Focus on Vietnamese Tet Festival [Encore Publication]: A vibrant lunar new year celebration in America’s largest Vietnamese community

Most Americans are familiar with the Chinese New Year festivities that usher in the lunar new year in late January or early February, but most are not as aware of the Vietnamese cultural celebration of the start of the lunar year.  Called Tet, the Vietnamese new year’s festival has its own distinctive, bright, and colorful symbols and traditions.  By far the biggest Vietnamese community in the USA is in San Jose, California, which not coincidentally also hosts the largest Tet Festival each year in the US.  I’m fortunate to live quite near San Jose, and on the day of the Tet Festival I was already collaborating with a favorite model in a studio one city north of there, so I decided to drop by and shoot the Festival.  I’m very glad I did.  Today’s post presents some of my favorite images from the festival in the form of a simple photo essay.  I’ve included some discussion about how the images were made.

Welcome to the Tet Festival!  When shooting symbolic items, always check your background and find a point-of-view that is clean and compelling.  Buy this photo

An unusual cultural juxtaposition: Vietnamese belly dancing.  Here I used a fast shutter speed to freeze the motion and a relatively wide aperture to soften the background.  Capturing the right moment in the dance pattern is important, but it’s equally essential to capture the right facial gesture and eye contact.  Buy this photo

What’s scarier than a clown?  A drunken clown.  This fellow came out on stage with a bottle of beer and a bottle of whiskey, both of which he proceeded to drink onstage.  My wife and I suspect that this was an object lesson for the children in the audience, but we’re not certain.  Buy this photo

The fashion show of people watching the fashion show on stage.  Whether shooting landscapes, people, wildlife, or urban scenes, always remember to look in all directions.  Sometimes the most interesting subject lies in the opposite direction from the one you thought you were shooting.  Buy this photo

To capture this candid moment of young kids trying out the Vietnamese drums, I used a medium telephoto lens.  Most of the time I prefer to approach subjects before photographing them, but occasionally it’s preferable to shoot first and ask questions later, so as to capture the subject without self-awareness.  Buy this photo

Wearing many hats!  Buy this photo

This traditional Vietnamese dance troupe performed a series of dances, each representing one of the seasons of the year.  This was their Spring Dance.  The vibrant colors of the costumes and props contribute greatly to this portrait.  It’s also important to compose and crop the image carefully to achieve a pleasing result.  Buy this photo

Summer dance.  Buy this photo

I love this portrait thanks to the dancer’s look of contemplation and concentration.  To make an effective portrait in spite of the cluttered background, I used a medium telephoto lens set to a wide aperture to set the subject off from the background.  I also cropped the image in post-processing to remove extraneous background objects.  Buy this photo

Parting shot: A favorite portrait of a traditional Vietnamese dancer.  Buy this photo

What are your favorite cultural events and celebrations?  Please share your thoughts on how to successfully photograph them.

Want to read more posts about what to shoot while traveling or near home?  Find them all here: Posts on What to Shoot.

The Berlin Chapter [Encore Publication]: Updates on my ongoing Human/Machine Dance Project

Last summer I began a passion project in collaboration with choreographer, dancer, and Fulbright Scholar Carly Lave with the goal of exploring how the human body moves and how we humans will be transformed by increasing immersion into advanced technologies, including virtual reality, robotics, and interconnectivity.  I was delighted when one of my images from this project was recognized by my being named one of three Emerging Pros in Digital Photo Pro Magazine’s biannual awards.  The image was the overall winner in this international competition’s “Fashion & Beauty” category.

In an earlier post I shared a few favorite images from the California-based photo shoots that Carly and I conducted last summer.  In today’s post I’ll share a few new images from our recent photo shoots conducted in Berlin, Germany, where Carly is spending the year as a Fulbright Scholar.

Der Temporaum in Berlin: Flug

“Der Temporaum in Berlin: Flug”.  Carly takes flight while exploring a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To capture the fast action of Carly’s leap, I used a fast prime lens nearly wide open so as to achieve a fast shutter speed while shooting at a relatively low ISO.

 

Der Temporaum in Berlin: Tanzen

“Der Temporaum in Berlin: Tanzen”.  Carly dances within a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To create the soft, intimate feel of this portrait, I used a prime portrait lens (85mm) at a wide aperture (f/2.0) to allow the lovely light streaming through the window to illuminate Carly and to throw the background into soft focus.  Composition is very important to the success of intimate portraits, so I was careful to frame Carly’s body within the lines of the window casement and using the soft white curtains to provide a pleasing and non-distracting background.

 

Tempelhofer Feld I

“Tempelhofer Feld I”.  The virtual and physical worlds collide on a defunct runway at the pre-WWII airport of Tempelhofer, now a recreational space in the south of Berlin.  Working on location in outdoor settings can be tricky and success may be dependent on weather conditions and other factors.  Carly and I conducted this shoot during a gathering storm, making for a dramatic sky that complemented our theme and the industrial setting very nicely.  The accompanying challenges we experienced were very high winds, shifting light, and very little time to shoot before the sky opened up in a barrage of pelting rain and hail.  Fortunately we were able to “get our shot” before getting soaked to the bone.  I framed this image to give prominence not only to Carly but also to the old airfield’s runway and to the stormy sky.

Der Temporaum in Berlin: Schwarz und Weiß

“Der Temporaum in Berlin: Schwarz und Weiß”.  While I liked the way this image looked in color, my visual concept of the scene called for high-contrast black-and-white to give it an antique graphic-arts feel that seemed to suit the historically drab East Berlin setting.  During post-processing I converted the image to monochrome and increased the contrast, adjusting the tone and color curves until I achieved just the effect I was seeking.

Der Temporaum in Berlin: Virtuell

“Der Temporaum in Berlin: Virtuell”.  Carly explores a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  Using a fast prime lens at a very wide aperture setting, I intentionally limited the depth-of-field to such an extreme that Carly’s hands as well as the background were thrown into soft focus.  I like the effect this has on leading the viewer’s eye from the outstretched arms to Carly’s head and upper body, then around to the bleak industrial background.  The view thereby experiences some of the sense of exploration in the space where Carly is feeling her way.

Tempelhofer Feld II

“Tempelhofer Feld II”.  This image was made in a similar fashion to the previous one at the same location, except that here I gained a different perspective by backing further away from Carly as well as crouching down to the ground.  The resulting effect is one of precariousness rather than one of steadfastness in the earlier image.

I hope this behind-the-scenes peek at my ongoing passion project will help inspire your own creative process.  It’s important to be personally and deeply invested in a project before you begin.  Select your partner(s) carefully and plan thoroughly.  Then the process becomes joyful and exhilarating as you begin to bring your concept to life!

Have you carried out a photography project?  Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home?  Find them all here: Posts about What to Shoot.

 

Celebration Time, Come On [Encore Publication]: How to shoot festivals, street fairs, and other celebrations

As a professional travel photographer, I have to be prepared at any given time to shoot in nearly every genre of photography.  Landscapes, urban scenes, street photography, night and astrophotography, sports, wildlife, and portraiture are all stock-in-trade, and I love them all!  But when I’m asked what my favorite photographic genre is, I reply that I love portraying living culture the most of all.  Making images of people celebrating their culture, especially when those images convey a sense of place, is my top objective when I shoot, whether I’m halfway around the world or near home.

Culture can be expressed in small everyday elements of dress, gesture, and environment.  But celebrations such as festivals, street fairs, religious observances, arts, and sports show us culture writ large.  It is these outpourings of color, sounds, motion, and ritual that show us how people are different and yet similar all around the world.  And of all the celebrations I shoot regularly, my favorite of all is the annual Carnaval San Francisco.  So in today’s post, we’ll explore how to shoot striking images of cultural celebrations, using Carnaval SF as an example.

This year’s Carnaval was held this past Sunday.  But I was privileged to be “embedded” with several of the comparsas, or Carnaval groups, during the months leading up to the big parade day.  This allowed me the opportunity to get to know the leaders and dancers in these groups, making very special images of the preparations for Carnaval.  While I won’t be including any of those behind-the-scenes images in today’s post, the images of the parade day itself did benefit from my having had the chance to get to know the members of these groups over the months leading up to the day.  We’ll include some discussion of this observation in the post.

I’d like to start with an observation on gear.  I see a lot of fellow photographers shooting at events like Carnaval with way too much gear.  When I say too much gear, I mean more gear than is good for them or for the participants and observers of the festival.  Several photographers had two or three DSLR bodies mounted with enormous zoom lenses and attached to large strobes with huge diffusers.  Some used monopods and a few even tried to set up tripods for this rapidly moving and crowded event.  I brought a single DSLR with two light and fast prime lenses (a 50mm “normal” lens, and an 85mm portrait lens).  That’s it.  I never mounted a zoom lens during the whole day of shooting and I never used any artificial light.  And of course I went handheld the whole day; there’s really no safe or practical way to use a tripod at a crowded and mobile event.  All 2500 images I made that day used just that compact kit, and I’m very happy with the results.

It’s a good idea to arrive well before the scheduled start time.  Often, the best images of the day will be the ones you make during the preparations rather than during the event itself.  For this image of a leader of the Viva la Diva group, who I knew well from working with them over the last few months, I got in close with an 85mm portrait lens and allowed her elaborate headdress to fill the entire frame.  Buy this photo

Try to include some of the elements surrounding the people in the celebration.  A portrait that shows a person or people within their surroundings is called an “environmental portrait,” and often these tell us more about the person and the culture than do close-ups.  Buy this photo

Seek out the key people in a celebration, such as the King of Carnaval shown here.  He has such an amazing presence that all I had to do was find the right vantage point and shoot away.  I always look for uncluttered backgrounds when making portraits, so the background doesn’t distract much from the image.  Buy this photo

Kids make wonderful subjects during celebrations, especially during those moments when they forget the camera is there and are completely uninhibited.  Buy this photo

Try to choose backgrounds that complement your subject without competing with it.  I asked this samba dancer to pose by a street mural whose bright blues complemented her own costume.  Buy this photo

Group portraits can be challenging.  It’s difficult during the chaos of a celebration to get everyone’s eyes on the camera.  Try to find a vantage point that flatters everyone in the image (for full-body portraits, it’s often best to shoot from the level of the middle of the body, not from head level), choose an uncluttered and undistracting background, and select an aperture that gives just enough depth-of-field to keep all the people in focus while softening the background.  Buy this photo

To make close-up portraits during the actual celebration (in this case, a parade), it is not necessary to use a long telephoto lens.  Shooting with a long lens means you’re “taking” the portrait, not “making” the portrait.  You simply can’t interact with your subject while shooting from far away.  I prefer to use a prime normal or portrait lens so that I can interact with my subject and make an image where his personality shines through.  It helped here that I knew the members of this group from our interactions over the last few months.  Buy this photo

Another reason to use a fast prime lens is that you can choose a very wide aperture (here, F/2.0 using an F/1.4 lens) to get tack-sharp focus on the subject’s face while softening the background and sometimes other parts of the body.  Here I wanted to emphasize the pointing gesture by having the fingers so close as to be out of focus, while the dancer’s face and body are in sharp focus.  Buy this photo

For images that really pop, use a large aperture (small F-stop number) to soften the background and separate the subject from the other people and objects around him.  Buy this photo

During the chaos and cacophony of an urban celebration, it’s nice to find those quiet moments, too.  While most festival dances are joyous and boisterous, this Latin American folkloric dance is quiet and mournful.  I wanted the portrait to reflect that mood, so I shot from the side as if walking next to the dancer and caught the quiet gesture of holding the white handkerchief.  Again, a large aperture was used to blur the background and emphasize the subject.  Buy this photo

I look for scenes where participants are just being themselves.  These girls were having a blast, marching and chatting with each other, but they also were interacting with the crowd.  I got down nearly to the ground so as to shoot from their level and framed the image so as to emphasize the color and pattern of their costumes.  Buy this photo

Most images of parades are shot from straight ahead looking backward onto the subjects.  You’ll observe in this post that most of my images are not made from that perspective, but occasionally it does work to frame a great scene, such as this delightful image of a salsa dancing couple.  Buy this photo

It can be challenging to include a whole parade contingent in one shot.  Here I was able to frame the whole group in formation, including some of the lovely San Francisco houses on the steep hill behind, by running ahead to the truck in front of the dancers and getting as much distance as I could between me and them.  I shot with an 85mm lens and selected a small aperture (large F-number) so as to keep all of the dancers and the background in focus.  Buy this photo

With bold and colorful costumes, some subjects cry out for a big striking close-up.  When this dancer stopped to interact with me, I got in close with a portrait lens and captured him full-frame.  Buy this photo

Don’t shy away from using non-standard aspect ratios.  To include the whole Muito Quente contingent, I moved back from the dancers and captured the whole width of the street, then in post-processing I cropped to keep the full width but remove the unwanted foreground and background portions.  Buy this photo

Again, it is helpful to know the participants in advance of the performance.  I had been working with the Muito Quente group for several months before the parade, which made it more natural to interact with each of the dancers and make the best images possible.  Buy this photo

Always shoot in RAW mode for maximum flexibility.  A few words about post-processing: Using Lightroom, I make small adjustments to the color and contrast curves so as to emphasize the subject.  A little boost to the vibrance (but not so much as to make the image appear unnatural) and a touch of post-crop vignetting can really make the image pop.  Buy this photo

Sometimes it’s okay to break the usual rules of composition.  A portrait is not supposed to be cropped at the joints, such as at the knee, but here it works because the dancer’s ornate flowing dress gives a sense of motion and fluidity in the bottom of the frame.  Buy this photo

Even in a fast-moving parade, find the opportunities to have your subject stop for a moment and interact with you.  The resulting images will convey much more personality that way, even if the personage is fully masked.  Buy this photo

We’ll close with this moment of sheer Carnaval magic.  It’s such a wonderful feeling when all the elements come together to make a memorable image.  This portrait uses most of the techniques we’ve discussed in today’s post–careful composition, bright vibrant colors, a perfect moment, sharp subject with soft background–and conveys a strong sense of personality, culture, and place.  And that is what Carnaval, and cultural celebrations in general, are all about!  Buy this photo

What are your favorite cultural celebrations?  How do you make images that capture their essence?  Please share your thoughts here.

Want to read more posts about what to shoot while traveling or close to home?  Find them all here: Posts on What to Shoot.

The Harsh Realities [Encore Publication]: How to shoot in extreme conditions


Travel is exciting because it exposes us to new environments from which we can learn about the diversity of the world and our own place within it.  But travel also can expose our expensive and sensitive photo gear to extreme conditions.  Heat, cold, humidity, dryness, wind, dust, sand, salt, water, and physical shocks are among the harsh realities of travel photography.  Let’s examine some of these hazards and discuss how to mitigate the potential harm.

  • Cold: Extremely low temperatures can cause all kinds of problems with modern electronics, including cameras.  Batteries don’t hold their charges very well in frigid conditions, so you need to carry extra batteries and keep them warm in your pocket or inside your parka.  Also expect to be recharging them more frequently than in warmer climes.  The LCD displays on your camera (and other devices such as your smartphone) can stop working partially or completely in very cold temperatures.  I’ve found there isn’t much that can be done when this happens except to try to gently warm the device, but that can be difficult when in the field shooting.  Fortunately, most of the time the display will return to normal functioning when it warms up.  Remember that very cold air is usually also very dry air, so be careful of condensation when getting out of the cold and returning to the warmth of an indoor environment.  The moisture that condenses on the inside of our lenses and electronic equipment can be damaging, so it’s best to let the gear warm up again while inside a sealed bag to prevent excessive condensation.  A large freezer-style bag works well for this purpose; just remember to place your camera and lens in the bag before coming inside from the cold.  Avoid lens changes in extreme cold conditions whenever possible.
  • Extreme cold, such as in Svalbard, can cause problems with the operation of batteries and LCD displays, and with condensation.  Buy this photo
  • Humidity: Excessive humidity can also cause condensation and fogging of the glass surfaces and displays on your gear.  In very humid conditions there is lots of moisture in the air, while in air conditioned vehicles and hotel rooms there is less moisture.  That means your lenses and LCDs will likely fog up quickly after leaving the air conditioned comfort of your hotel or vehicle.  To mitigate this problem, try to store your gear in an area that is less air conditioned, such as a storage area or bathroom.  And when you leave your hotel or car, keep the gear inside your camera bag to help prevent the buildup of moisture.
  • Wind and Dust: Recall that we’ve discussed many times in other posts the need to keep a UV (or haze) filter permanently attached to all lenses.  This protects the lenses from scratching damage, but has the secondary effect of protecting against dust building up on the front surface of the lens.  Dusty areas are also a good place to keep your lens cap on except when you are actually shooting.  Rule Number 1 in dusty environments is never, ever to change lenses outside unless it is absolutely necessary.  I like to carry two camera bodies with different lenses so that I can shoot with both lenses without the need to change in the field.  And if you do get dust on the camera’s viewfinder, lens, LCD, or mirror, you should have a good blower brush and soft lens cloth with you so you can clean it off.  I do not recommend trying to clean your camera’s sensor yourself unless you are confident you have the skills and equipment to do it properly.  Instead, turn on your camera’s sensor-cleaning function, if it has one, to try to prevent dust buildup, and heed the caution never to change lenses in dusty or windy environments.  A few small specks of dust on the sensor can even be removed in post-processing, although this becomes very difficult if the sensor is badly marred by the stuff.  I have a friend who is an ophthalmologist as well as an avid photographer, and he is one of the few people I know who will clean his own camera’s sensor.  I have a wonderful photo of him in full surgical regalia, using a microscope and surgical instruments to do the job.  For the rest of us, bring the camera to a good repair shop after your trip ends and before the next big adventure begins.
  • Physical Shocks: Travel is the school of hard knocks for camera gear.  Safari vehicles, “puddle hopper” bush planes, and long bus rides over bumpy roads are the norm for adventure travelers.  Once the gear takes a punishing blow that damages it, there is very little to be done in the field.  My best advice is to carry your gear in a very good padded bag with snug fittings around each piece, and to bring a backup camera body and lenses in overlapping ranges of focal lengths to ensure redundancy in the event of a mishap.

Game drives while on safari are near the top of every photographer’s “bucket list,” but the harsh realities of jolts, dust, and humid heat can threaten your sensitive camera gear.  Buy this photo

There’s an old saying, “If you can’t run with the big dogs, stay at home on the porch.”  If we were the types of photographers who wanted to avoid all these hazards, we’d just stay at home, right?  But travel photographers are the adventurous sort, and we consider these risks to be a cost of the intense pleasure we derive from shooting all kinds of fascinating subjects in new environments all around the world.  Plan well to minimize problems, bring extra gear for redundancy, and when something does go wrong keep a positive attitude: you’ll be well rewarded when you get home and have unique images as a souvenir of your efforts!

When have you faced extreme conditions for your shoots, and how did you overcome them?  Please share your thoughts here.

Want to read more posts about what to shoot while traveling?  Find them all here: Posts on What to Shoot.

Panama’s “First Cry of Independence” Celebrations [Encore Publication]: Serendipitous timing allowed me to capture images of a rarely seen festival

Departing Panama City for the historic and folkloric region of the Azuero Peninsula, we were very fortunate to arrive in the little town of Chitre on the day they celebrate Panama’s “First Cry of Independence”. The push for independence from Spain began here, then spread to the rest of the country. Whether halfway around the world or right in my home town, I’m always thrilled to have the chance to capture the special energy and tradition of a festival or celebration. The excitement is even greater when the festival, like this one, is off the tourist track and seen by very few people other than locals.  In today’s post I share some favorite images from the first two days of this festival, along with some notes about how they were made. Click on any of the images to visit my Panama photo gallery, where you can browse and purchase many more images from this remarkable country.

It’s a good idea to grab some “establishing shots” when photographing any festival or other large event. These images are made from a longer distance and/or with a wider lens than the close-up images that constitute the bulk of most portfolios. The establishing shots give a sense of scale so the viewer can understand the context for the other images. Here I used a slightly wide-angle lens to frame some of the parade participants against the lovely colonial church in the town’s main square.

Because festivals are very busy events, it’s important to look for clean backgrounds insofar as possible.  To make this portrait of two young Panamanians dressed in the national costume known as the pollera, I composed so as to minimize clutter in the background and also used a wide aperture (small f-stop number) to render the background in soft focus.  Too often photographers compose based only on the main subject, but a clean background is at least as important to the success of the image than an interesting foreground subject.

Not all portraits need to include the subject’s full face. I shot this colorfully attired marcher in profile so as to give a sense of color and motion, while revealing only one side of her face.

This young participant shows off her traditional Panamanian costume called a pollera. A wide aperture sets her off from the other participants in the background, while a fast shutter speed freezes the motion of her swirling pollera.

In this image I captured the whole contingent of young women in their variously colored polleras. The lighting conditions were harsh, so I set the exposure manually be metering on the fabric of their costumes. In post-processing I had to adjust the highlights and shadows to ensure the subjects were evenly illuminated.

The second day of independence festivities are celebrated in the small town of Villa de los Santos. I asked this parade participant to pose for a portrait in a spot with a clean background and lovely soft lighting, then got in close with a fast prime portrait lens set to a wide aperture (small f-stop number) to throw the background out of focus.  Soft lighting (which can be obtained by shooting near sunrise or sunset, or by moving the subject into a shaded area) makes vivid colors truly pop and flatters the subject of your portrait.

To make this portrait of a participant wearing a fanciful mask, I asked him to pose in a somewhat less cluttered spot, then made the image using a very shallow depth-of-field to emphasize the mask and throw the background into very soft focus.

The “First Cry of Independence” festivities last well into the night.  The extremely low-light conditions offer a photographer’s dilemma: either continue to shoot using only available light (and accept the added visual noise and motion blur) or switch to using flash (and live with its short coverage distance, artificial color cast, and distraction to the subjects).  I chose to work with just available light, boosting my camera’s ISO sensitivity setting to as high as I could get away with and using a fast prime lens at a very wide aperture to gather as much light as possible, which in turn allowed the use of a reasonably fast shutter speed.  The results are lovely: sharp dancers in the foreground with just a touch of motion blur, soft focus on the dancers and buildings in the background, and a soft and painterly feel for the scene that to me feels quintessentially Panamanian.

Sometimes it can be effective to embrace rather than avoid a cluttered background and to include it as part of the overall mood of the scene. That was my approach in making this image. I got in relatively close to the dancers in the foreground, using a moderate aperture setting to render the background crowds of spectators in soft focus, but still easy to discern. This gives the viewer a sense of being a part of the bigger celebration even while observing this intimate scene featuring the young couple.

I hope you’ve enjoyed this photo essay on the first days of Panama’s independence celebrations. Have you experienced a little known local festival or celebration? Please share your experiences by leaving a comment here.

Portraits from Irish Pubs [Encore Publication]: Ireland’s trad music scene is a visual as well as an aural treat

The Republic of Ireland has undergone tremendous social and financial changes over the last 20 years.  It’s now indisputably a modern global society with a strong diversified economic engine.  Yet it’s also a happy truth that today, as in days of old, the pub remains at the center of Irish social life.  Far more than a simple watering hole, the local Irish pub, whether in the center of cosmopolitan Dublin or in a tiny coastal fishing village, is a gathering place where stories are shared, traditional music is played, old friends catch up, and new friends are made.  Oh, and a pint or two might just be downed.

Many pubs feature live traditional, or “trad,” music on a nightly basis.  The casual informality of Ireland’s pub scene allows local amateur musicians to sit in with seasoned pros and pass down the songs from old to young.  Members of the “audience” (it’s hard to distinguish between performers and audience when the sessions are so participatory) are invited to step up to the “stage” (usually just a table covered with pints of beer) to sing a song at any time.  This informality allows the travel photographer to get to know these wonderful musicians over a few pints and to make authentic portraits without feeling like we’re intruding.

Today’s post is a simple photo essay featuring portraits I made of musicians and fellow customers at a variety of pubs across Ireland (plus one in Scotland).  I will forgo the usual technical details except to remind you that when shooting portraits in low-light settings where the use of flash is impossible, that a good fast portrait lens should be used along with a high ISO setting.

My current favorite lens of all is my Nikon 85mm f/1.8G lens.  This is a classic portrait lens and provides a flattering perspective and great image quality when your subject is a human being.  I use it for nearly all of my portrait work these days.  But this lens also shines for nature and action photography where you don’t need a really long focal length.  It renders really lovely “bokeh,” or the soft quality of the out-of-focus parts of the image.

This young singer and fiddler who we met at Dublin’s famous O’Donoghue’s Pub was already a seasoned pro.  In this portrait I sought to capture her expressiveness with hand gestures.  Even without hearing her sing, the viewer can tell that she is expert at weaving stories.  Buy this photo

O’Donoghue’s is widely known as the spot where bands such as the Dubliners sparked the Irish folk music revival in the 1960s.  This band carries on the tradition, sharing songs old and new.  With a wide aperture comes shallow depth-of-field, so when photographing several people at one time you may have to choose which part of the image will be in focus.  Here I wanted to place the emphasis on the guitarist, so the other players are in softer focus.  Buy this photo

Another of Dublin’s great spots for trad music is the Cobblestone Pub.  On this night they were holding a very casual session, where all musicians were invited to come and play some tunes together.  The informality gave me a chance to get to know most of the players over the course of the evening and to make portraits without feeling like an intruder.  Again, the shallow depth-of-field required artistic choices about which subject would be in sharp focus and which would be in softer focus.  Buy this photo

In lively Kenmare, we wandered into a pub where a fabulous folksinger was performing many of the Irish songs I remember from childhood in Boston.  I chatted with Pat during his set breaks and bought a couple of his CDs.  He was a great subject for some expressive portraits, too.  Buy this photo

We didn’t have to leave our hotel on our first night in Killarney to hear some wonderful trad music.  This trio played many of our favorite songs right in the hotel’s pub, and they got most of the audience up to sing and dance along.  Buy this photo

Surprisingly, we heard only one rendition of Cockles and Mussels (aka “Sweet Molly Malone”) during our whole stay in Ireland.  This brave soul stood up in front of the crowd to sing that old standard.  Buy this photo

There’s nothing like watching an Irish crowd respond to the playing and singing of “The Wild Rover” to get one’s blood pumping.  Be ready to capture action in the “audience” as well as on the “stage.”  Buy this photo

Our second night in Killarney brought us into the center of town to an old and lively pub.  The table next to ours had four generations of a local family in attendance, each enjoying the musical set in their own way.  The oldest generation was my favorite.  Buy this photo

I got to know this fiddler over the course of the evening in Killarney.  During the break between sets she was kind enough to let me make her portrait.  It can be difficult in these crowded settings to avoid a cluttered background, but using a wide aperture for a shallow depth-of-field can help, as can careful post-processing.  Buy this photo

Elements I look for when making a portrait are faces with character and colorful details.  I found both with this accordion player and his beautiful instrument.  Buy this photo

 

The tiny fishing hamlet of Dingle has a population of just 1900 people, yet it somehow supports 52 lively pubs.  My kind of town!  Over pints of ale and shots of local whiskey in this colorful old pub, we made new friends from across the street and from as far away as Newfoundland.  This portrait of a musician was made almost entirely with light from the fireplace.  Buy this photo

The Scottish traditional music scene is as vibrant as Ireland’s, as evidenced by this band we heard at Edinburgh’s Sandy Bell’s Pub.  This place was bustling and extremely crowded.  The cluttered background somehow doesn’t detract too much from the power of this portrait.  Buy this photo

Have you traveled in Ireland or Scotland?  Do you have favorite portraits of the generous and friendly people you encountered there?  Please share your thoughts in the comment box.

Want to read more posts about what to shoot while traveling?  Find them all here: Posts on What to Shoot.

The Camera Eats First [Encore Publication]: How to make delicious images of local food specialties

A big part of the joy of travel is learning about the local food and drink.  For the travel photographer, local culinary specialties represent a cornucopia of image possibilities.  In this post, we’ll look at some food images and discuss a few tips and tricks to make delectable photos of the victuals we meet while traveling.  Warning: Do not read this post while hungry.

When photographing plated food, it’s best to get in close.  Shoot straight down or at a slightly oblique angle, and always check your background to ensure it is as uncluttered as possible.  Be aware of your focal point and depth of field (how much of the image is in focus) so that the most important part(s) of your image are sharp.

For this photo of a cheese plate in Burgundy, France, I got in close to the subject and chose a small aperture to ensure all the different cheeses were sharply in focus.  Buy this photo

Don’t forget that  specialty drinks are also a big part of local culture.  For example, in Argentina the deep love of mate (pronounced MAH-tay), a local infusion, becomes almost a religious practice.  This image of the mate service engages all the senses with its bright colors, contrasting textures, and suggestion of the smell and taste of the drink. To capture a sense of the Argentinian obsession with mate, I shot this image of the serving of the drink with all its components.  I wanted to include some of the environment around the mate tray as well.  The scene was lit with natural light, which further saturated the bright colors.

Argentina’s national obsession, mate.  Buy this photo

Always be on the lookout for local dishes that are unusual or exotic to our own sensibilities.  This image of the local Peruvian specialty cuy, or guinea pig, has sold well on American and European stock photography sites because the main ingredient is so unfamiliar to our palettes.  I love the saturated colors and the humor inherent in the guinea pigs holding peppers in their mouths.  The ocher wall makes a lovely background to offset the colors of the dish.  To capture this image of Peruvian cuy served during a home-hosted lunch, I got in close as the hostess held up her dish, ensuring that the ocher wall behind was all that was visible in the background.  I chose a wide aperture to slightly blur one of the guinea pigs and the wall.  I used natural lighting with just a kiss of off-camera flash to accentuate the highlights.

 Cuy (guinea pig) is a Peruvian delicacy.  Buy this photo

Sometimes it is the ingredients rather than the final dish that are most interesting.  While on a shore excursion on the Greek island of Rhodes, my family saw these beautiful octopuses hanging to dry in the sun.  After photographing them, we ordered a plate of grilled octopus.  We very nearly missed the sailing of our ship, as the taverna’s cook took her time to grill the dish, but it was absolutely worth it!

Obviously, natural light was the way to go with this image.  I wanted to get in close, but not too tight, so that the lovely Rhodes scenery would be partly visible behind the drying octopus.  I used a medium-wide aperture to slightly soften the background.  Buy this photo

What’s even better than food images?  Portraits of local people making or serving the food!  Here’s a shot of a server holding up a tray of Istanbul’s best baklava.  The background is a bit cluttered, but I like this image for its blending of the beautiful dessert tray with the pride of the man serving it.

Often a street vendor, cook, or restaurant server will be reluctant to have their portrait made but will be happy to pose with their wares.  For this portrait of an Istanbul baklava server, I chose a wide-angle lens and got in very close to the food tray to emphasize the baklava while including the server in the composition.  Just natural light and balanced fill flash were used as lighting.  Buy this photo

Street markets are a wonderful source of travel images.  They tend to be bright, colorful, exotic, and characteristic of the location.  Be aware that some vendors will expect you to buy something if you want to photograph their wares.

I like the contrasting colors in this shot of Istanbul’s ancient Spice Market.  Buy this photo

Nearly every culture around the world has its own version of barbecue, and in my broad and diverse travel experience, it’s all good.  Here’s a photo of whole branzino (Mediterranean sea bass) fish being grilled topside by the captain of our small wooden sailing ship on the Turquoise Coast of Turkey.  It was nearly completely dark, so I lit this image using light from the burning coals and a touch of flash.  A relatively high ISO was required to balance the low natural light with the need for a small enough aperture to keep the whole subject in focus.

Whole fish on the grill aboard a gulet yacht in Turkey.  Buy this photo

Sometimes a local cuisine is all about diversity, such as the Dutch-Indonesian specialty rijsttafel (rice table).  Some presentations of rijsttafel in Amsterdam involve over a hundred different tiny plates, each containing a different food preparation.  To capture this tapestry of tastes, I stood on the bench and shot obliquely onto the table top, including as much of the spread as I could.

Indonesian rijsttafel served in Amsterdam.  Note that in restaurants at night we have little or no control over the artificial lighting, which can sometimes lead to an unnatural color cast on the food.  Shoot in RAW format so you can adjust the color balance during post-processing when you get home.  Buy this photo

I grew up in New England, and after traveling to more than 100 countries around the world I can say with authority that few meals can beat a good old-fashioned New England clambake with lobster.  To capture this iconic image, I shot up close and directly toward the lobster, using a normal lens with a medium aperture.  This allowed most of the meal to be sharply focused, but with some falloff in sharpness toward the edges in order to emphasize the Maine event.  The contrasting colors between lobster, clams, and corn make for a pleasing composition.

A lobster clambake in Maine showcases the contrasting colors and textures of this delicious meal.  Buy this photo

As a parting shot, I’ll leave you with this image of French haute cuisine.  The gloriously prepared and plated fish course at Paul Bocuse’s three-Michelin-starred restaurant made a fun subject because it is whimsical and artistic at the same time.  The available lighting was soft and subdued for artificial light, so no flash was needed.  I shot some closer compositions of just the plate, but preferred this one with some of the table setting included.

Bon appétit!  Buy this photo

What are your favorite food photos?  Do you have tips on how to make food images really pop?  Please share your comments.

Want to read more posts about what to shoot while traveling or at home?  Find them all here: Posts on What to Shoot.

Sweet Release [Encore Publication]: What is a model release and when do you need one?

We photographers are passionate about many aspects of our trade.  We love the artistic expression, that feeling of capturing a special moment that otherwise would be lost to time, even the gear we use to make images.  But one aspect of the trade that few of us–professionals and amateurs alike–enjoy thinking about is the legal side of making and selling images.  And one legal element about which we need to be knowledgeable is the model release.  Unless you never plan to make any images in which any person is recognizable, you should learn what a model release is and when you may need to use one.

First, a disclaimer: I am not an attorney and the advice I provide in this post is not intended to replace consultation with a competent lawyer.  What I provide here is just some practical advice I’ve acquired over the years, in which course I’ve made plenty of mistakes.  And you should also be aware that laws governing when you can photograph a person and how that image can be used vary from country to country and even among states or provinces within some countries.  With these points made, let’s explore the basic concept of a model release and when you may need one.

In the simplest terms, a model release is a legal agreement between a photographer and any person who will be recognizable in images made by the photographer.  It spells out the conditions under which the image can be published and often specifies the compensation to which the model is entitled.  In the US, a valid model release must be signed and dated by the photographer, the model, and a witness.  If the model is a minor child, a parent or legal guardian also must sign.  This agreement protects the photographer against being sued for defaming or cheating the model, but equally it protects the model from being taken advantage of.


When I work with a professional model, like Laura here, I always obtain a signed release before the photo shoot.  This practice ensures she will be properly compensated and protected against inappropriate uses of her likeness, while I and any publisher will be protected against defamation claims by the model.  Having the release means I have more flexibility as to how the image can be used later.  Buy this photo

So, when do you need a model release?  Here are some situations (not an exhaustive list) in which you should have one:

  • A person can be recognized in your image.  Note that personally identifiable information doesn’t derive only from a direct likeness of the person’s face.  He or she could also be recognized from a special feature such as a tattoo or from the context such as a clearly identifiable location.
  • … AND … one or more of the following statements is true:
    • You may wish to sell the image for commercial purposes such as advertising or use in a business’s publicity or promotion.
    • You may wish to enter the image in a competition or contest.  Check the specific competition’s rules; some require a model release whenever a person is clearly identifiable in the photo, while others do not.
    • You may wish to provide the image (even if you’re not compensated) for other people to use in a context you can’t control.  A model release protects you and those who obtain a license to use your image from being sued by the model for using their likeness in a way that they don’t approve.

In contrast, there are plenty of situations in which you don’t need to have a signed model release.  Some of these include:

  • One or many people appear in the image but none is recognizable.  The subjects may be far away from the vantage point or they may all be obscured or facing away from the camera.  As long as they cannot be identified individually, there is no need for a model release.
  • You plan to use the image only for your own portfolio.
  • You plan to use the image only for editorial purposes.  If your photo is published in a newspaper, magazine, or website where the primary purpose is editorial rather than commercial, a release is not required.  Imagine if every reporter had to get a signed release before publishing the likeness of every person appearing in any news outlet.  This would have a chilling effect on journalism, which is a pillar of a free and democratic society.  So in most cases, if your photo will be used for editorial purposes (that is, it will appear in a newspaper or magazine’s news section rather than in an advertising section), then you and the outlet’s publishers don’t need a release.
  • The images can be considered fine art photography.  Photos can be published and sold without express permission from the person appearing in them if the primary purpose is fine art.  In the US, case law upholds artistic expression as a form of First Amendment free speech in most cases.

Kashgar, China
Images with news value, such as this one made of a Uighur girl in Kashgar’s Old Town days before her home was to be demolished by the Chinese government, may be published and sold for editorial purposes with no requirement for a signed model release.  Buy this photo

When you do believe that a model release would be helpful given your intended future use of an image, it is quite a simple task to obtain one.  Some photographers carry printed forms with them so they can ask a subject to sign their release as needed.  I use an app on my smartphone called “Easy Release,” which you can purchase for $9.99 on the iTunes Store: Easy Release app for iPhone.  This app simplifies the process of creating a model release; getting it signed by your model, yourself, and a witness; sending it to others; and storing and managing it for future use.

Because “To Travel Hopefully” primarily treats the subject of travel photography, I want to share my own philosophy when it comes to asking for a model release while traveling.  Even if you understand the laws of the country in which you are shooting, there are potential ethical issues in asking your subject to sign a legal document that he or she probably can’t understand.  You may be able to get the text of the document translated into your subject’s local language, but even then the context of the agreement may not make sense to somebody from a very different culture than our own.  I try to exercise good judgment when it comes to compensating the people I photograph when traveling overseas and to how I use the images later.  You may want to read or reread my pillar post on photography as a bridge to local culture: Post on Travel Portraiture.

Many photographers, models, and publishers misunderstand the conditions under which a model release is or is not required, so there’s a lot of misinformation out there.  Please consider my points here as just a starting point for learning more about this topic.

What are your best practices regarding when and how to use a model release?  Please share your thoughts here.

Want to read more posts about what to shoot while traveling?  Find them all here: Posts on What to Shoot.

 

Twenty Years of World-Class Hip Hop Dance [Encore Publication]: Capturing the groundbreaking SF International Hip Hop Dance Fest

So excited for this year’s SF International Hip Hop Dance Fest, coming next weekend!  To whet our appetites, please enjoy this repost on last year’s festival.

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I’m honored to be a photographer for the twentieth anniversary production of the world-class SF International Hip Hop Dance Fest.  If you think hip hop dance is just about b-boys and b-girls, this festival will broaden your horizons to the diverse array of hip hop, from jaw-dropping acrobatics to artistic and subtly activist choreography.

As a photographer specializing in travel and cultural documentation, I love having the opportunity to capture images from a wide range of nations and cultural styles, so each year I’m eager to shoot the diverse participants in this show who come from all over the world and represent many different faces of hip hop dance.

Today’s post consists of a photo essay of a few favorite performance images from this  year’s festival.  Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

First, a few notes about the making of these images:

  1. During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers.  This mobility is not possible during live performances.  As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts.  Unfortunately, this year I was traveling on assignment in Panama during the festival’s dress rehearsal dates, so I was able only to capture images from the live performances.
  2. When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion.  In the case of these particular performances, I also needed to use a long telephoto zoom lens due to being assigned seats quite far from the stage.
  3. Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result.  Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
  4. The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose.  I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

I hope you’ve enjoyed this sampling of images from the remarkable SF International Hip Hop Dance Fest.  It’s a challenge and a genuine joy to have the opportunity to make images of important large-scale dance productions such as this one.  Thank you for reading, and please share your thoughts and questions about today’s post here.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

Capturing a Sense of Place [Encore Publication]: A case study on how to integrate the natural surroundings into a creative photo shoot

Whether halfway around the world or in my own backyard, I strive to capture a strong sense of place in my work.  Most often we associate “sense of place” with images of indigenous people living close to the land, but this sensibility can be extended to incorporate the local natural surroundings into any creative images.  As I collaborate with local people close to my home in the San Francisco Bay Area, I’m always seeking ways to integrate the intense beauty of our landscapes into my work.  Today’s post is a case study on this theme based on a recent shoot I did with a favorite movement practitioner, mia.

mia is an amazingly intuitive artist who improvises her movement by sensing the energy of the space around her, so we chose a glorious and deserted stretch of the central California coastline near sunset for our shoot.  We built in plenty of time, more than two hours, and I gave mia lots of space to move with very little direction on my part.  I had all my gear ready and was wearing beach attire myself so I could just let her create her art while following her and capturing her expressive movement using my own creative approach.

In the following images, presented as a photo essay with just brief captions explaining how they were made, I share the results of this collaboration.  You can view or purchase all of these images and many more in this gallery: mia beach shoot photo gallery.

My gear was simple: two camera bodies, one with a fast prime normal lens (and occasionally with a fast prime portrait lens), the other with a wide-angle zoom lens.  Obviously, these optics were selected so that I could alternate between capturing mia up close and documenting her motion within the broader environment.  All images were made with natural light only and were handheld.  A general piece of advice is to shoot lots of frames to ensure capturing your model during the moments when they express just the right sensibility, gesture, or emotion.  Memory card storage space is cheap and abundant, so always shoot more images than you think you need.

Using the wide-angle lens, I captured images of mia interacting with the space around her.  This “environmental portrait” technique helps create a strong sense of place.

Even with the glorious color palette of a California coastline near sunset, there were times I chose to render the images in black-and-white to achieve a timeless graphics art look.

Environmental portraits, full-body shots, and head shots are not the only options when shooting creative portraits.  Here I chose to capture only mia’s legs as she traced a circle in the wet sand.  Sometimes the part can be more interesting than the whole.

Shooting from a low angle just above the water, I captured a powerful vision of mia interacting with the ocean.  Obviously one has to be careful of one’s gear when choosing to shoot so close to salt water, but I love the resulting image made from this perspective.

Not every image needs to be tack sharp.  I like to create a sense of motion by using a slow shutter speed to blur the movement.  Here I was able to achieve a slow enough shutter speed by using my camera’s slowest native ISO setting along with a very small aperture setting, but sometimes in very bright light a neutral density filter has to be used.

Note that when shooting a backlit subject it is crucial to choose an exposure based on the light coming from the model rather than allowing your camera’s meter to choose the exposure for you (unless you are trying to create a silhouette).  Two techniques suitable for this situation are spot-metering on your subject’s body or dialing in at least two stops of exposure compensation.

As sunset approached, I shot a series of images using both wide-angle and closeup perspectives.  This shot nicely captures mia from a medium distance, close enough to see some detail in her expression while far enough away to include some sense of place.

The setting sun can evoke very powerful emotions.  It can be risky to include the sun in your images, so tread carefully.  Careless shooting into the sun can cause permanent damage to both the photographer’s eyes and the camera’s sensor.  This image was made moments before sunset under conditions I assessed to be safe, but if in doubt do not ever shoot into the sun.  

A wide-angle capture suggests mia’s celebratory motion as the sun sets, but she appears relatively small within this awe-inspiring natural environment.

At the moment of sunset, a parting shot is made where mia bids farewell to the day.  I chose an exposure partway between silhouette and spot-metering on mia’s body so as to show some detail on her expression while allowing the ocean and sky to shine.

I hope you’ve found these images to be inspiring and the associated tips to be helpful.  Now go out in your own neck of the woods make some images that integrate a sense of place into your favorite subjects!

Do you have techniques you use to infuse your local images with a strong sense of place?  Please share them here.

Want to read more posts about what to shoot while near home or traveling?  Find them all here: Posts about what to shoot.

Beyond the Postcard Shot [Encore Publication]: Some sites are so iconic, you have to think differently to get a unique shot

Much of the joy of travel photography is seeking out and capturing images of little-known places and the ordinary daily lives of the people who live in them.  But when we’re traveling it is also inevitable that we’ll come face to face with the world’s most famous, overexposed, iconic sites.  You know, those places that are so often documented and discussed that we automatically associate them with the city or country where they are located.  London has Big Ben, Paris has the Eiffel Tower, San Francisco has the Golden Gate Bridge, Tibet has Potala Palace, India has the Taj Mahal, Cambodia has the Angkor Wat temple complex, and so on.  These sites have been photographed and shared so many millions of times that they are ingrained in our visual memories.  But there are ways we can approach and photograph the world’s iconic sites so as to avoid the “postcard shots” and create something different.  In today’s post, we’ll explore a few methods you can use to make less familiar images of the world’s most familiar locations.

Focus on part rather than the whole: Instead of capturing an iconic site such as London’s Big Ben with a normal or wide-angle lens to include the whole structure, try using a longer lens or getting up close to capture just a portion.

Big Ben is nearly always photographed from a distance using a normal or wide-angle lens to include the whole tower.  Here I used a medium telephoto lens looking up at the clock’s face to emphasize some of the detail on the facade.  Buy this photo

Embrace the crowds: Instead of working to remove the hordes of visitors from images of iconic locations, sometimes it is effective to embrace the crowds.  This can create a “nod and a wink”, self-referential photo that tells the viewer we all know this site is a tourist draw.  In this image of Stonehenge, I used a wide-angle lens to include not only the monoliths but also the long line of visitors who have come to see them.

Intentionally including the hordes of visitors in some of our images can give a different effect from the usual photos in which we attempt to remove the people.  Buy this photo

Try a different time of day: Many of the world’s most famous sites are associated with a specific time of day or lighting conditions.  The Golden Gate Bridge, for example, is often photographed at sunset or as the banks of fog roll over it.  Tibet’s Potala Palace is usually pictured by day.  So, for a different view of this lovely temple/palace complex, I visited it by night.  The resulting images offer a different mood from the postcard shots.

A different time of day can yield very different images from the usual ones.  Here, Potala Palace is captured by night, a seldom seen view that offers a very different mood than the postcard pictures.  Buy this photo

Incorporate unexpected visual elements: We associate certain visual themes with iconic locations, so surprise your viewers by including unexpected elements in your images.  I especially enjoy incorporating anachronistic visuals, such as a Buddhist monk speaking on a cell phone (though even that is becoming something of a cliche these days).  In this image of Delhi’s iconic Qutub Minar, I framed the shot first and then waited for the jetliner to enter the frame just behind the minaret.

Including non-contextual visual references in our shots of iconic sites can surprise the viewer.  This image of Delhi’s ancient Qutub Minar minaret incorporates a modern jet airplane for a mashup of old and new.  Buy this photo

Find a different vantage point: The Taj Mahal is a gloriously lovely building, but its true beauty is often overlooked by photographing it straight on from the iconic vantage point across the reflecting pool at the main entrance to the site.  Instead, try capturing the Taj from an unusual vantage point, such as the Moonlight Garden across the river from the back of the Taj.  The resulting image will surprise the viewer by offering a less-seen perspective and by framing the iconic site in an unusual context.

This image of the back side of India’s iconic Taj Mahal was made from the Moonlight Garden across the river.  Freed from the usual framing of the front of the Taj with its reflection in the pool, the viewer can truly appreciate the gracious beauty of the structure itself.  Buy this photo

Next time you visit one of the world’s most overexposed sites, try making some images using one of more of these new approaches to surprise the viewer with something different.  Avoid the cliches by emphasizing just certain portions of the site or by including crowds or non-contextual elements in your images.  Shoot from a different vantage point or at an unexpected time of day.  There’s really no need to add one more to the heap of millions of identical photos of these places, so go wild and try something unique!

How have you created unusual images of the world’s most iconic locations?  Please share your thoughts here!

Want to read more posts about what to shoot while traveling?  Find them all here: Posts on What to Shoot.

I Feel Like a Kid in a Candy Store [Encore Publication]: Capturing the spectacular SF Movement Arts Festival

Note: For the first time, this year there will be a summer version of the SF Movement Arts Festival! If you live in the SF Bay Area, please plan to attend this amazing event on July 19 at Grace Cathedral.

As an official photographer once again for this year’s SF Movement Arts Festival, last Friday I had the privilege and pleasure of capturing images of most of the more than 300 talented and diverse performers who participated in this year’s amazing event. If you live in the SF Bay Area and missed it, this year there will also be a summer version, presented in July.

This epic event of breathtaking beauty and scope brings together many of my favorite choreographers and dancers–those with whom I collaborate throughout the year, their younger students, and some who I’ve never met before–representing a tremendous range of movement practices and dance styles, and throws them all into the grand interior spaces of San Francisco’s iconic Grace Cathedral. My assignment, truly a labor of love, is to stay all day and all night: for the rehearsals, side photo shoots, and the performance, in an effort to capture images of nearly every performer in the festival. Truly, I feel like a kid in a candy store, having the opportunity to make images with so many amazing movement practitioners in this ethereal space, all in one day.

Today’s post, presented as a simple photo essay, shares some of my favorite images from this mind-boggling event. All I will add in the way of technical notes are a few points my regular readers will already know to expect from me:

  • When shooting fast-moving action in a relatively dark space, use as fast a lens as you can given your focal length needs, boost your camera’s ISO sensitivity setting to as high as you can get away with, and choose an aperture as wide as possible given the depth-of-field you seek
  • Choose a shutter speed that is fast enough to freeze the performers’ movement, unless you’re intending to create an artistic motion blur
  • Watch your backgrounds: what’s behind your main subject is as or more important than your subject itself, so try to choose a pleasing or less distracting background whenever possible, and keep your horizons level
  • Compose your images with an eye toward putting your viewer within the performance to experience the beauty, athleticism, and grace first-hand
  • Shoot lots of images because the performers’ body postures, gestures, and facial expressions will change in an instant and you want to be sure to capture a few frames that bring out their very best.

You can view and purchase all of the images in this post, and many more, by visiting my web gallery here: SFMAF Photo Gallery .

I hope you’ve enjoyed this small sampler of images from the incredible SF Movement Arts Festival. You can view and purchase all of these and many more by visiting my web gallery here: SFMAF Photo Gallery .

Do you have a favorite festival or cultural event that inspires and excites you so thoroughly that you feel you could photograph it every day? What are your go-to techniques for capturing images at these events? Please share your thoughts here!

The Berlin Chapter [Encore Publication]: Updates on my ongoing Human/Machine Dance Project

Last summer I began a passion project in collaboration with choreographer, dancer, and Fulbright Scholar Carly Lave with the goal of exploring how the human body moves and how we humans will be transformed by increasing immersion into advanced technologies, including virtual reality, robotics, and interconnectivity.  I was delighted when one of my images from this project was recognized by my being named one of three Emerging Pros in Digital Photo Pro Magazine’s biannual awards.  The image was the overall winner in this international competition’s “Fashion & Beauty” category.

In an earlier post I shared a few favorite images from the California-based photo shoots that Carly and I conducted last summer.  In today’s post I’ll share a few new images from our recent photo shoots conducted in Berlin, Germany, where Carly is spending the year as a Fulbright Scholar.

Der Temporaum in Berlin: Flug

“Der Temporaum in Berlin: Flug”.  Carly takes flight while exploring a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To capture the fast action of Carly’s leap, I used a fast prime lens nearly wide open so as to achieve a fast shutter speed while shooting at a relatively low ISO.

 

Der Temporaum in Berlin: Tanzen

“Der Temporaum in Berlin: Tanzen”.  Carly dances within a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To create the soft, intimate feel of this portrait, I used a prime portrait lens (85mm) at a wide aperture (f/2.0) to allow the lovely light streaming through the window to illuminate Carly and to throw the background into soft focus.  Composition is very important to the success of intimate portraits, so I was careful to frame Carly’s body within the lines of the window casement and using the soft white curtains to provide a pleasing and non-distracting background.

 

Tempelhofer Feld I

“Tempelhofer Feld I”.  The virtual and physical worlds collide on a defunct runway at the pre-WWII airport of Tempelhofer, now a recreational space in the south of Berlin.  Working on location in outdoor settings can be tricky and success may be dependent on weather conditions and other factors.  Carly and I conducted this shoot during a gathering storm, making for a dramatic sky that complemented our theme and the industrial setting very nicely.  The accompanying challenges we experienced were very high winds, shifting light, and very little time to shoot before the sky opened up in a barrage of pelting rain and hail.  Fortunately we were able to “get our shot” before getting soaked to the bone.  I framed this image to give prominence not only to Carly but also to the old airfield’s runway and to the stormy sky.

Der Temporaum in Berlin: Schwarz und Weiß

“Der Temporaum in Berlin: Schwarz und Weiß”.  While I liked the way this image looked in color, my visual concept of the scene called for high-contrast black-and-white to give it an antique graphic-arts feel that seemed to suit the historically drab East Berlin setting.  During post-processing I converted the image to monochrome and increased the contrast, adjusting the tone and color curves until I achieved just the effect I was seeking.

Der Temporaum in Berlin: Virtuell

“Der Temporaum in Berlin: Virtuell”.  Carly explores a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  Using a fast prime lens at a very wide aperture setting, I intentionally limited the depth-of-field to such an extreme that Carly’s hands as well as the background were thrown into soft focus.  I like the effect this has on leading the viewer’s eye from the outstretched arms to Carly’s head and upper body, then around to the bleak industrial background.  The view thereby experiences some of the sense of exploration in the space where Carly is feeling her way.

Tempelhofer Feld II

“Tempelhofer Feld II”.  This image was made in a similar fashion to the previous one at the same location, except that here I gained a different perspective by backing further away from Carly as well as crouching down to the ground.  The resulting effect is one of precariousness rather than one of steadfastness in the earlier image.

I hope this behind-the-scenes peek at my ongoing passion project will help inspire your own creative process.  It’s important to be personally and deeply invested in a project before you begin.  Select your partner(s) carefully and plan thoroughly.  Then the process becomes joyful and exhilarating as you begin to bring your concept to life!

Have you carried out a photography project?  Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home?  Find them all here: Posts about What to Shoot.

 

Photography as a Bridge to Local Culture [Encore Publication]: Your camera is a great tool for meeting local people and learning about culture

I’ve heard certain travelers grumble that photography inhibits deep cultural learning and interaction when we visit new places.  Our cameras, this line of reasoning goes, isolate us from the local people we’re trying to get to know.  The lens, they believe, acts as a distancing device to turn locals into subjects and travelers into tourists.

I disagree emphatically!  Your camera is a great tool for meeting local people and learning about culture, immersing yourself even more deeply in the spirit of the place and the lives of the people who live there.  But only if you use it in the right way.  Allow me to explain.

While the local customs and even the laws governing whom it is acceptable to photograph, and when or where it is okay to make an image of them, do vary from place to place, there are a few common-sense guidelines that will help us travelers engage in a friendly, curious manner instead of upsetting people and causing social discord.  Here are a few key guidelines to keep in mind.

    • The Golden Rule: If it’s not okay in your home country, it’s probably not okay in other parts of the world.  Would you appreciate a stranger running up to you on your front lawn and shoving a lens in your face?  I’m guessing, no.  So please don’t behave in that way toward people in other places.
    • Make a portrait, don’t take a portrait: Get to know your subject first as a person, even if just for a brief exchange.  While there are occasionally situations where the moment or the expression will be lost by approaching your subject before shooting, I find that most of the time I make better images as well as have more meaningful interactions, when I say hello and ask the person first.

USA

I chatted for a while with these samba dancers as they were celebrating just after San Francisco’s Carnaval parade.  Getting to know them first made it easy to ask permission for a portrait. Buy this photo

    • Approach children with sensitivity: Kids can be amazing photographic subjects!  They are often uninhibited in front of the camera and they portray cultural practices and lifestyle in a relatable, endearing way.  But it’s especially important to understand when it’s okay to make a portrait with them.  While traveling in South Africa, I saw first-hand what can happen when travelers misunderstand social norms.  A fellow traveler in my group saw a young boy playing near where we were waiting for a border crossing.  She shouted excitedly, “Soooo cute!,” and rushed up to the child, camera extended toward his face, to take his picture.  In an instant the boy’s father ran over, irate, and yelled at me (he mistakenly thought I was the fellow traveler’s father), “How would you like it if we came to your country and started taking pictures of your children?”  A few minutes later I explained privately to the offending traveler why her actions caused a negative reaction.  She had no idea this behavior wasn’t okay.  When in doubt, refer to the Golden Rule, above.

Kashgar, China

We visited the old town in Kashgar just before the Chinese government began demolishing the homes there and relocating the mostly ethnic Uighur people.  It was and remains a complicated social situation, but I was fortunate to be able to make this memorable portrait of a young Uighur girl in traditional clothing sitting in front of her soon-to-be-destroyed family house.  I approached her mother first to make sure it was okay to photograph the girl.  Her expression of pride mixed with apprehension is what I feel makes this image strong.  Buy this photo

    • Getting to know you: It may seem difficult to talk with a stranger from a very different culture who likely speaks a very different language from our own.  For us introverts, it seems like even more of a challenge.  But I’ve learned a few tricks and tips that make it much easier to get to know a person before photographing them.  Learn a few words of the local language.  Just saying “hello” or “good day” can be a great icebreaker.  It’s a fairly universal gesture to point to your camera and extend your arm gently toward your hopeful subject to inquire, “Is it okay if I take your picture?”  Just as happens in our home countries, a subject may say no, but most of the time people are happy to be photographed if you are polite, respectful, and try to interact with them first.  A trip leader, guide, or local friend can often be a great help by introducing you to the person you’d like to photograph.

Turkey

At the start of our trip through Turkey, I asked our trip leader to introduce me to people we felt would be good portrait subjects.  With his help I was able to overcome the language and cultural difference and capture this striking portrait of an employee at a carpet weaving cooperative.  Buy this photo

    • How close is too close?: In most situations it is fine to make an image that includes a large group of people, none of whom will be too prominent in the photo.  For close-up images, though, in which an individual person or small group of people will be the obvious subject, it is best to ask first.
    • Money matters: When there is a commercial transaction between you and your subject, it often paves the way to ask to make their portrait.  I’ve had good experiences photographing local street vendors, musicians, artisans, and shopkeepers after purchasing their wares or tipping them for their services.  And of course it is usually fine to photograph singers, dancers, and musicians in a performance you have paid to attend, as long as local rules about photography are obeyed (sometimes you will have to pay extra for a license to photograph, and frequently flash is not permitted).  But it can become a slippery slope when people begin to expect to be paid just for having travelers photograph them.  In Peru we had many people, including young children, dress in traditional costumes and approach us to pose in photos for money.  In an Argentinian mountain village we were even asked to pay to photograph a gentleman’s Saint Bernard dogs.  In these situations, you’ll have to exercise your best judgment.
    • When can you shoot first and ask questions later?: It’s rare, but on occasion you will encounter situations when the “decisive moment” will be lost if you ask for permission to shoot.  This is another judgment call.  Just like when shooting street photography at home, I consider several factors when deciding whether to make an image of a stranger in a different part of the world.  When I do see an amazing expression, gesture, or moment and decide to capture it before getting to know the subject, I will usually approach them and show them the image on the camera’s display, attempting to query whether it’s okay.  A smile and an easygoing, open gesture can help when approaching.  If the response is clearly negative, I delete the image on the spot and in front of the subject. Again, see the Golden Rule, above, and keep in mind that courtesy and respect make all the difference.

Cuba

This was one of those situations when I shot first and asked questions later.  The proprietor of Maria’s Cafe in an eco-village in Cuba’s rural Vinales Valley was standing on a balcony above the cafe surveying the activity below.  I loved the way her contemplative expression and relaxed gesture were framed by the saturated Caribbean colors of the doorway, so I made this image right from our table.  Later, when Maria came down to talk with customers, I showed her the photo and she was pleased with it.  Buy this photo

Beyond these general guidelines, there are local variations.  Do get to know the customs that prevail in the countries and regions you plan to visit.  For example, in some cultures it is acceptable to stand very close to others when conversing, while in other cultures the social boundaries are much more pronounced.  Sometimes it is fine to approach a child directly, but in other cases the first contact should be made with the parent or teacher.  There’s quite a bit of local variation in the amount of small-talk people engage in before getting down to business.  Knowing the local customs not only helps you make better portraits of the people you meet, but will also encourage deeper interactions and mutual respect.

In my experience, the camera is a wonderful bridge that enhances, rather than detracts from, making meaningful cultural connections with people while traveling.  Just try to do it the right way!

Want to read other posts about what to shoot during your travels?  Find them all here: http://www.to-travel-hopefully.com/category/travel/shoot/

Do you have a good story to share about your experiences, positive or otherwise, in photographing people you met during your travels?  What’s your approach to making portraits while abroad?  How has photography enhanced your cultural interactions?  Please post your thoughts in the comment box.

Telling a Story about Storytelling [Encore Publication]: Capturing the epic contemporary hula production by Na Lei Hulu

I’m honored to be the photographer for the incomparable Na Lei Hulu’s annual show, “Hula in Unusual Places”. If you live anywhere near the SF Bay Area, you should get to this show. The combination of preservation of traditional Hawaiian cultural dance with contemporary artistic sensibility makes for an unforgettable experience. Event info here: Na Lei Hulu event info.

As a photographer specializing in travel and cultural documentation, I love having the opportunity to tell a story about cultures different from my own, and because hula is the ancient Hawaiian art of telling stories using gestures, this assignment was especially appealing: telling a story about storytelling.

Today’s post consists of a photo essay of a few favorite dress rehearsal and performance images to whet your appetite.  Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

First, a few notes about the making of these images:

  1. During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers.  This mobility is not possible during live performances.  As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts.
  2. When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion.
  3. Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result.  Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
  4. The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose.  I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

I hope you’ve enjoyed this sampling of images from the epic modern hula production by Na Hei Hulu in San Francisco.  It’s a challenge and a genuine joy to have the opportunity to make images of important large-scale ethnic dance productions such as this one.  Mahalo for reading, and if you’re able, do try to catch one of the remaining shows in the run.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

 

“When someone shows you who they are, believe them the first time.” ~Maya Angelou [Encore Publication]: How to make great portraits while traveling or near home

“When someone shows you who they are, believe them the first time.” ~Maya Angelou

I have long believed that travel equates to growth; that we cannot know our place in the world until we have experienced the lives of people in many different places.  Of all the joys of travel photography, to me the greatest is having the chance to meet people from very different backgrounds, to get to know them for a few minutes or for much longer, and to collaborate with them to make memorable images.

A recurring theme in this forum will be how to use our cameras as a bridge to learn about and to share insights into other cultures.  But the emphasis of this particular post is on the technical elements of creating portraits.  These techniques apply as well to shooting portraits across the street from our home as to making great people images halfway around the world.

Most portraits that we see published in magazines or photography books were made in the studio, where the photographer has complete control over the lighting and background, and often is working with a professional model.  But when we’re traveling, there’s often only a moment after getting to know a person and receiving their permission to photograph them, during which to set up our gear and shoot.  We have to live with whatever lighting is available and often must make do with a cluttered background.  To make this portrait of a woman enjoying a coffee break at a carpet-weaving collective in Turkey, I wanted to give the image a soft, flattering look and to bring out the rich, saturated colors of her clothing.  I chose a smaller than usual aperture to provide greater depth-of-field, so that the old house itself became part of the environment.  To accommodate the soft and dim natural indoor lighting, I used a higher ISO setting and a slower shutter speed.

Turkey This portrait set in a weaving collective in Turkey evokes a sense of place and a mood of quiet repose.  Buy this photo 

While trekking in Nepal, we stopped to rest at a teahouse where these two sisters were also taking a break along their journey.  I wished them “Namaste,” or well wishes, and they responded with a traditional hand gesture of greeting.  This image was made long before the digital era on a film camera with a normal lens and natural lighting only (had I had a flash unit handy, it would have helped to bring out the girls’ hair against the dark background).  I love the warmth of the girls’ expressions and the simple but bright colors of their dresses set off against the black background of the teahouse’s interior.

NepalA friendly welcome from these two young sisters at a rural teahouse in Nepal.  Buy this photo

Sometimes we want to tell the viewer more about our subject than what is possible in a simple close-up portrait.  An environmental portrait allows us to include more than just the subject by zooming out and bringing in other elements.  I photographed this maker of traditional Turkish instruments in his workshop while he tested a nearly-completed Bağlama, surrounded by other partially made instruments.  To my eye, the resulting portrait is more compelling than a close-up because it shows the subject in his environment.  To make this portrait, I used a wider focal-length and a narrower aperture so as to have more of the environmental elements in the frame and in focus.

TurkeyAn environmental portrait of a maker of traditional Turkish musical instruments.  Buy this photo

A portrait doesn’t have to portray a stock-still person posing for the camera.  Some of my favorite portraits evoke a strong sense of motion.  I made this portrait of a samba dancer during the Carnaval San Francisco annual parade by getting in close and shooting with a medium-length telephoto lens set to a small aperture to soften the background.  I used a fast shutter speed to freeze the action (although sometimes a slower shutter speed can be used to create a nice blurred effect).  In post-processing, I cropped the image to further isolate the dancer and emphasize the grace of the motion.

USA This dancer in a Brazilian Samba krewe was captured in a tight composition that was further cropped in post-processing to give a strong sense of motion.  Buy this photo

Keep an eye on the total composition when framing a portrait.  It’s more than just a matter of framing the subject within the image: other considerations include the background and the overall flow of the viewer’s eye across the image.  In this portrait of the proprietor of Maria’s Cafe in rural Cuba, I composed the image to use the brightly colored door, balcony, staircase, and tree to frame the subject herself.

CubaComposing a portrait involves thinking about the background and the viewer’s overall experience in looking across the image.  Buy this photo

A really good portrait should tell a story about the subject.  Here, Cuban tobacco farmer Benito relaxes in his drying barn with a cigar he just rolled from his tobacco harvest.  I got in close and used the natural light of his cigar lighter and the diffused sunlight within the barn, with no flash added.

CubaThis portrait of a Cuban tobacco farmer tells a story about who he is and what he does.  Buy this photo  

Consider the angle from which you shoot a portrait, as it has a strong influence on the emotional response of the viewer.  Most of the time we want to shoot a head shot or head-and-shoulders shot from a height midway between the top and bottom of the image, but to make this portrait of sisters on the outskirts of Arusha, Tanzania, I chose to shoot from slightly above.  It’s a fine line between giving a sense of vulnerability and causing the image to seem condescending, but I like this photo in part because I feel the unusual vantage point evokes a strong sense of emotion.

TanzaniaAn unusual shooting angle can enhance a portrait, but be careful not to overdo this effect.  Buy this photo

Another rule meant to be broken is freezing the action of a portrait’s subject.  During a fitness photoshoot with my friend Crystal, I shot mostly with a fast shutter speed to freeze her while she worked out.  But for this image, we wanted a blurred effect to create a sense of her forward motion while running, so I used a slower shutter speed.

A slower shutter speed can be used to give more sense of motion to a rapidly moving subject.  Buy this photo

Sometimes a perspective change can work wonders for a portrait.  In this image of the chief of a remote village in Swaziland, I got down low and shot with a wide-angle lens to portray her in the context of the hut behind her and the gourds she holds in her hands.  A wide view in a portrait can lead to less-flattering likenesses, so this effect should be used sparingly.

SwazilandA wide-angle lens and unusual perspective shooting from low to the ground lend this portrait of a Swaziland village leader a sense of connection to the place.  Buy this photo

A note on gear: My go-to portrait lens is the Nikon 85mm f/1.8G lens.  This is a classic portrait lens and provides a flattering perspective and great image quality when your subject is a human.  I use it for nearly all of my portrait work these days.  But this lens also shines for nature and action photography where you don’t need a really long focal length.  It renders really lovely “bokeh,” or the soft quality of the out-of-focus parts of the image.

Which of your portraits do you find most memorable, and why?  How did you create them?  Please share your thoughts here.

Please read this post for my essential tips on how to photograph people while traveling: Post on Travel Portraiture.

Focus on Sacramento Spartan Race [Encore Publication]: Covering a Spartan Race can be an endurance event

Some events are just plain fun to shoot from beginning to end.  One of my favorite types of sporting events to cover is the Spartan Race.  Basically a combination of long-distance running with a supersized obstacle course, a Spartan Race is an extreme athletic event that attracts thousands of athletes from elite to weekend warrior.  I enjoy shooting these races because they offer so many exciting elements: color, drama, showmanship, grit, stamina, and humor.  Adding to the photographic fun quotient are the glorious natural surroundings, the photogenic and extraordinarily fit athletes, and the wide range of athletic rigors required of them.

In this post I’ll present some of my images from this past weekend’s Super Spartan Race held near Sacramento, California.  I will also share some tips on how to capture the best of a big and sprawling event like this one.

The Spartan Race organization recognizes and welcomes professional and enthusiast photographers more readily than do many US sporting authorities.  For any large sporting event, I apply several weeks in advance for a media (or press) pass so that I can bring in all my gear, shoot in all areas including those off-limits to spectators, gain free or reduced-price entrance and parking, and access VIP areas.  I’ve found the Spartan Race organizers to be quite helpful and understanding of what working photographers do.

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Yours truly with media badge.  This pass is important for the professional, as it allows access to otherwise off-limits areas and lets athletes and officials know you’re a working photographer.

One point to keep in mind when covering an endurance event spread out over long distances is that as a photographer, you will experience some portion of the rigors the athletes face.  The Super Spartan Race traverses a course about 8 miles long over steep and often muddy hills, interspersed with a couple of dozen obstacles of different types.  While I don’t typically try to cover all of the obstacles, it’s important to get a reasonable sample of the different challenges, so I do usually hike quite a few miles during the course of the day.  Photographers with a media pass have access to the whole course, but there are no special roads or ramps to get us there.  We have to trek up and down the same hills, through the same mud, and over the same terrain as the athletes do.  So come prepared for a bit of a workout!

The starting line is a good place to set the stage for your photo essay.  There is usually a DJ and music to get the athletes pumped up for the race.  Everyone is fresh, clean, and excited at this early stage.  Buy this photo

In addition to portraits and close-ups of individual athletes, it’s important to capture some establishing shots to set the context of the race.  I like to get some images of large contingents of athletes running over the hills.  I shoot from a distance, but often use a telephoto lens to compress the perspective and emphasize the massive scale of these races.  Buy this photo

When shooting individual athletes on the obstacles, use a fast shutter speed to freeze the action and a relatively small aperture to blur the background.  Buy this photo

Portraits of athletes don’t have to be in the cliche pose of standing, legs apart, on the ground flexing their biceps.  Athletes are happy to pose in the midst of whatever they’re doing when they see a photographer nearby.  Buy this photo

After finishing the course, athletes gather in the festival area.  This is a great place to make portraits.  The athletes are exhausted and muddy but in a celebratory mood.  Buy this photo

Spartan athletes in the festival area display strength as well as excitement for having completed the race.  Buy this photo

The finish line itself is a dramatic vantage point.  In this particular race, athletes must jump over a line of fire to finish the course.  I shot from a low perspective to emphasize the height of the jump, and used a fast shutter speed and small aperture to freeze the moment and isolate the athlete from the background.  Buy this photo

This image works so well because the shooting angle looking upward from below emphasizes the athlete’s power, and because the timing captured her expression at just the perfect moment.  I shot many frames to increase the likelihood of capturing the right moment, and, once again, I chose a fast shutter speed to freeze the motion along with a small aperture to blur the background.  Buy this photo

The shower area at the end of the race was taken over by hordes of kids who used the hoses for water play.  Humorous moments like this one lend a playful element to the day’s portfolio of images.  Buy this photo

An iconic Spartan Race image.  I captured the strenuous activity of carrying buckets filled with sand by shooting from a distance with a telephoto lens.  This technique compresses the perspective to include more athletes in the frame while still showing the strain on their faces.  Buy this photo

I like to seek out the athletes who have something special to say.  This racer stopped for a moment so I could make a portrait.  His flag makes a nice counterpoint to the rolling hills and featureless sky in the background.  Buy this photo

Although Spartan Race athletes are fierce competitors, they also make an effort to support one another and cheer their fellow racers on.  I enjoy capturing these interactions because these moments often tell a strong story visually.  Buy this photo

What are your favorite sporting events to shoot?  Do you have tips you can share for making great images of athletes?

Want to read more posts about what to shoot while traveling?  Find them all here: Posts on What to Shoot.

 

Stripped Down to the Bare Essentials [Encore Publication]: Cupid’s Undie Run supports Children’s Tumor Foundation

I’m fortunate to live in the San Francisco Bay Area, where fun, crazy, photogenic events–planned and spontaneous–occur nearly continuously.  But the zany and colorful annual event known as Cupid’s Undie Run, for which participants strip down to their underwear and run through the city’s streets to raise money for Children’s Tumor Foundation, is actually held in dozens of cities around the world.  The San Francisco version was quite small this year, in spite of 60-degree mostly sunny weather, but it was as energetic, irreverent, and just plain fun as ever.  Today’s post features a few of my favorite images from this Valentine’s Day inspired event.  This time, it’s just for fun; I’m not going to annotate the images with a lot of detailed information about how they were made.  Enjoy, and consider supporting this valuable charitable cause: Children’s Tumor Foundation.

In between rounds of margaritas, a quick run along San Francisco’s waterfront.  Buy this photo

Happily, the weather was unseasonably warm and dry.  Buy this photo

The “finish line” is the front door of the pub.  Buy this photo

It wouldn’t be Cupid’s Undie Run without Cupid.  Buy this photo

Speaks for itself.  Buy this photo

A quick reminder about how to make a stunning portrait: 1) find soft and appealing lighting, 2) get in close with a medium portrait lens, 3) select a wide aperture for shallow depth-of-field.  Buy this photo

I love this town!  Buy this photo

Look for this fun event in your town next year around Valentine’s Day.  And, whether you’re traveling around the world or right in your home town, seek out those fun and quirky happenings that yield eye-catching images.

What are some of your favorite events to shoot, and why?

Want to read more posts about what to shoot while traveling or near home?  Find them all here: Posts on What to Shoot.

 

Focus on Balaknama [Encore Publication]: Making portraits that go beyond documentation to help Delhi’s street kids

During a recent trip through the north of India, I had the opportunity to meet with the advisors and some of the young staff at the Balaknama Newspaper, a project to empower the street kids of New Delhi.  I’ve long been interested in the plight of the street kids who live in Delhi’s sprawling slums and have historically been terribly mistreated at the hands of exploitative child labor bosses, a corrupt police force, and often their own abusive families, so this visit was important to me personally.  In this post I share some of the images I made of the kids who risk their own safety to expose the abuses against the young people in their community, and I also discuss how to go beyond the purely documentary function of portrait photography to give your portraits more power.

The images I share here are published with permission from Balaknama’s editor and the NGO who supports the project.  However, I will not share the location of the offices nor the real names of the kids who work there, in order to protect their identities.

The power of a portrait to advocate for social change depends primarily on its ability to go beyond simple documentation and to reveal the personality, background, and/or motivation of the subject.  For this shoot, I wanted to convey the passion and bravery of the young reporters.  I shot with available light only (no flash) in order to capture the intimate and urgent mood of the work the kids are doing.  I used several lenses for different perspectives, but most of the images were made using a fast prime portrait lens.  My shooting perspective was from a low angle so as not to give the appearance of looking down on the subjects.  People appear more empowered when the camera observes them from the perspective of their peers–it should appear as though the viewer is a part of the conversation.

This 17-year-old reporter is also the primary organizer of more than 10,000 of Delhi’s street kids.  I wanted to capture her intensity and focus in this portrait, so I got in close with a medium-length portrait lens and shot from the perspective of a participant in the conversation.  A wide aperture (low F-stop number) is helpful to isolate the subject from the background.  Buy this photo

The “decisive moment.”  I shot several frames of this young reporter as he described the horrific abuses of his peers in the slums of New Delhi, in order to maximize the chances of capturing just the right instant.  I love this image, which to me appears to emulate the drama and body language of Francisco Goya’s famous painting, “The Executions of the Third of May, 1808”.

This powerful portrait has a painterly feel and freezes the tension and drama of the harrowing stories retold by the young reporter.  Buy this photo

The interaction between the students at the newspaper is an important theme.  Here I worked to capture the girls’ engagement with each other and with the overall discussion.  Buy this photo

Language barriers are less important than many photographers believe them to be.  A simple “thumbs-up” gesture evoked a playful response from these young Balaknama staffers, providing a light moment during the intensity of our conversation.  Buy this photo

As I’ve often written in To Travel Hopefully, it’s important to remember to include your own group in some of your images.  While I most likely won’t publish this image in my stories about Balaknama, I am happy to have this documentation of my fellow travelers as we interacted with the students and staff at the newspaper.

For large group shots in tight spaces, use a wide-angle lens.  This was shot with a Nikon 16-35mm f/4 lens at its widest setting, giving the viewer a sense of the setting as well as the people there.  Buy this photo

I wanted to capture a final portrait of the two primary student organizers as we left the newspaper’s offices, so I asked them to pose together during our walk through the neighborhood.  This gives a sense of the environment in which they live and work.  I got in close using a wide aperture to soften the background, but I also chose a background that would inform the viewer about the kids’ environment.  Buy this photo

Do you have techniques for making powerful portraits that go beyond pure documentation to advocate for the people and causes in the images?  Please share your thoughts here!

Want to read more posts about what and how to shoot while traveling?  Find them all here: Posts on What to Shoot.

Focus on Vietnamese Tet Festival [Encore Publication]: A vibrant lunar new year celebration in America’s largest Vietnamese community

Most Americans are familiar with the Chinese New Year festivities that usher in the lunar new year in late January or early February, but most are not as aware of the Vietnamese cultural celebration of the start of the lunar year.  Called Tet, the Vietnamese new year’s festival has its own distinctive, bright, and colorful symbols and traditions.  By far the biggest Vietnamese community in the USA is in San Jose, California, which not coincidentally also hosts the largest Tet Festival each year in the US.  I’m fortunate to live quite near San Jose, and on the day of the Tet Festival I was already collaborating with a favorite model in a studio one city north of there, so I decided to drop by and shoot the Festival.  I’m very glad I did.  Today’s post presents some of my favorite images from the festival in the form of a simple photo essay.  I’ve included some discussion about how the images were made.

Welcome to the Tet Festival!  When shooting symbolic items, always check your background and find a point-of-view that is clean and compelling.  Buy this photo

An unusual cultural juxtaposition: Vietnamese belly dancing.  Here I used a fast shutter speed to freeze the motion and a relatively wide aperture to soften the background.  Capturing the right moment in the dance pattern is important, but it’s equally essential to capture the right facial gesture and eye contact.  Buy this photo

What’s scarier than a clown?  A drunken clown.  This fellow came out on stage with a bottle of beer and a bottle of whiskey, both of which he proceeded to drink onstage.  My wife and I suspect that this was an object lesson for the children in the audience, but we’re not certain.  Buy this photo

The fashion show of people watching the fashion show on stage.  Whether shooting landscapes, people, wildlife, or urban scenes, always remember to look in all directions.  Sometimes the most interesting subject lies in the opposite direction from the one you thought you were shooting.  Buy this photo

To capture this candid moment of young kids trying out the Vietnamese drums, I used a medium telephoto lens.  Most of the time I prefer to approach subjects before photographing them, but occasionally it’s preferable to shoot first and ask questions later, so as to capture the subject without self-awareness.  Buy this photo

Wearing many hats!  Buy this photo

This traditional Vietnamese dance troupe performed a series of dances, each representing one of the seasons of the year.  This was their Spring Dance.  The vibrant colors of the costumes and props contribute greatly to this portrait.  It’s also important to compose and crop the image carefully to achieve a pleasing result.  Buy this photo

Summer dance.  Buy this photo

I love this portrait thanks to the dancer’s look of contemplation and concentration.  To make an effective portrait in spite of the cluttered background, I used a medium telephoto lens set to a wide aperture to set the subject off from the background.  I also cropped the image in post-processing to remove extraneous background objects.  Buy this photo

Parting shot: A favorite portrait of a traditional Vietnamese dancer.  Buy this photo

What are your favorite cultural events and celebrations?  Please share your thoughts on how to successfully photograph them.

Want to read more posts about what to shoot while traveling or near home?  Find them all here: Posts on What to Shoot.

Twenty Years of World-Class Hip Hop Dance [Encore Publication]: Capturing the groundbreaking SF International Hip Hop Dance Fest

I’m honored to be a photographer for the twentieth anniversary production of the world-class SF International Hip Hop Dance Fest.  If you think hip hop dance is just about b-boys and b-girls, this festival will broaden your horizons to the diverse array of hip hop, from jaw-dropping acrobatics to artistic and subtly activist choreography.

As a photographer specializing in travel and cultural documentation, I love having the opportunity to capture images from a wide range of nations and cultural styles, so each year I’m eager to shoot the diverse participants in this show who come from all over the world and represent many different faces of hip hop dance.

Today’s post consists of a photo essay of a few favorite performance images from this  year’s festival.  Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

First, a few notes about the making of these images:

  1. During dress rehearsals the photographer is free to roam about the theater, often including the backstage area, apron and wings, and even onstage with the performers.  This mobility is not possible during live performances.  As a result, there are more creative possibilities during the rehearsals, so that’s when I seek out the most exciting and dramatic shooting concepts.  Unfortunately, this year I was traveling on assignment in Panama during the festival’s dress rehearsal dates, so I was able only to capture images from the live performances.
  2. When shooting fast-moving performances in very low light situations, I like to use mostly fast prime lenses coupled with a high ISO setting to allow a fast enough shutter speed to freeze the motion.  In the case of these particular performances, I also needed to use a long telephoto zoom lens due to being assigned seats quite far from the stage.
  3. Theatrical productions often use mixed temperature lighting that can be challenging for photography because of the strange and complicated color casts that often result.  Sometimes this can be fixed in post-processing, but often I choose to convert to monochrome to avoid unpleasant and unnatural color casts.
  4. The difference between adequate dance photography and excellent dance photography is all about the dramatic purpose.  I try to adapt my shooting and post-processing style to suit the dramatic intent of each moment during the show.

I hope you’ve enjoyed this sampling of images from the remarkable SF International Hip Hop Dance Fest.  It’s a challenge and a genuine joy to have the opportunity to make images of important large-scale dance productions such as this one.  Thank you for reading, and please share your thoughts and questions about today’s post here.

Note that all of the images appearing in this post and many more can be viewed and purchased in this gallery.

The Berlin Chapter [Encore Publication]: Updates on my ongoing Human/Machine Dance Project

Last summer I began a passion project in collaboration with choreographer, dancer, and Fulbright Scholar Carly Lave with the goal of exploring how the human body moves and how we humans will be transformed by increasing immersion into advanced technologies, including virtual reality, robotics, and interconnectivity.  I was delighted when one of my images from this project was recognized by my being named one of three Emerging Pros in Digital Photo Pro Magazine’s biannual awards.  The image was the overall winner in this international competition’s “Fashion & Beauty” category.

In an earlier post I shared a few favorite images from the California-based photo shoots that Carly and I conducted last summer.  In today’s post I’ll share a few new images from our recent photo shoots conducted in Berlin, Germany, where Carly is spending the year as a Fulbright Scholar.

Der Temporaum in Berlin: Flug

“Der Temporaum in Berlin: Flug”.  Carly takes flight while exploring a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To capture the fast action of Carly’s leap, I used a fast prime lens nearly wide open so as to achieve a fast shutter speed while shooting at a relatively low ISO.

 

Der Temporaum in Berlin: Tanzen

“Der Temporaum in Berlin: Tanzen”.  Carly dances within a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  To create the soft, intimate feel of this portrait, I used a prime portrait lens (85mm) at a wide aperture (f/2.0) to allow the lovely light streaming through the window to illuminate Carly and to throw the background into soft focus.  Composition is very important to the success of intimate portraits, so I was careful to frame Carly’s body within the lines of the window casement and using the soft white curtains to provide a pleasing and non-distracting background.

 

Tempelhofer Feld I

“Tempelhofer Feld I”.  The virtual and physical worlds collide on a defunct runway at the pre-WWII airport of Tempelhofer, now a recreational space in the south of Berlin.  Working on location in outdoor settings can be tricky and success may be dependent on weather conditions and other factors.  Carly and I conducted this shoot during a gathering storm, making for a dramatic sky that complemented our theme and the industrial setting very nicely.  The accompanying challenges we experienced were very high winds, shifting light, and very little time to shoot before the sky opened up in a barrage of pelting rain and hail.  Fortunately we were able to “get our shot” before getting soaked to the bone.  I framed this image to give prominence not only to Carly but also to the old airfield’s runway and to the stormy sky.

Der Temporaum in Berlin: Schwarz und Weiß

“Der Temporaum in Berlin: Schwarz und Weiß”.  While I liked the way this image looked in color, my visual concept of the scene called for high-contrast black-and-white to give it an antique graphic-arts feel that seemed to suit the historically drab East Berlin setting.  During post-processing I converted the image to monochrome and increased the contrast, adjusting the tone and color curves until I achieved just the effect I was seeking.

Der Temporaum in Berlin: Virtuell

“Der Temporaum in Berlin: Virtuell”.  Carly explores a virtual world. The very real world she inhabits here is a shared workspace for artists in a Soviet-era neighborhood of the former East Berlin.  Using a fast prime lens at a very wide aperture setting, I intentionally limited the depth-of-field to such an extreme that Carly’s hands as well as the background were thrown into soft focus.  I like the effect this has on leading the viewer’s eye from the outstretched arms to Carly’s head and upper body, then around to the bleak industrial background.  The view thereby experiences some of the sense of exploration in the space where Carly is feeling her way.

Tempelhofer Feld II

“Tempelhofer Feld II”.  This image was made in a similar fashion to the previous one at the same location, except that here I gained a different perspective by backing further away from Carly as well as crouching down to the ground.  The resulting effect is one of precariousness rather than one of steadfastness in the earlier image.

I hope this behind-the-scenes peek at my ongoing passion project will help inspire your own creative process.  It’s important to be personally and deeply invested in a project before you begin.  Select your partner(s) carefully and plan thoroughly.  Then the process becomes joyful and exhilarating as you begin to bring your concept to life!

Have you carried out a photography project?  Please share your key learnings–positive and otherwise–here!

Want to read more posts about what to photography while traveling or near home?  Find them all here: Posts about What to Shoot.

 

I Feel Like a Kid in a Candy Store [Encore Publication]: Capturing the spectacular SF Movement Arts Festival

Note: For the first time, this year there will be a summer version of the SF Movement Arts Festival! If you live in the SF Bay Area, please plan to attend this amazing event on July 19 at Grace Cathedral.

As an official photographer once again for this year’s SF Movement Arts Festival, last Friday I had the privilege and pleasure of capturing images of most of the more than 300 talented and diverse performers who participated in this year’s amazing event. If you live in the SF Bay Area and missed it, this year there will also be a summer version, presented in July.

This epic event of breathtaking beauty and scope brings together many of my favorite choreographers and dancers–those with whom I collaborate throughout the year, their younger students, and some who I’ve never met before–representing a tremendous range of movement practices and dance styles, and throws them all into the grand interior spaces of San Francisco’s iconic Grace Cathedral. My assignment, truly a labor of love, is to stay all day and all night: for the rehearsals, side photo shoots, and the performance, in an effort to capture images of nearly every performer in the festival. Truly, I feel like a kid in a candy store, having the opportunity to make images with so many amazing movement practitioners in this ethereal space, all in one day.

Today’s post, presented as a simple photo essay, shares some of my favorite images from this mind-boggling event. All I will add in the way of technical notes are a few points my regular readers will already know to expect from me:

  • When shooting fast-moving action in a relatively dark space, use as fast a lens as you can given your focal length needs, boost your camera’s ISO sensitivity setting to as high as you can get away with, and choose an aperture as wide as possible given the depth-of-field you seek
  • Choose a shutter speed that is fast enough to freeze the performers’ movement, unless you’re intending to create an artistic motion blur
  • Watch your backgrounds: what’s behind your main subject is as or more important than your subject itself, so try to choose a pleasing or less distracting background whenever possible, and keep your horizons level
  • Compose your images with an eye toward putting your viewer within the performance to experience the beauty, athleticism, and grace first-hand
  • Shoot lots of images because the performers’ body postures, gestures, and facial expressions will change in an instant and you want to be sure to capture a few frames that bring out their very best.

You can view and purchase all of the images in this post, and many more, by visiting my web gallery here: SFMAF Photo Gallery .

I hope you’ve enjoyed this small sampler of images from the incredible SF Movement Arts Festival. You can view and purchase all of these and many more by visiting my web gallery here: SFMAF Photo Gallery .

Do you have a favorite festival or cultural event that inspires and excites you so thoroughly that you feel you could photograph it every day? What are your go-to techniques for capturing images at these events? Please share your thoughts here!

Focus on the Embera People [Encore Publication]: Capturing enchanting images of an ancient traditional way of life

During our recent travels in Panama, my wife and I navigated up the Chagres River via dugout canoe to meet the Embera indigenous people.  This fascinating in-depth encounter offered a window into an ancient culture that has mostly disappeared from Central America as indigenous groups have been forced to resettle on national parklands where their traditional fishing and hunting practices are not permitted.  Our Embera hosts are able to continue to live in the traditional manner by sharing their culture with visitors like us.  Our lovely day spent with the Embera villagers included preparing and enjoying a traditional meal, visiting the two-room schoolhouse (supported by Grand Circle Foundation), exploring the village, learning about their government and way of life, and observing and participating in traditional singing and dancing.  We will never forget this experience.  In the spirit of sharing, today’s post is a photo essay featuring images from this special day.  Click on any of the images to visit the Panama photo gallery on my website, where many more photos are available to view or possibly to purchase.

Traveling up the Chagres River via dugout canoe to meet the Embera indigenous people. 

This lovely Embera mom and daughter greet us on arrival at their village.

The Embera people lead us up the hill from the river to their village.

To make this portrait of a young Embera woman, I asked her to move a few feet to an area with pleasant lighting and an uncluttered background, then shot using a fast prime portrait lens (85mm f/1.8) at a wide aperture to throw the background into soft focus.  

Showing us how the midday meal is prepared. 

We enjoyed a wonderful visit to the two-room schoolhouse in the Embera village.  As we shared songs and dances with the schoolkids, I made this portrait using only available light, intentionally blurring the girl’s hands to impart a sense of motion.

One of our group brought along simple dolls to hand out to the Embera children.  Group portraits can be tricky in general, but are very challenging when the subjects are young children.  My advice is to capture plenty of shots over a period of several minutes, interacting with the kids all the while.  This allows the children to relax around the photographer, and maximizes the likelihood of getting a few really good images.

I’m never happier than when I can experience and photography traditional cultural performances (singing, dancing, theater, puppetry, etc.).  Our new Embera friends were kind enough to show us some of their tradition of song and dance.  I find that the preparations for these performances are often as or more fascinating than the performances themselves.  Here, a young boy practices his drumming for the upcoming show.

In preparation for the singing and dancing performance, this Embera teen prepares her younger brother and sister by applying tattoos using the juice of the jagua plant.   

I got to know this Embera teen as she helped prepare her sisters and brother for the traditional dance ceremony.  We chatted and I captured photos of her preparations as she applied tattoos to her siblings using the juice of the jagua plant.  It’s always a good practice to get to know your subject before making a portrait.  Doing so will help put them at ease and allow you the opportunity to capture their true personality.  To make the portrait, I asked the girl to move outside of the hut to a spot with open shade and a pleasing background, then captured the moment using a fast portrait lens and a wide aperture (small f-stop number) to get that lovely “bokeh” (artistic quality in the out-of-focus background areas).

This little one is all tuckered out even before the dance celebration begins.  To make portraits more intimate and personal, try to isolate the subject using narrow depth-of-field and a simple, non-distracting background. 

An impromptu soccer match in the green open area of the village. 

View of the Embera village from the top of a nearby hill.   

An Embera family pose for a portrait. 

At the conclusion of our day in the Embera village, all the people of the village came out to demonstrate traditional singing and dancing for us.  For large group portraits, it’s often best to work with a slightly wide-angle lens, but not so wide as to cause distortion.  I chose a narrow aperture (high f-stop number) so that all of the people and the surrounding village landscape would be in sharp focus.  Shooting from the same level as your subject has the effect of seeming to place your viewer within the scene rather than (literally) looking down on the action.

I hope you’ve enjoyed this photographic tour of our day spent with the Embera people in their small village located far up the Chagres River from Panama’s main city.

Do you have a memorable experience of meeting a group of people willing to share their traditional culture?  Please share your experience by leaving a comment here!

Want to read more posts about what to shoot while traveling?  Find them all here: Posts about what to shoot.

Faces of Myanmar [Encore Publication], Part II: Showcasing the Diversity of Burma’s People

My wife and I recently returned from an amazing 2.5-week adventure traveling through Myanmar.  Our itinerary took us from the main city of Yangon to the vast plains gleaming with ancient pagodas in Bagan; then to the former imperial capital and cultural hub of Mandalay; on to Kalaw, the gateway to many hill tribes of the region; and finally to Inle Lake, well known for its picturesque floating gardens and for the Inthe people with their unique traditional style of fishing.  While it was wonderful to view Myanmar’s gorgeous landscapes and fabled temples, what made this adventure truly unforgettable for us was its many opportunities to interact with Burmese people from many ethnic groups and all walks of life: Buddhist monks and nuns, villagers displaced by a typhoon 10 years ago who are still living in temporary bamboo huts with no running water, the Paduang hill tribe whose women traditionally wear heavy brass plates on their necks, an octogenarian master of the dying art form of Burmese marionette theater, young boys celebrating their initiation as novice monks, and the delightful girls who have found a caring home at an orphanage in Mandalay.  Burma is a photographer’s dream, filled with glorious pagodas, gorgeous vistas, and friendly, diverse cultures.

Yesterday’s and today’s posts showcase some of my favorite portraits, some of them not yet previously published, featuring a wide range of people we met during our adventure.  The portraits will be presented as a photo essay, but I will include brief descriptions of each and occasionally some commentary about how they were made.  You can click on any of these images to view or purchase them and many more from the Myanmar trip.  Yesterday’s post featured Part I, and today’s post comprises Part II.

A fascinating visit to Myawaddy Nunnery, where we had the opportunity to meet some of the more than 200 novice nuns who study there.  I composed this image to include the contrasting colors of the novices’ pink robes against the painted carved teak facade of the building.

Portrait of the abbess at Myawaddy Nunnery.  The lovely “bokeh”, or soft quality of the out-of-focus background elements, is created by using a very wide aperture on a lens known for having this property (in this case, an 85mm f/1.8 prime lens).  Even when traveling, it’s important to have the right lens for the right job.

The Mingun Bell, 13 feet high and weighing 90 tons, is the world’s second largest functioning bell.

A delightful visit to the Aye Yeik Mon Girls’ Orphanage. We were heartbroken to learn the stories of some of the abandoned girls who live here, but were uplifted to see the wonderful care and guidance they are receiving there now.

I had the opportunity to get to know 15-year-old Phyu Phyu at the Aye Yeik Mon Girls’ Orphanage. Abandoned by her mother at an early age, Phyu Phyu’s early life was challenging, but she has flourished under the care of the nuns at Aye Yeik Mon and is planning to continue her education and to enter a professional career.

We were invited into the Mandalay home of Oma and his family. His mother was a restaurant owner and chef for many years, so we were treated to an amazing Burmese meal.  It can be challenging to make portraits of groups, especially when young children are involved.  I shot several frames and chose one where the young boys are looking (nearly) directly at the lens, settling for some of the other family members to be looking elsewhere.

Kuthodaw Paya is called the world’s largest book because the entire canon of early Buddhist scripture is recorded on carved stone tablets housed in its hundreds of pagodas.  These young local women wanted me to pose for a selfie with them, so I asked them to return the favor.  Their brightly colored longyis (traditional Burmese attire) stand out nicely against the drab background of the pagoda behind them.

A quiet moment at the entrance to Shwenandaw Kyaung Monastery.  I used spot-metering based on the woman’s clothing so as to achieve proper exposure given the much brighter background.

A stop at the Kalaw morning market to purchase the produce for our visit to Myin Ma Htie village.

We visited the village monastery in Myin Ma Htie and met with the monk there.

On arrival at Myin Ma Htie, we are greeted by villagers who will be our hosts.  This portrait was carefully composed to provide nice soft natural lighting on the girl and to frame her in a pleasing way within the surrounding area.

Traditional spinning methods to create yarn from lotus plant fiber.  I was struck by the symmetry and the bright color of the yarn in this scene.  

A worker in a cheroot workshop demonstrates her craft. She makes about 1000 of these small and inexpensive cigars every day.  To make this portrait, I used my go-to 85mm portrait lens at a wide aperture and added just a small amount of balanced fill flash to evenly expose the subject’s face.

The Phaung Daw Oo Paya is one of Burma’s most sacred sites. Dating to the 11th century, this pagoda houses the four remaining Buddha statues that enclose relics from the body of the Buddha. Worshipers add a little gold leaf to these statues when they visit, so that today the shape cannot even be recognized as that of the Buddha.

A fisherman on Inle Lake demonstrates the ancient style of fishing with a netted basket.  I framed the shot through the fabric of the net to add texture and visual interest.

Meeting members of the Padaung ethnic minority, whose women are famous for wearing heavy brass coils to make their necks look longer.  This 18-year-old Padaung girl proudly wears the brass coils on her neck as a symbol of ethnic identity. She told us her younger sister chooses not to wear the ornaments as she goes to a Burman school where most of the other students are not Padaung. The tradition was often scorned as backwards during the military regime, but now young Padaung women are again often choosing to practice it.

Have you visited Myanmar?  What were your favorite photographic subjects?  Please leave your thoughts here.

Want to read more posts about what to shoot while traveling?  Find them all here: Posts about what to shoot.

All of these photos and many more from Myanmar are available for viewing or purchase here: Myanmar image gallery.

Missed Part I of this story in yesterday’s post?  You can read it here: Part I of this story.