about 20 years now, few things surprise me now. But Lodge's words reverberated within me, echoing as if I had said them myself at some point or another. It's a somewhat weird but welcome feeling.

Interview With Chloe Lodge

By now you know the drill. I look forward to speaking with photographers from around the world. It was quite easy to track Chloe Lodge down to see if she might be interested in talking about her book, “For The Love Of The Photograph.” So, give this chat between us a listen –

Buy The Book Today … Buy The Journal, Too

This book will inspire you for years to come. If you treat it as a “recipe book” you might just end up making one heckuva meal. There are 10 chapters in all. You are allowed to skip around if you wish. Come back and read something all over again, if you want. It's totally up to you.

What you will find, I suspect, is over time as your understanding and practice of photography grows, the words in the book will resonate within you even more. That's the beauty of this book. It's not a once-and-done type of book at all. It calls you back again and again, as it fills you up with a little different ingredient as you read it from a new perspective.

Yes, leap into photography with a book that will distinguish your work over time. I urge you to buy the book (no commissions being made here folks) and the journal that now accompanies it. Remember the special time limited flash sale on February 29th (it's New Zealand time and they are way ahead of us).

The Use of Off-Camera Flash

Off-camera flash and its use is often a challenge. And as I've said many times before, it was a mystery to me. My first flash was a Vivitar 285. I could use it only in manual mode and I didn't know where to begin, so I quickly and quietly yanked out the batteries from the unit and retired it.

That would have been the end of it if it wasn't a pesky assignment to photograph my first wedding. Wedding ceremonies are usually followed by receptions and this one kicked my butt. I was still shooting film at this time, and my TMax 3200 ISO didn't quite deliver. I was wide open at f/2.8, but shutter speed was barely 1/30th. Yep, dark, dark, dark cave for the reception.

I needed to learn to use my Vivitar. But the resistance continued because .. well, have any of you actually seen the manual that comes with a flash unit? Yeah, that's what I thought too. It gets pitched and buried next to the camera manual because of all the jargon.

Learning How Off-Camera Flash Works

The first person to ever talk to me, human-to-human about flash was Zack Arias. I attended his workshop in Boston. Then he generously invited me to his New York workshop a couple of years later. Then his OneLight DVD came out. Followed by the second version of that same workshop which I reviewed here. His off-camera-problem-solving-approach remains with me to this day.

Since then, however, there have been many other wonderful teachers who have introduced the topic of off-camera flash to the world. Vanessa Joy is a wedding and portrait photographer based in Freelhold, New Jersey. She is highly sought-after speaker and teacher. You should subscribe to her YouTube channel as she actively publishes videos there every week.

Vanessa Joy's New Book

I heard that she was working on a new book about off-camera flash. I asked if we could do a short interview about the book, “The Off-Camera Flash Handbook: 32 Scenarios for Creating Beautiful Light and Stunning Photographs“. So here it is:

While Vanessa walks us through the technical aspects of using an off-camera flash in the first section of the book, it is the second section that explores 32 different real-life scenarios that caught my eye. Turning day into night, photographing couples, warming up the sky, lighting a dark room (see, this would have come handy way back when) etc.

Take a look at the book on Amazon. However, now through February 15th (Saturday), you can order the book through Rocky Nook (the publisher) and save 40% when you used the code – OFCH40. Or, order it through Amazon before it launches on April 7th, as Amazon guarantees you the best price. In either event, you will own a book that you can refer to constantly as you go out and actively use (and make mistakes) with your off-camera flash.

You can also find Vanessa Joy on Facebook, Twitter and Instagram.