Lonely Planet - Photo TIPS

What to take Staying Alive Safety On the Road Reading On-Line info If your friends suddenly have to travel interstate when you invite them for a slide night, if your best shot of Varanasi is the inside of a lens cap, if you think an SLR is a hotted-up car, this is the page for you.

What to take

The essential photographic equipment list:

Your trusty camera and a supply of film

Spare batteries (for camera and flash)

Electronic flash

Tripod & cable release (optional, for low-light situations and landscapes)

UV/polarising filter (cuts out unwanted glare and protects the lens from damage and fingerprints)

Lens cleaning tissue & blower brush

A sturdy bag to carry it all in - the scruffier the better so you don't attract thieves

Packs of silica gel and several plastic bags to protect your gear from humidity, dust, sand and water

You can choose to keep it simple and travel light with an idiot-proof, automatic point-and-click or bring along a state-of-the-art 35mm SLR with so many gizmos it looks as if it could make toast. But whatever you choose, try to resist the temptation of buying a new camera or piece of equipment duty free. You need to be as familiar with your camera as you are with your watch. Getting to know the newcomer on the road can lead to you missing shots and sights.

The ideal camera for travellers serious about capturing their trip on film is probably a 35mm SLR with automatic and manual exposure, fitted with a good all-round zoom lens (28mm to 80mm). This will stand you in good stead whether you're shooting landscapes, insects, portraits, flowers or architecture. An important thing to remember, however, is that zoom lenses generally need more light (or faster film) than a fixed 50mm lens.

The most popular films are medium speed, around ASA 100 to 200. Fast film (ISO 400, 800, 1600, 3200+) can be coarse grained, but is good for capturing badly lit or moving images - picture yourself in a rainforest or trying to catch wildebeest in the Serengeti. Fuji Super G 800 has been specially recommended (though not for its price and availability). Slow film (ISO 25, 50 and 64) is fine grained, requires more light because it's less light sensitive, creates a sharper image with more detail and may require a tripod - picture yourself on a very sunny beach or shooting a desert landscape with a tripod.

Certain brands of slide film are better at rendering particular parts of the spectrum than others, so if you know what kind of pictures you are liable to take, you can choose a brand which will work to your advantage. Fujichrome slide film is particularly good at rendering greens, for example,which makes it popular with photographers shooting film in the lush landscapes of the tropics. Kodachrome is better at portraying colours at the red end of the spectrum, making it more suitable for deserts and urban areas.




Staying Alive


"some cultures, the camera lens may be regarded as an entity which robs people of something personal" The inclusion of local people in your photographs is a great way of capturing the flavour of a place. However, remember that many people object to having their picture taken by a stranger (how would you feel?). Regard the inhabitants of regions that you pass through as people, not quaint local colour. Be courteous, and always ask permission: it really helps to know a few words and phrases of the local language. If you are refused permission, don't insist. What if the local people demand payment for being photographed? This is a sticky situation, and a strong reminder of the destabilising effects of tourism. Such payments can quickly create a begging mentality. Get acquainted with a local person, and promise to send a copy of the processed shot - but do remember to send it! Note that telephoto lenses should not be regarded as a means of sidestepping either of these dilemmas. Nor is photographing people through a bus, car or taxi window. In countries with volatile security situations, paranoid governments, or just plain different social standards to your own, be aware of what you are photographing. Pictures of queues, border crossings and bridges, military installations and personnel, government buildings, airports and evidence of poverty could be on a government's list of forbidden topics, so be careful. If you're in any doubt, find out what is allowed: ignorance is no excuse. Photography is forbidden at some Islamic religious sites, and it is not a good idea to photograph religious processions and other events on Islamic days of mourning. Museum regulations vary markedly; some allow photography but nearly all prohibit flash photography and the use of tripods.

Safety

To soften the blow of losing your camera, don't forget to take out insurance. For customs and insurance purposes, make a note of your photographic equipment's serial numbers.

At all times, wherever you are, be discreet and avoid drawing attention to yourself. Use common sense and keep your camera out of sight when you are not using it. Think about carrying your camera in a plain, old polythene bag rather than a glossy leather sachet while out photographing. Never walk through crowds with a camera hanging casually off your shoulder or dangling around your neck.

Keep your camera with you as much as possible: not only will you stand a better chance of capturing good images, your property will also not be at the whim of hotel security. There are, however, some places where taking a camera can be a burden - the beach for example. Sand and heat are detrimental to the camera's well-being, and only an idiot would go for a swim and leave the camera under their towel.

Losing exposed film can be as upsetting as losing a camera. Keep film that has been exposed, or pictures that have been developed, in a separate bag to your camera so that even if your equipment is stolen, your photographs will still be safe.

On the Road


If photography is going to play a large part in your trip, check the weather in your destination before you set off. The monsoon in certain places in Asia could be the wrong time for soft light and sunsets; the harmattan in West Africa can reduce visibility to under a km for months on end. If your destination is far flung or your journey a long one, it can be a good idea to bring plenty of film with you. Keep your films as cool and dry as possible, before and after exposure, because heat and humidity can ruin them. Ideally, they should be processed as soon as possible after exposure. However, if in doubt, it may be better to wait and let your regular laboratory do the processing, rather than risking an untried local outlet - particularly if you're using slide film. If you plan to travel in extremely cold temperatures (below -10 degrees Celsius), keep in mind that batteries run out very quickly in the cold. When not in use, you could take them out of the camera and store them close to your body. The cold also makes film very brittle, so rewind your film very slowly. Filters are essential to protect your lens from snow and rain. To avoid condensation, put your camera in a plastic bag when you've finished shooting. Squeeze out the air from the bag and tie a knot. The growth of fungus due to high humidity is the major problem you'll face if you're travelling in hot conditions. To guard against fungus, keep your cameras and film in a plastic bag or film container which can be sealed. Store a see-through bag of silica gel with them to check on possible dampness. Develop your film as soon as possible, and don't leave your camera in the sun or in the boot of a car. It's also important to protect against dust by having a waterproof camera bag and plenty of sealed plastic bags. Unless you're using high-speed professional film (ASA 400 and over), you don't need to worry about airport x-rays ruining your film: you'd need to go through about 30 for the film to be at all affected. If you are carrying high-speed films, keep them in a lead-lined photography bag, or insist that your films are searched by hand rather than x-rayed.



Reading


John Hedgecoe's Introductory Photography Course (paperback, Mitchell Beazley) The prolific John Hedgecoe (sigh). How many guides to photography can one man publish? From basic to advanced instruction, Hedgecoe's guides are filled with photographic examples of do's and dont's. It covers the basic but vital camera skills and is a good introduction to understanding your camera. Michael Freeman Collins Photographer's Handbook Covers all the essentials, describes a range of cameras and discusses design and graphic impact questions. It's lavishly illustrated - with more pix than text - and includes useful diagrams. Michael Langford's 35mm Handbook Describes itself as the problem-solving book for every photographic situation, and it is indeed a very handy reference. Ansel Adams Examples: The making of 40 photos Expensive but worth the effort. It reads as if you're taking a short photographic course with Adams, and shares the circumstances surrounding the making of some of his most celebrated photographs. The narrative is entertaining and informative, with heaps of practical details.

If photography is going to play a large part in your trip, check the weather in your destination before you set off. The monsoon in certain places in Asia could be the wrong time for soft light and sunsets; the harmattan in West Africa can reduce visibility to under a km for months on end. If your destination is far flung or your journey a long one, it can be a good idea to bring plenty of film with you.
	Keep your films as cool and dry as possible, before and after exposure, because heat and humidity can ruin them. Ideally, they should be processed as soon as possible after exposure. However, if in doubt, it may be better to wait and let your regular laboratory do the processing, rather than risking an untried local outlet - particularly if you're using slide film.
If you plan to travel in extremely cold temperatures (below -10 degrees Celsius), keep in mind that batteries run out very quickly in the cold. When not in use, you could take them out of the camera and store them close to your body. The cold also makes film very brittle, so rewind your film very slowly. Filters are essential to protect your lens from snow and rain. To avoid condensation, put your camera in a plastic bag when you've finished shooting. Squeeze out the air from the bag and tie a knot.
	The growth of fungus due to high humidity is the major problem you'll face if you're travelling in hot conditions. To guard against fungus, keep your cameras and film in a plastic bag or film container which can be sealed. Store a see-through bag of silica gel with them to check on possible dampness. Develop your film as soon as possible, and don't leave your camera in the sun or in the boot of a car. It's also important to protect against dust by having a waterproof camera bag and plenty of sealed plastic bags.
Unless you're using high-speed professional film (ASA 400 and over), you don't need to worry about airport x-rays ruining your film: you'd need to go through about 30 for the film to be at all affected. If you are carrying high-speed films, keep them in a lead-lined photography bag, or insist that your films are searched by hand rather than x-rayed.