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Travel People Photography – Tips and Pitfalls

By: Peter West Carey 

“Oh the people you will meet!” goes one of Dr. Seuss’ famous lines, speaking to a particular joy of travel. We don’t just travel to see new places, we travel to experience new cultures full of new people – and as photographers, we’re intrigued to take their photo.
Yet it’s not as easy as taking photos of foreign mountains or cityscapes. because, gasp!, those people are full of life and feelings and opinions. They might be speaking a language we don’t understand. We are left wondering what they are thinking as we start to bring our camera up to our eye.
I’ve been photographing for 26 years, and traveling regularly for the last eight. I don’t know it all, but I have learned, through trial and error and research, what helps and what hinders travel portrait photography.

The Tips

Watch the light

Photography is about light. You’ve likely heard it a hundred times before. Sometimes we forget that when out of our comfort zone, but it’s important to remember that great photos need great subjects, and great use of light.

Before raising your camera, know your light. Know what light will be available, and how best to use it. This article: Understanding Natural Light Part 3: Direction of Light – has a wealth of knowledge to get you thinking about the natural light at your location. Of course, you can use a flash as well, but most of us rely on natural light for our travel portraits.

Connect

Hot Button Topic: To connect before or after you take a photo? This decades-old discussion will not be settled here, but I will give my opinion as fuel to the fire.
I believe in give and take. If I’m always taking photos when I travel, I feel more the part of an interloper than a welcome guest. There are irresistible times when someone is doing something soooooo perfect, we have to have a photo, we think. Introducing ourselves will ruin the moment and break the magic we are witnessing.

My advice is to take those photos, but give something back. Approach your subject after the fact and introduce yourself. Smile, make eye contact, promote goodwill, and be nice.
If they are a vendor, buy something they are selling, or at least take a look. Canon, Sony and others now have portable printers you can bring with you, and what better way for give and take than to hand over a printed copy of the portrait you now treasure. It’s more work than just taking photos and continuing on your way, but it is also more rewarding.

Get their feedback

Building on the point above, show your subject their portrait. It’s part of giving back. Get their feedback on how they think they look.
You might hear good things or bad, because everyone tends to be their own worst critic. Ask their friends as well, if they are around, to know if you have captured an accurate representation of your new friend.

They may have an idealized portrait they want you to take. What’s the harm in taking the photo they would like and the one you like? The more interaction, the better the portrait.

To smile or not to smile

This argument goes both ways. Some photographers want all smiles, especially if they believe there are in a happy place. Others abhor a grin. What a different story Steve McCurry’s Afghan Girl photo would tell if he was playing the ham and got her to smile!
As artists, we always instill our own bias into our art, that is okay. Sometimes your subject will also instill their bias. For instance, in Bhutan I encountered mostly stern faces when I took portraits, even if the subjects were lively, happy and smiling while I talked to them for a few minutes beforehand. I didn’t feel the stoic portraits the subjects wanted to portray accurately, reflected the warmth I felt while walking the countryside. So, what to do?
I developed a technique on that trip of taking pictures of people’s shoes. This served two purposes; I got images that tell their own story (footwear can tell you a lot about the wearer) and, in that moment when the subject was wondering why the heck is this guy taking pictures of my shoes, they let their guard down and returned to the smile I had encountered until the portrait was taken.

Before shoe photo

After shoe photo

My suggestion is to get to know your subject before taking their portrait. Then find a way to help that personality shine in their portrait.

Let them do their thing

To tell a better story of an individual is to put them in their environment. It helps travel portraits if there is context of the individual, in relation to the space around them.
Interact with your subject, take their posed portrait to your liking, then let them return to what they were doing. This is probably what drew you to them in the first place. Sit, observe, and be patient with your next photos.

They might not be classic portraits, subject’s eyes on the lens. To tell the story of the individual in the digital age is to have the ability to show more than one side, more than one image of your subject. You’re not a National Geographic photographer who will only get one image of the person in the magazine. You’re someone with a Facebook or other online account, and you can share both the portrait and the person in their element.

The Pitfalls

The Death Stare

You can probably feel the chill down your spine right now when I mention the Death Stare. Every street photographer has felt it at one point, and most every travel photographer as well.

The Death Stare comes when someone sees your camera pointed their way, and fully disapproves of being the object of your desire. It’s important to realize the Death Stare is usually not so much about you, it’s about the situation, and empathy goes a long way to avoiding it. So does the tip above about connecting.
Recovery from the Death Stare can be hard. It chips at your confidence while you are in a foreign environment, already feeling out of place. Now you are unwelcome?

When I receive the Death Stare, I take a few mental steps backward, and put my camera away for just a bit – maybe 10 minutes, maybe an hour. I spend that time soaking in my surroundings and trying to connect with locals instead of capturing them.

Super posers

Kids are famous posers, but the disease travels across every age range. Some societies are more prone than others to super posing. By super posing I mean the tendency to totally ham it up for the camera. We all like to put on our best face, but the super poser makes almost a 180 degree change from what you first saw in them and wanted to photograph.

I have watched enough parents try to get their kids to, “smile normally, please?” and spend tens of minutes in frustration at their children being children. My suggestion with travel photos is to not fight the super poser. Accept that the moment you saw in them has passed, and move on.

Only telephoto

Afraid of the Death Stare, or an imaginary worse reaction, the telephoto-only portrait becomes the easy out. If I can shoot from 100 feet away, in obscurity, why get closer?
Because your images will lack intimacy, that’s why. I’m not saying don’t shoot with a telephoto from a distance – but don’t only shoot from a distance. If I peruse your gallery of images from Egypt and only see telephoto attempts at portraits, I’m going to feel as distant as you physically were from your subject.

In my mind, connecting with strangers and only obtaining a few mostly-posed portraits is better than 100 shots from across the street. To me it says, “I traveled to this land, but didn’t really get into it.”

“Please don’t use that”

Following the advice above, you show some shots to your subject. They reply, “Oh, please don’t use any of those. I look horrible!” Now what?
If there is a chance, reshoot the images. If you must move on with your travels, I suggest you take the high road and respect the individual’s wishes. You may think they look perfect. Yet being respectful is more important than impressing your Facebook friends or Instagram followers.
This makes my original advice a bit of a double edged sword. Maybe you shouldn’t show them if there is a chance they will say no? The problem is face recognition software is getting more and more powerful, and Facebook’s (and other companies’) database is getting larger and more accurate. I live of the virtue it is better karma to error on the side of not potentially ticking people off.

Use of the photos after the fact

This brings up a good point about use. What are you going to do with those images?
Again, street photographers know this argument well. “You can’t take my photo!” they have had shouted at them if they have been in the game long enough. While this may be true in certain countries or situations, in most public spaces, especially in the US, you are free to photograph individuals.
What you do with the images after is the key point. Your own personal, artistic use is okay – included in a gallery on Facebook or a post on Twitter, a slideshow presentation at the local social club, or a gallery showing. Commercial use, where a model release is needed (think: ad campaigns, brochures, catalogs, stock), is not. Editorial use in a magazine or newspaper generally is okay.
DPS has some excellent resources, including our article Model Releases: What You Need To Know (with samples).

Conclusion

Travel portrait photography can be a tricky world to navigate. You’re out of your comfort zone, you may not speak the language or know the customs, but you want to bring home photos of not just the pretty sites, but the interesting people, too.
Be kind. Treat people as people, not objects. Share your images and take time to connect.

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6 Tips for Photographing People When Travelling

By: Kav Dadfar 

Photographing people you don’t know can be a daunting experience. A lot of people are not comfortable with approaching people and asking their permission. But if you can conquer your fear, you could be rewarded with some truly wonderful photographs from your trip.
So here are some tips for photographing people when you travel, to help get you started:

 1. When possible always ask permission

This is often the biggest hurdle you may encounter, after all approaching total strangers isn’t an easy thing to do. Therefore, you might end up trying to take a quick photo without your subject noticing which could annoy them, not to mention you might not catch the best angle or light. Here are some tips on how you could ask for permission to photograph them:

• Simply smiling and pointing to your camera normally does the trick – even if the person you want to photograph doesn’t speak your language
• If you are purchasing something from them, it is one of the best times to photograph people, as they would usually be amicable towards you
• If you are able to, talk to them first and ask them about what they do, about their town or city and even tell them about yourself. It’s incredible how much more receptive people are when you put the effort in
• A guide or a translator can be really useful in asking people if you could take their photo and also advising if there are places that you shouldn’t
• Any time you are going to be photographing children you should ask permission from the parents
• In popular tourists destinations it is common for the person your are photographing to want money for taking a picture. The decision is yours if you want to pay for a photo, but under no circumstances should you try to sneak a photo. If you are willing to pay, negotiate the price before you take the picture and also state how many photos you are going to take.
• Don’t be offended if they refuse. There are plenty of other opportunities and people who wouldn’t mind having their photograph taken

I spent around 10 minutes talking to this local before asking if I could take his picture.

 2. Be ready

Whether you are the shy type or not, being ready before you approach someone for a photo can be a really good habit to get into. Think about the lens you are going to use. Are you likely to need to raise your ISO? Will you require a fill-in flash? And make sure your camera is on and the lens cap is off. This is especially important if you want to photograph people who are going to be busy. For example a market vendor isn’t going to have too long to wait for you to take the shot before seeing to customers.

An example of a portrait

3. Portraits or environmental portraits?

There is no right answer here and it really depends on your style and preference. A straight forward portrait would usually isolate your subject in the frame and capture the details of their face. Obviously you can fill the frame if you wish or you can stand further back and capture more of the person’s figure and clothes. Environmental portraits add context to the person by showing more of their surrounding and allowing the viewer to learn more about them. Naturally for environmental portraits you would need a wider lens (e.g. 24mm – 35mm) so that you can get close and still be able to capture the environment.

An example of an environmental portrait

4. Don’t be afraid to direct your model

Once you’ve got someone’s permission don’t be afraid to direct them as to where, and how, you want them to stand, or look. Most people find it uncomfortable posing, so you as the photographer need to direct them and make them feel at ease. Will the photo look more engaging if your subject was smoking? Would they look better with the cap or without it? Is the background too busy? If they are nervous make them laugh to make them more comfortable.

I asked this farmer to smoke his cigarette as it adds to the mood of the image

This woman was very nervous so all of the photos looked very staged and not natural, until my guide said something to make her laugh.

5. Look out for overcast days

Overcast conditions are perfect for portraits

Often a travel photographer’s worst enemy, overcast days are actually the best time to take portraits. The natural and soft light will mean your subject would be evenly lit without harsh shadows on their face. So the next time you encounter an overcast day on your travels, look out for interesting people to photograph.

6. Practice

The great thing about photographing people is that you can practice it pretty easily. Wherever you live you can head out and find people to photograph. If you need to practice your technical elements (i.e. shutter speeds, lighting etc) get your friends or family to model for you until it becomes second nature.
The ideal focal range for portraits is 80mm – 100mm (which is why sometimes these lenses are called portrait lenses), but that’s not to say you can’t take portraits with other lenses  [Note: this is in relation to a full frame camera – on a cropped sensor 50mm – 75mm is roughly the same range] . And if you use a wide aperture (f/2 – f/5.6) you can blur the background so that the focus is on your subject. Remember for environmental portraits you will need a wide angle lens (24mm – 35mm). [Note: 16mm – 24mm on crop sensor cameras]
For further reading on photographing people try these articles:

• 15 Tips for More Powerful Portraits
• How to Choose the Perfect Portrait Lens
• Portraits: Striking The Pose
• The Rewards of Photographing People When You Travel

Okay, let’s see your people photos!

4 Tips for Helping People Feel Comfortable During Their Portrait Session

By: Mat Coker

Sooner or later, almost everyone has to sit alone in front of a camera for a grad portrait or professional headshot. It is almost always an uncomfortable experience for portrait clients. But it’s easy to forget this as photographers.
When I great people for their portraits they often confess things like, “I’m terrible with photos,” “I feel sick,” or “I hate my face.”
Perhaps because I’m so empathetic, I’ve developed a knack for making the most nervous and hopeless people shockingly excited about their photos.
In this article, I’ll show you how I do it so that you can make even your most uncomfortable portrait clients happy with their experience.

I am personally drawn to black and white portraits.

1. Simple Light Setup

Since everyday life already throws you a heavy load of distractions and difficulties, I always encourage photographers to keep their projects as simple (but meaningful) as possible.
No matter how you choose to light your portrait subject, I recommend you do it as simply as possible. The point is to put all your focus on the person you’re photographing, not on equipment.
I either use natural light (a window and a reflector), or a one light setup inspired by Zack Arias.

Window Light

The benefit to natural light is that there are no flashes of light or large umbrellas to make the person feel as though they are at a high-pressure professional photo session. Your subject’s imagination is filled with the photo shoots they’ve seen on TV and you should relieve that pressure for them.

This is my natural light setup.

This is a portrait taken with that window light studio setup.

Using natural light and a silent shutter with a mirrorless camera allows the photography part to be as invisible as possible.

One Speedlight

My one light setup includes a speedlight with a 60-inch umbrella and a reflector.

This is my one light setup. It’s one speedlight with a 60-inch umbrella.

This photo was taken with that one light setup.

Once set up, you should forget about your gear (the window, speedlight, and the camera) and focus 100% on your subject.

2. How to Focus

This isn’t about your camera, but focusing on your subject in order to make the best portraits possible.
If you are at all self-conscious as a photographer, it is absolutely critical that you do not focus on yourself.
Perhaps you’re nervous because of a lack of confidence, or because you’re worried they’ll hate their photos. Forget all that and just focus on your subject.

Small talk

“A portrait is not made in the camera but on either side of it.” — Edward Steichen

You can use small talk to distract the subject from their own nervousness and self-consciousness in 

front of the camera. Talk about their business, their kids, or the last trip they went on. Anything that 

will distract them from being camera shy.

Warm up

Feel free to warm up with some “test shots,” even if you don’t really need them. Have your subject sit in front of the camera for a few shots where you’re doing nothing but “testing the light.”
Direct them a little bit, but nothing too serious. I sometimes transition into the real photos by saying something funny like, “Okay the light is perfect, now let me see a cheesy smile.” It can often lead to some laughter and the first candid photo.

Candid portraits are the most joyful part of a portrait session for me. You don’t have to be a comedian 

to make people laugh. Just connect over something in your life and laughter will eventually flow.

I’ll often try to match the expression with the clothes my subject is wearing. I think a softer 

expression is more suitable for formal wear. But I’ll try everything at the moment and decide 

what looks best later.

Candid portraits

“There is one thing the photograph must contain, the humanity of the moment.” — Robert Frank

Yes, even a professional headshot session should include some informal candid photos. Candids are real, and even if you’re after a posed photo, candids are the path to discovering who they are when their guard is down.

When people can laugh together there begins to be a comfortable connection.

We often laugh because of the tension created by a joke. But even real-life discomfort or tension 

can lead to the eventual release through laughter.

3. Finding Soul

“Look and think before opening the shutter. The heart and mind are the true lens of the camera.” — Yousuf Karsh

I don’t care whether I’m photographing real estate agents, future lawyers, high school grads, or “mompreneurs.” I treat everybody like an executive, valedictorian, or royalty during their portrait session.
We’re all much deeper than our occupation, even though it may be a deep expression of who we are. Fill your sessions with lightheartedness and true human connection. When you look through your photos later, you should be able to see the moment that your subject finally became relaxed.
Once relaxed, you’ll find the “real” person that was trapped below the surface of fake smiles and self-consciousness.
It may take you 10 minutes or more to get there, but it is the point in the session that you can move through your creative vision with your subject. You can show them how to squinch (Peter Hurley’s famous technique with the eyes), strike more advanced poses, or move in for close-ups.

Once I know I have made the portrait that the subject needs, I move on and try other things. I love 

this very soft expression and the way that her hair creates a frame around her. This won’t likely 

appear on her business card, but I think it’s a wonderful portrait.

4. Completely Candid

“It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are.” — Paul Caponigro

Being inspired by photojournalism and the idea of capturing truly raw, candid, spontaneous photos, I decided to try a portrait session with no posing. All there would be was conversation and pictures.
Here are some of the results, which I love.

This photo is all about the eyes, and whatever is going through her mind makes me want to laugh!

A completely candid photo portrait session means taking a lot of photos. Some of them looked 

posed, but it was a matter of quickly noticing something that looked right and capturing it before 

the moment passed.

I used a window as a natural light source. There were moments of silence during our conversation 

when she just looked out the window. Those were wonderful chances.

Leave room for surprises in your portrait sessions. You may find yourself thinking, “Did this client 

dare to bring their kids to a portrait session?” True, they’ll tear your studio to pieces and distract her 

from her professional portrait session. But along with a little chaos comes life and surprisingly human 

moments. In the middle of it all, her son came up to be nursed. Maybe this is what Robert Frank meant 

about the “humanity of the moment.”

The portrait session was supposed to have been for her. But who she is on her own isn’t who she is 

completely. We’re all much deeper than ourselves and are who we are partly because of the people 

around us.

Perhaps you know your subject has reached their maximum level of comfort when they can nurse 

their baby even while the camera is still clicking. I’m thrilled to photograph people one on one and 

make portraits that they’ll use as authors or business people. But I’m even more thrilled when those 

portraits become intensely human moments.

 Get Comfy

The next time you greet a nervous portrait client, remember that the experience has been hyped up in their mind. Distract them from their discomfort with small talk, warm them up with “no pressure” test photos, and make laughter a part of your session.
Include the candid photos when you deliver their photos. Even if they don’t use them for business purposes, they may be the photos they (and you) love most.
I’d love to hear what else you do to help people get comfortable in front of your camera. Let me know in the comments below.

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15 Tips for More Powerful Portraits

By: Oded Wagenstein

15 tips every portrait photographer must know for making more powerful portraits!

Here are 15 tips on getting powerful portraits

1. Have respect

This is my number one rule. It doesn’t matter if I am photographing a poor boy in Laos or the CEO of a large company in New York-I always respect the people I photograph. I live by the motto: “you should never get close to people in order to take their photo; you should take their photo in order to get closer to them”. Act as if your camera is a bridge and not a weapon. I have friends who are amazing street photographers, who manage to work with such discretion that they can get the portrait without the person realizing he was photographed. Certainly, there are some exceptions, but I believe that people are not zebras and we are not hunters. To summarize the point, I photograph old people in same manner I would like someone to take pictures of my grandmother.

2. Ask yourself – Do I understand what a portrait is?

“A Portrait is painting, photograph, sculpture, or other artistic representation of a person […] the intent is to display the likeness, personality, and even the mood of the person” (from Wikipedia)
While this is a very basic definition of the concept, it can help us to understand the true nature of good portrait photography. A portrait must tell a story. What kind of story? A story about the person in the image. How can you tell a story of a person in one image? You can’t! You can never capture the whole story, because human beings are too complex. You can either choose to focus on a specific emotion expressed by the subject or by yourself. I call the first method “highlighting”, in which you zero in on a specific story, at a specific time.

For example: when I took the photo of the Japanese girl (above) I was trying to highlight this specific moment, when she held her mother’s hand, when she has not yet decided – whether to leave or hold on tight. Sometimes the best stories don’t reveal the whole story at once. Like in this image from China (below). Do you think this girl is waiting for someone who should be coming soon, or is she watching someone leave?

The second method, in which you imprint your on feeling onto the story, can start with answering the following question: How did you feel when you met this person? Because a good image is told by two people – the one in the image, and the one behind the camera.

3. Look for emotion

Someone’s exotic face from some remote tribe is nice to look at, but for it to be a true visual storytelling portrait, this face must evoke emotion. Steve McCurry called this the “unguarded moment”, the essential soul peeking out. It can be happiness, fear or excitement. Emotion is the best way to create a bond between the image and your viewers.
The best way to “catch” emotion on your camera’s sensor is by choosing the right moment to click the shutter. Be on the lookout for a specific powerful moment that can evoke the story on the person’s face.

4. Start with your comfort zone

Going out to the streets to shoot portraits of strangers is not an easy task to start with. The best way to hone your craft is by starting with a person you already know. By skipping the need to “break the ice”, it will be easier for you to think about other important elements in your portrait, such as: the light, composition, posing and color. You don’t have to travel far for an interesting face; you can start with friends and family.

5. Get out from your comfort zone

A day without learning something new is a wasted one. One of the most important things to note when dealing with portrait photography is that usually, the problem is with ourselves. “I do not want to hurt or offend”, and “I do not want to invade someone’s privacy” are all excuses which we tell ourselves on why we photograph people with a telephoto lens from a distance. So, if you truly want to take your portrait photography to the next level and be able to evoke emotion in your work, you must, as my mother says: “fake it till you makes it”. It is not as complicated as it seems in your head. Get out to the streets, find an interesting person and just go for it by saying: “Hello, I am a photography enthusiastic and I would like to take your photo…I would love to send you a copy as well”. You might be surprised with the results. By using this technique, the worst thing that can happen is that you will get a refusal and then just move on to the next person.

6. Choose the right focal length

“What is the best lens for portraits?” is a very common question among my students, and the answer is simple – there is no one best lens for portrait photography. You should adjust the focal length to your working style. When considering your next lens, you should take into account the following elements:

• The distance from which you usually like to photograph people
• The weight you are willing to carry around
• What is the maximum aperture for low light photography and for shallow depth of field?
• And of course, price

For me, most of my portraits are done with an 85mm or 24-70mm lens.

7. Choose the wrong focal length

Try this creative exercise. Go outside and take a portrait with a lens you are not used to working with. If you always work with a telephoto lens, try using a wide angle one. If you prefer to get close to your subject, take a step back and wait for the decisive moment. A good photographer is a flexible one.

8. Study the great masters of portrait photography

Whenever I need inspiration, I turn to the portfolios of this great photography masters:

• Dorothea Lange – one of the first photographers of Social realism
• Steve McCurry – probably the best color portrait maker in history
• Richard Avedon – unique fashion and portrait photography
• Sebastião Salgado- outstanding B&W documentary portraits
• Annie Leibovitz- Editorial portraits

(Please add your own in the comments section)

9. Experience variable depth of field

We all love portraits with that sweet low depth of field, which makes everything blurry in the background. In portraits, shallow depth of field is usually good because it leads the viewer’s eyes directly to the subject by making it sharper than the rest of the image. YET, please note that there is such a thing as a too shallow depth of field. In this case, the sharpness by the AutoFocus may be on the eyebrows or eyelashes instead of the eyes. Practice in order to understand the elements that affect the depth of field: the distance to the subject, focal length and aperture.

10. Leave the flash behind

The more gear you have with you, the less available you are to give attention to the person you are photographing. If we are dealing with studio photography, then the person knows what to expect. There is no need take your flash to India or China when there is so much beautiful available light. Craft your skill while working with natural light only BEFORE jumping to the next step of using reflectors, flashes or any other extra gear.

11. Don’t follow the crowd

Try this little exercise: type “woman with cigar in Cuba” into Google and see what happens. The same woman appears in almost all the images right? Those are images of many different photographers. I do not mean to hurt anyone, but how come with 3 million people visiting the country each year and with a population of 5,612,165 women, the same woman comes up in almost every image? Here’s a tip for you, before heading somewhere, anywhere, near or far, you should understand the place, culture and the “story” of the person in front of you. By doing your homework you will not fall into the trap of the “fake authenticity”

12. Think about the background

Many elements are required to create an interesting portrait: light, composition, angle, etc.., but one element is so important that I sometimes give it my pure attention: the background. You can think of the background in two levels. First, as an aesthetic element. Make sure there are no distracting elements, such as bright colors or moving objects in the background. Secondly, another level of using the background, is as an element to bring your story to life.

13. Keep it fun

If you are dealing with subjects who are not paid models, you should give something back as well as taking the photo. I do not want to discuss paying the person (maybe in another post) but you should make it easy and fun for your subject: telling a joke, showing the image on the back of the camera and making sure they are not in the sun are good points to start with.

14. Always ask for the person’s name

It doesn’t matter if you do travel portraits of strangers or work as a wedding photographer; always ask for the person’s name and if promised, send the photo. Don’t make excuses about the language barrier. If I don’t work with a fixer (a local man or woman, who can help with the translation) I will always have a phrasebook or try to use drawings and images that can help me to communicate.

15. Add depth to your images by the a 45 degrees light

Think carefully about the direction of light. By placing the subject at an angle of 45 degrees from the light source, you can create a wonderful effect of volume. As I made this picture (below), which was taken at a grocery store Georgia, using only natural light by a window on the right.

And one more…
ENJOY
It does not matter if you’re photographing people as a hobby or to pay your rent. Teach yourself to enjoy to process and not just the outcome (the finale image). Enjoy getting closer, getting to know each other and overcoming cultural barriers. If you do what you do with passion, your viewers will see it right away.


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