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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. The essential photographic equipment on your list of things to pack should include:

• 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

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, with whole villages wanting to pose for the camera for a price. This can be avoided by genuinely becoming acquainted with a local person, and promising 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. For example, permits are required to photograph nesting birds in Iceland, photographing houses in France is considered to be an invasion of privacy, taking a picture of downtown Monrovia will result in your arrest, and under no circumstances should you take photographs inside mosques during a service. 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.

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 think of going for a swim and leaving the camera next to or under their towel. Leave the camera with a friend or ask for a receipt and leave it in the hotel safe.

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.

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. Treat exposed film as a valuable, carry it in your daypack rather than in your backpack, especially if your backpack is separated from you during journeys on buses, trains or planes.

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. Hopefully, condensation will form on the bag and not on the camera.

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 of the monsters 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.

• 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 (illustrated with dated and unnecessary nudes and lip-glossed soft-focus dolly birds looking for all the world like extras from Charley's Angels). A good one to start with would be John Hedgecoe's Introductory Photography Course (paperback, Mitchell Beazley). It covers the basic but vital camera skills and is a good introduction to understanding your camera.
• The The Collins Photographer's Handbook by Michael Freeman 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.
• Examples: the making of 40 photos by photo-picturist supremo Ansel Adams is 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.

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