How would you capture ‘adventure photography’ in one image? For Swedish photographer Fredrik Schenholm it was this…
Skier: Oscar Hübinette Tolbachik, Kamchatka, Russia @Fredrik Schenholm
This is from Kamchatka. It’s freeride skier Oscar Hübinette swinging
into a turn in front of an active volcano that’s spewing vividly
coloured molten rock. And it’s quite an arresting image. It’s so good,
in fact, that National Geographic went on to publish it and the story
behind it.
But this image was nearly five years in the making. In December 2008
Fredrik was standing on top of Cotopaxi, an active volcano in Ecuador.
He was there on another assignment, nothing related to skiing or
shooting erupting volcanoes. But while he was standing there checking
the light, fixing his equipment, the neighbouring volcano started
getting angry, throwing out huge lumps of blazing rock and vomiting a
steady stream of molten material from the deepest, darkest depths of the
earth. And this spawned an idea in Fredrik’s brain. To capture his
ultimate ‘adventure’ image: a skier in front of an active volcano.
“I started making loads of trips to active volcanoes after that. I
became obsessed with it. Every morning and night I would check all these
volcano blogs to see what was happening. Three or four times I just
flew out somewhere the next day. But I never managed to capture the
shot. I kept failing.”
Then on a trip to Kamchatka, a 1,250km-long peninsula in the remote far east of Russia, Fredrik achieved his goal.
“Everything just came together. And I was ecstatic. It had been a lot
of hard work and I ended up with a big minus on my bank account. But it
was definitely made up for by a big plus on the life account – that’s
what really matters. It was my Olympic medal. It had been my goal for so
long, so afterwards I didn’t know what to do.”
Sunnmöre, Norge @Fredrik Schenholm
Getting this perfect shot actually started way before Fredrik was
standing on top of Cotopaxi. As a teenager he started working at his
father’s printing shop. But far from being bitten by the photography bug
he found the work dull.
“It’s my dad’s doing,” says Fredrik. “By my 16th birthday
my dad was sick of me not being into photography so he bought me a
camera. And much to his pleasure, I became instantly hooked.”
Back then it was all analogue photography, but Fredrik had the
advantage of milking his dad’s printing shop for all it was worth. He
experimented – a lot – shooting anything that took his fancy and
printing everything at his dad’s shop. But the real life-changing,
penny-dropping moment came a few years later in St Anton.
“I was a total ski bum. I did three seasons washing dishes in the
evenings and hitting the slopes and backcountry during the day. But I
soon found I preferred standing behind instead of skiing in front of the
camera.”
Through a combination of skills, hard work and being in the right
place at the right time – not to mention having friends with more than
just your average skiing ability – Fredrik was able to transition from
ski bum to ski photographer. This was not something he wanted to do as
his hobby. This was where he felt alive. The mountains were where he
felt at home and the camera was his way of combining time outdoors with a
healthy dose of travel and adventure.
Fredrik moved to Chamonix in 2002 to become a full-time photographer
and it wasn’t long before his images were appearing in magazines beside
first-class reportage on adventure sports athletes, most notably skiers.
And he’s been focusing on adventure photography ever since.
“It was a lifestyle choice really. I just wanted to be in the
mountains all the time. It was like I was in a tunnel – nothing else
existed. It was the mountains or nothing.”
His style, or USP (unique selling point), is to capture the grandness
of nature with people as small players in vast surroundings. “I want
nature to be the focus really. I want my images to make an impact on
people – to get them to say ‘I wanna be there’ – I like it when nature
has a say in the photography.”
Skier: Oscar Hübinette Location: Senja island, Norway @Fredrik Schenholm
So what now?
“Haha, good question! Now I’m looking for a lightning shot. There are
a few climbing and biking shots I want to capture under severe
thunderstorms. It’s going to be another challenge, but it’s definitely
doable. But it’s hard to plan. Suddenly it just happens, that the light
or the thunderstorm is in the right place – then it’s like magic. It’s
gonna take a while, but it’s a good excuse to spend a lot of time
outdoors.”
We just hope Fredrik’s wife and two kids are equally as patient, as
we can see this being another long-in-the-making goal. But knowing
Fredrik, his determination and his amazing eye for composition the
result is definitely going to be worth it.
Daniel Taipale, aka @dansmoe, is a Finnish photographer who’s
been a friend of Fjällräven for around two years now. “His photos always
tell a story. They make you want to get out and explore,” says
Fjällräven online manager, Joel Nyrén.
“My first tip is actually about gear. First of all, choose the right
camera. Good quality cameras can be heavy, so find a camera that you
will happily carry around. Lower quality photos are always better than
no photos at all. Giving up on some quality of the images due to a
smaller and not so technical camera can sometimes be a good decision.
And make sure to protect your gear from the conditions while being
outdoors. Rain covers and photo inserts are a good way to do so.”
Dutch photographer, Pie Aerts, @pie_aerts, has a different focus to
Daniel. He is drawn more to animals. He’s also been a friend of ours for
nearly two years and over that time he’s honed his skills he’s
recalibrated a little from landscape to wildlife images. “His wildlife
images, in particular, are really powerful, and his style is really
consistent,” says Joel.
He echoes and expands on Daniel’s comment about gear (which Daniel
expands on later). “My number 1 piece of advice for becoming a better
photographer is to stop talking about gear and start taking photos. No
matter which camera you own, the truth is that sharper lenses and more
megapixels don’t necessarily enhance your ability to tell a story or
compose an image. Real improvement only exists through practice and
learning from failure, not through buying an expensive camera.”
Daniel’s images are dramatic, quite cool in tone and place nature at
the centre. All his images have a clear focus: there is a story being
told. They have a certain photojournalism style to them. If you like the
sound of this, check out Daniel’s Instagram feed and read his tips:
Draw the attention of the viewer into the subject. There are many
ways to get your subject to stand out. One of the best ways is to use
leading lines to guide the eyes of the viewer to the subject. It can be a
road, river or even railroad tracks.
Shoot during the golden and blue hours. The light before and after
the sunset and sunrise usually gives the most pleasing look for the
photos. During the summer season in the Nordic countries the amount of
“good light” is almost the whole evening and night. Be ready to stay up
late!
Use the rule of thirds. This is a good guideline for placing the
subject in your photos and making it look balanced. Place the horizon on
either of the lines and the important elements at the inter-sections of
the lines.
Get down low and find a nice foreground. This will immediately make
the scene a little more photogenic. Also, start playing around with the
focal length and the depth of field.
Practice makes perfect and when you know your camera and have some
tricks up your (G-1000) sleeve, it’s easy to implement them when the
conditions are perfect and it’s time to shoot with no time to play
around.
Pie likes to play with light and he uses it creatively to his
advantage. His images are dark and full of contrasts. If you like the
sound of this, check out Pie’s Instagram feed and read his tips:
Many people think good photography requires travel. They’re wrong.
You’re better visiting that one interesting place close to home a
hundred times instead of visiting a hundred different places further
away only once. In doing so you’ll end up finding the conditions you’ve
been dreaming about. Patience and persistence are key for distinctive
image making. Trust me, in the end, you don’t have to go somewhere new
for wonder, just look at that same old spot with new eyes. Try it. I’m
sure you’ll be surprised.
Even if you think you get up early enough, get up earlier! Don’t be
one of the people that sleep through the good things. The hour before
the sun rises is the most magical hour of the day with often every
minute a different lighting situation. Plus, the ‘sunset crowds’ are
still in a deep sleep which gives you more space to do your own thing.
Ditch the zoom lens and learn to love the constraints of dealing
with a fixed focal length, simply because the most important lens you
own, is your own legs. Moving ‘them’ instead of a zoom ring will
instantly make you a better photographer. It increases the weight of
your bag, but deal with it, it’s worth the pain. So, stop zooming, start
seeing.
Try playing around with monochrome I promise you, the entire game
changes. When colours are absent you learn to look at light and
composition in a different way, which teaches you so much about image
making.
Some people argue that you need a human connection in order to feel
emotionally connected to an image. But nothing is further from the
truth. I believe a still image can convey an even stronger emotion than
any facial expression or human interaction ever could. Find that and try
to convey it in your visual story telling.
Make photographs for yourself, not for your audience. Learn to trust
your instincts and don’t always consider what others might like or not.
I know this isn’t easy in times of heavy social pressure but YOU are
the one that’s supposed to be enjoying the process, not everyone around
you. And if you radiate the right energy, your images will start looking
better and better, which attracts the likes of those around you
eventually too.
Over the years I’ve learned that many times in photography, it’s not
the grand scale or epic nature that grabs me the most, but rather the
small details that would normally go overlooked. Find that spark of life
in a place that feels like death, or highlight details in a scene that
feels like infinity. It’s too easy to always opt for the vastness of a
landscape.
Trust your camera. Your camera equipment is tougher than you think.
Run towards the rain, not away from it and with the right luck, you’ll
catch the electric colours and mist from a clearing storm. The same goes
for blazing sun or freezing cold. No matter how heavy the snowstorm or
how freezing the temperature, get out there, get dirty, get wet! Create!
You gotta risk it.
One final note, something that both Pie and Daniel agree on, is that
photography is a personal journey. Use these tips, ask for help from
others, but always find your own style.
Text: Sarah Benton, Daniel Taipale & Pie Aerts
Lioness Steals Photographer’s Canon DSLR and Gives It to Her Cubs
Wildlife photographer Barbara Jensen Vorster
was photographing a pride of lions in Botswana in July when she had her
camera stolen by a lioness. She luckily had another camera ready and
captured a series of photos showing what happened next.
Vorster was shooting at the Mashatu Game Reserve with her Canon 7D and Canon 100-400mm lens
— a camera kit worth over $2,000 — when she accidentally dropped the
kit on the ground. Upon hearing the thud, the protective lioness mother
growled and then approached the group to investigate, causing Vorster
and her party to retreat in their 4×4.
“The camera fell with the lens looking up, she gently flipped the
camera on its side and picked it up by the barrel of the lens,” Vorster
says.
The lioness then picked up the camera and telephoto lens in her mouth
and carried it a distance before dropping it onto the ground. Her cubs
then pounced on their new toy and began playing with it.
“They dragged it through the dirt, chewed on the lens hood and then
fortunately, like most kids, soon grew tired with their new toy,” the
photographer says.
After retrieving her abandoned camera, she found that it was still
functioning perfectly aside from teeth marks across the surfaces.
The camera was “very dirty but appears to still work,” Vorster says.
“There are two huge teeth marks on the rubber focus rings of the lens
and small teeth marks on the plastic lens hood, both of which I decided
not to replace.”
She
spent roughly £200 having the equipment fixed, but it was a small price
to pay for the unique set of photos she left with that day — Vorster
says it was a “priceless experience,” adding, “What photographer can
boast that their lens had been in a lion’s mouth?”
I like to be very aware of my influencers and the effect they have on
my work. When I find that I particularly like an image from another
photographer, I will give it a lot of thought before I try and apply any
of my analysis to my own images.
Photographing people is one of the trickiest things I deal with,
especially when making an image with “soul” that features character and
energy rather than a simple candid portrait snapshot, as many of my
earliest attempts were.
This year, I’m going to hopefully be working more on expressive
portraiture as well as improving my candid photography of people, so I
spent some time making notes on some of the approaches and methodologies
I admire from a few of my favorite contemporary street photographers. I
did this so that I can work on incorporating those into my own
approach.
Walter Rothwell: Anticipate Behavior
Walter’s photographs of people (and cats) almost always feature
fantastic energy of movement and emotion. But despite the often fast
pace of the motion, you can tell that these images would not be possible
if he relied simply on “luck of the draw.” Instead, by studying the way
that subjects interact both with each other and light, Walter is able
to intuit to a certain extent the possibilities for a photograph before a
frame even starts to take form.
In order to apply this to my work, I’m going to be looking a lot into
sociology and also at researching new places before I go and shoot. For
example, I wouldn’t go to a protest expecting to shoot the same images I
would at a beach, and I wouldn’t go to a museum expecting for people to
behave as they would in a crowded marketplace.
Benjamin Gordon: The Soul is in the Eyes
Benji’s portraits, candid or otherwise, are built around the eyes of
the subject. When interacting with a subject for a portrait, there are a
few methods to engage them while waiting for them to drop their guard
and reveal themselves through their eyes. For a long time, I didn’t
quite understand what it meant to have expression in the eyes in a portrait, and any example I have of it so far is a happy accident rather than something I worked towards.
By engaging his subjects as a person first, and then introducing the
agenda of street-portraiture Benji is able to generate trust, which
really shows in his images. His subjects are all relaxed but engaging
with his lens.
David Babaian: Don’t Just Photograph Out of Convenience
Although I will wait a while for a strong street composition when it
comes to photographing street portraiture, I will usually work on a
classic approach to approaching a more contextual portrait. This can
mean waiting for specific moments to happen, or finding a scene, which
works as a good background for an atmospheric portrait featuring a
specific character.
This
is something I think David does really well in a lot of his
photography, really paying a lot of attention on what specifically fits a
character and which character fits a scene, and then leveraging those
factors for an emotive image. Rather than waiting for characters to come
to him, he actively seeks out people with specific stories and points
of interest about them in order to really make the most of every frame. About the author: Simon King is a London based
photographer and photojournalist, currently working on a number of
long-term documentary and street photography projects. The opinions
expressed in this article are solely those of the author. You can follow
his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.
It's always refreshing to see lighthearted stories in the news, especially when it comes to this precious girl and her 2 dads.
Although
it may seem like these 2 dads are a same-sex couple, the photographs
taken by Willie + Rose Photography in Texas actually feature a young
girl, her biological father, and her stepfather.
Blended families are becoming more and more common nowadays, but that doesn't mean it always works out easily.
"Bonus
dad," the man with the tattoos and trucker hat who also goes by Dylan,
posted on Facebook a few weeks ago describing the impromptu photo
opportunity (making it evident that these photos were not staged just
for a camera).
Our
daughter Willow. You may never know how your love has changed us all.
The guy to the left is myself (Daddy, Daddy Dylan or Bonus Dad), in the
middle is of course our Princess Willow and the guy to the right is
David (Daddy, Daddy David or biological Dad). No we are not a same sex
couple, but we do share a daughter. David is Sarah’s ex husband and I am
the Fiancé. We have molded ourselves into one unique family, of only
for the sake of our children to know the power of lov... See More
In the post (which has been shared nearly 150,000 times), Dylan says
that the two gentlemen are not a same-sex couple, but they do share a
daughter.
"Not only did I gain a daughter, I gained a brother and a best friend," the post reads.
Dylan
also seems like a pretty good wingman because at the bottom of the post
he says that David, the biological father, is SINGLE (in all caps).
The
photos were taken on the way to a daddy-daughter dance, not just for
the benefit of the likes on Facebook. It seems the dads switch off every
year because Dylan also mentions that David took their daughter this
time around.
Do you have this type of a relationship with your partner's exes?
You
can have the most stunning subject to photograph in the most gorgeous
lighting, but if you don't take care to compose the shot well, no amount
of good light and inherent beauty will prevent the image from being a
dud.
There are plenty of photography composition tips to help you create a better photo. That's the good news.
The
bad news - if you can call it that - is that it just takes a bit of
practice to become adept at using a compositional technique.
What's
more, it can get a bit overwhelming trying to decide which
compositional techniques to learn, let alone which ones to implement.
Again,
a little bit of practicing a handful of compositional techniques will
help you determine what you like to do to give your photos a boost.
Let's take a look at 10 compositional rules that will help you create a more impactful photo.
Shoot Both Vertical and Horizontal
When I first started in photography, I noticed something about my photos when I reviewed them...
Virtually all my landscape photos were in horizontal format and virtually all of my portraits were in vertical format. There's nothing wrong with that approach; it's just expected. In photography, you want to give viewers something unexpected!
When
I started forcing myself to change the aspect ratio I used to take
photos, I noticed that it required me to think harder about the shot.
For
example, when photographing a landscape in vertical format I had to
take the foreground and background into more account, given that in
vertical format both areas have more real estate in the frame.
What
I found to be most helpful is to take both a horizontal and a vertical
shot of the same subject, and then compare how they look and feel
afterward. It really helped me to develop my eye for framing and
composition and it will do the same for you.
Use Leading Lines
One of the most powerful compositional tools you can use, especially in landscape photography, is leading lines.
Leading lines are great because they help your viewers understand where they need to look in the photo.
Rather
than their eyes wandering around the shot, a leading line will
immediately grab their attention, allowing you to direct them towards
the primary subject.
There are all sorts of lines you can use in a shot, from a roadway to a simple path to a fence or a wall.
But leading lines don't have to be so overt.
In
the image above, the fallen tree on the left side of the shot points
directly at the man. That kind of subtle leading line is highly
effective, and viewers often won't even realize that their gaze has been
influenced by something so nondescript.
Don't Get Stuck Using Vertical and Horizontal Lines
When thinking about your leading lines, it's natural to go right to using vertical and horizontal lines.
However, this can be a little predictable, and in the case of horizontal lines, in particular, it can be a little boring too.
For something unexpected and dramatic, diagonal lines should be used.
In the image above, there's two sets of diagonal lines - the river and the beams of sunlight.
Note how both sets of lines add drama to the shot that wouldn't be possible if they were simply horizontal or vertical lines.
Instead,
the horizontal nature of these lines helps widen and deepen the shot,
as well as accentuate the mountain peaks through which they meander.
Keep It Simple
Very rarely in life is "more is better" a good idea. The same applies to photography.
Not
only does simplifying the scene mean that there are fewer moving parts
for you to get right, but it also gives the viewer a break too.
Rather than being distracted by a bunch of different elements, a simplified composition allows the viewer to engage more easily with the primary subject.
The question is, how do you simplify the scene?
As
was done in the image above, select a strong subject - something that
stands out in the scene because of its size, shape color, texture, and
so forth.
Then frame the subject in a way that ensures viewers can't miss it. If need be, crop out other elements of the scene.
In
this case, the woman is obviously the subject, but the colors and
textures of the surrounding landscape contribute to a stronger
composition but without distracting attention from the woman.
Fill the Frame
An easy way to create a more impactful composition (while keeping it simple as well) is to fill the frame with your subject.
Filling
the frame gives a photo more impact because it eliminates all the
clutter around it that might distract the viewer's eye.
What's
more, filling the frame brings the subject to life, making it look and
feel bigger in the shot, like the zebra in the image above.
There
are several ways to fill the frame, including zooming in with your lens,
getting closer to the subject by changing your shooting position, and
cropping the image in post-processing.
In any case, filling the
frame is a more unique way to compose a shot, and as a result, it will
be immediately more interesting to view.
Think About the Background
When
you fill the frame as was discussed in the previous section, you rely
less on what's going on in the background and concentrate more on the
subject.
But sometimes, what's going on in the background can be highly visually interesting and help tie the entire image together.
Now,
as we learned earlier, that doesn't mean you should overcomplicate the
shot. Instead, simply think about how the background might add a bit of
interest without distracting from the subject.
The image above is an ideal example of this.
Clearly, the boy is the primary subject, but by giving a hint of the background, we have a more interesting shot.
The
forested landscape - even though it's blurry - gives context to where
this photo was taken and what the boy was doing at the time.
In other words, the background helped to tell a more complete story about the boy, and that makes for a more powerful shot.
Offset the Subject
No list of photography composition rules is complete without mentioning the Rule of Thirds.
As you likely already know, the Rule of Thirds states that you should avoid putting your subject in the middle of the frame.
The
reasoning is that having a subject in the middle creates photos that
just aren't all that interesting with a static look and feel to them.
Instead,
by dividing the image into nine equal quadrants and placing the subject
to the left or right of center (or above or below center), you'll get a
more impactful image, not unlike the one above.
But it's not just
shifting the subject away from the center that makes this rule work.
You still need to think about how it impacts the composition.
In
this example, the texture created by the waves on the left side of the
shot balance out the presence of the man on the right side of the shot.
What's more, his positioning on the right helps give the sense that he
can continue to walk toward our left, creating a more dynamic shot (more
on that below).
Give the Subject Space to Move
Even though photographs are static and two-dimensional, there are compositional tricks that help you convey a sense of motion.
One of the most impactful is to give your subject room to move into, such that the image has an implied sense of motion.
This
trick is often used when photographing things like a running animal or a
moving car - the subject is placed on one side of the frame with empty
space in front of them.
This concept is illustrated in the image above as well.
Note
how the man is clearly casting his net to our right. By shifting his
position to the left, that movement has more impact and we're better
able to imagine him throwing the net and reeling it back in.
Just
imagine this shot had the man been in the middle or even on the right
side of the frame. It wouldn't be nearly as dynamic or visually
impactful, would it?
Watch Your Colors
A difficulty that some beginning photographers struggle with is oversaturating the colors of their shots.
This is often done in post-processing and gives the image colors that punch you in the face and, quite simple, look fake.
However, this isn't to say that you can't use very bright colors effectively.
In fact, color is one of the tools you can use to draw a viewer's attention to the shot, and within the shot, to the subject.
In the image above, note how the pops of color of beach towels and umbrellas draw your eyes to the crowd.
This works well because the colors, though intense, are small enough that it doesn't become overwhelming to view.
If
you're closer to the subject, fill the frame to limit the range of
colors in the shot, again, to prevent it from becoming overwhelming.
Also
look for ways to use complementary colors - orange and blue or red and
green - as they go well together to create a more dynamic shot.
Get Comfortable Breaking All the Rules
Though
it's important to learn these and other compositional rules, it's
perhaps even more important to learn when to break them.
Photography
is often about feel, and sometimes the best feeling you can convey in
your images is to set the rules aside and go with your gut.
That
means that sometimes you'll break the Rule of Thirds. Sometimes you'll
use a ton of very bright colors. Still other times you won't include any
leading lines in your landscapes.
And that's okay!
The key to your success is to learn and practice the rules outlined above, that way you can create more compelling photos.
The
next step after that is to learn to recognize when the rules just
aren't working, that way you can break them in a purposeful manner and
still get a gorgeous shot.
Do
you think you can guess where the most amount of selfies are taken per
year? Would it surprise you to find out that the Eiffel Tower is
definitely one of them?
Not only is the Eiffel Tower one of the
most visited tourist attractions in the world (more than 7 million
people see it each year), but it allows selfie seekers multiple chances
to snap the perfect shot.
The Eiffel Tower features two
restaurants, a sightseeing deck with a clear glass floor, a champagne
bar, and it even offers crazy events like the summer you could zipline off the tower.
Turns
out the Christ the Redeemer statue doesn't only draw devout Catholics,
but devout Millennials seeking the perfect snapshot of their summer in
Brazil.
The Christ the Redeemer statue has been watching over Rio
de Janeiro since the 1930s, and stands at almost 100 feet tall. Although
it isn't the tallest statue of Jesus in the world (there's one in
Poland that is 113-feet tall), it is the most photographed.
As it turns out, people are catching on to the tourist draw of giant-Jesus statues, because another one was just put up in South Africa.
The
Great Wall of China is arguably the most famous, ancient architectural
site in the world. So much so that a huge number of tourists will have a
one-day layover in Huairou just to say they saw it, and grabbed a quick
pic.
Machu
Picchu, much like the Great Wall, is mystical. There are a variety of
ways to do both UNESCO sites. You can hike for days from the nearest
city in order to reach Machu Picchu, hike for a day from the nearest
dilapidated town, or do what I did and take a train up.
If
you're ever on Facebook, you no doubt have come across Machu Picchu
selfies from college students on Spring Break trips, or your cousin
who's going through a mid-life crisis.
Selfies in the distant mountains in Peru, for some reason, remind us of our humanity.
Big
Ben, which is not its proper name as anybody who has done a walking
trip of London would love to tell you, is so intricate in nature it
automatically makes for a beautiful Instagram shot.
Big Ben is so popular amongst teenagers and 20-somethings that it has a Twitter account with almost half a million followers. It tweets out "bong, bong, bong" each hour, on the hour, like the real deal.
It's
no surprise that London is featured more than once in this list. The
Tower Bridge, while not as popular as its big sister the London Bridge,
is apparently more photographed.
If you have the extra money to
spend on an already expensive London trip, you can go through the
exhibit at Tower Bridge which features a glass floor all the way down to
the River Thames.
The Taj Mahal is older than the United States by over 100 years, and is also a UNESCO World Heritage Site.
Accounting
for inflation, the building cost nearly $1 billion in today's terms and
has unbelievably held up for hundreds of years. Paired with the
pristine gardens the palace sits on, it's no shock that the Taj Mahal
made our list.
Why people have an unending fascination with death and gore we may never know, but it sure makes for a popular selfie.
The
Colosseum, a main attraction in Rome, began as a place for gladiator
and wild animal fights (in the days before social media, and therefore
the selfie, existed). They had to do something with all that time.
Behind
the Vatican Museums, the Colosseum is the second most visited tourist
attraction in Rome and draws over 4 million people every year.
I'd
never heard of the Burj Khalifa before writing this article, but then
again I'm not an uber-rich Instagram influencer who can fly to Dubai on a
whim.
The Burj Khalifa, coloquially known as "the biggest
skyscraper in Dubai and the world," holds a ridiculous amount of world
records. The building has the highest occupied floor in the world, the
most stories of any building in the world and more.
The
Parthenon, an ancient Greek temple in Athens, is an ode to the goddess
Athena. Considering we could use a goddess of justice in the world, I'm
all in favor of selfies being taken as an ode to Athena.
Horsetail
Fall in Yosemite is the world famous site of the rainbow waterfall.
Once every year, when the sun sets perfectly over the valley, the water
running down Horsetail looks like it's on fire.
Even if you
aren't in Yosemite for this event, Horsetail Fall is incredibly large
and spectacular, creating the perfect background for your face.
Gyeongbok
Palace, which sits in central Seoul, features gardens, temples and
lakes. While you're here capturing a selfie you may as well try your
hand at creating Hanbok, which is traditional Korean clothing.
