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I’m on my final flight to New Delhi. I never bemoan long flights because I enjoy the time to read and revel in the fact that I’m not on a steamer ship (plus I use my frequent flier miles to upgrade to business class).
Last year I wrote about Packing Camera Gear for Flights which is still relevant (see below for the new luggage in which I put the Pelican case for flights). So this time I thought I would mention a few travel and photo items that might interest you.
No one will ever convince me that digital photography is less expensive than film. Sure, I don’t have to carry around hundreds of rolls of film but I do bring an abundance of hard drives, accessories and wires. Since I have seen almost everything fail that can fail, I quake with paranoia. All it takes is one bitty wire to break down a system. Therefore I have to bring backups of usb, mini usb, micro usb, firewire 400, firewire 800, firewire 400 to 800, ipod cords, adapters, and endless power chargers. And, all those cords take up lots of room. Thanks to an article in MacWorld a few months ago Shrinking your Mobile World, I was spurred on to abandon my long cords supplied with the devices and search for short ones (sadly short cords are not less expensive, au contraire). The links on the MacWorld site helped but finding short firewire cords wasn’t that simple. Finally I stumbled upon www.usbfirewire.com. And here are some of the wires I’m bring with me. None are over 9″ except the usb extension cord in case I do need a long one. I love them!
I also found a great travel vest from Scotte Vest. This is not a photo vest but a vest to be worn on planes and other travel situations. It is very evolved and even has little cards in each pocket explaining how it can be used. There are conduits in the vest for ipod cords, a clip for a micro cleaner cloth, hidden pockets for change, etc. At first I thought there were too many pockets but at least they are all slim lined and not bulky.
However, it is definitely not made for tropical weather.
I was roasting inside the Bangkok airport (and it is air-conditioned). I will have to reluctantly abandon it for the rest of my travels in India and Myanmar. Pity… maybe they will make a tropical one soon! I also like that they are tapered differently for women and men.
Someday I’m going to design the perfect lightweight photo vest, because I have tried and rejected all of them. Stay tuned for WierGear — a series of unpadded, lightweight stuff that we all need!
… Now I’m in New Delhi; jetlagged and up at 5am to finish this blog post. I had to take the vest off in the New Delhi airport and it is packed away for my return international flight in December. It certainly will be cool enough at that time to wear it.
Here is one more item that I have been traveling with for years and years — the Eagle Creek Market Pouch
I swear by it because it means that it is always hooked to my belt so I yet to lose a passport, money, and I always have a sundry of small useful items with me. Plus it fits under my camera bag waist strap so it is hidden away from searching fingers.
Look at all the stuff that fits in it! (I have an older model but the new ones look similar). I’ve spread it out on my bed for you and I think it is quite impressive!
Yes, that is a small bag of hot red chili because I can’t live without it (although it does seem strange that I have add chili to India food but they never believe me that I like it really spicy). And I keep a compass, flashlight, and Purell on that small carabiner swinging from the pouch; children covet it.
I have been a BIG fan of Eagle Creek stuff since they first began as a small company eons ago.
So while I’m on the subject of Eagle Creek — I purchased (yes, the world does not shower me with free gear) for this trip two new bags. One is the new HC2 Hovercraft Upright 25 which fits my Pelican Case (plus other stuff) perfectly; it is rigid enough to protect it for international flights. And a new carry-on roller since I had utterly destroyed the last one and even duct tape wasn’t doing the job any longer — the HC2 Hovercraft Upright 22. Yep, my Lowepro Orion fits inside as well as two extra camera bodies, an extra lens, 2 Rugged Lacie harddrives, a jacket and other stuff. I just wish I had gotten blue ones instead of black because everyone has black luggage and it would be easier to identify off the luggage carousel. So instead I have electric blue luggage tags. And, last year I purchased the HC2 Hovercraft Duffel 30 for my clothes since it is lighter, a bit bigger, and less rigid than the Upright but it still has those magic wheels.
Another essential travel item is a flat sink stopper and powdered Ivory Snow because I refuse to pay for outrageously priced hotel laundry.
Finally, I have decided that an Amazon Kindle is a worthy purchase (wish I had the new International one). I am a voracious reader so bringing books on trips has always been a weight issue. Now all I have to worry about is not losing the power cord!
And I’m off to Jodphur tomorrow. I’m thrilled to be out photographing again soon! More blog posts to come.
Excelsior!
I suspect that 98% of the travel images in the world are taken straight on with one subject in the frame. That is fine if there is a compelling reason to do so–the expression is remarkable, the action compelling, the light god-like radiant, or it just had to be composed that way.
I have done my share of straight-on shooting. Most of the time I was just being lazy or bereft of vision. Or, maybe I was just having a good time walking down the streets of India, Vietnam, New York or anywhere with my camera. An interesting person, or a pretty door, or a splash of color does not insure a great photograph of these subjects. So, I better have an inarguable reason when I choose one of these images as a select!
Fortunately, when I get to a situation that beckons to me as a photographer I can often pull myself together, back away from the straight-on shot, and elevate my creativity.
Here’s an example of an extremely interesting person that first I photographed as a straight on head shot. It is okay, not terrible, but certainly not exciting.
I rethought the situation and MOVED and looked for more texture, depth and expression. It is still straight-on but now there is a reason.
© nevada wier Myanmar, Chin State
It meant changing my perspective (the physical distance and angle from myself to the subject). Moving is one of the best ways to become a better photographer (especially if you are using a mid-range lens).
Last year I was in Mongolia photographing the Kazakh eagle hunters. I often take this kind of image so that the person gets used to having me photograph them, or so I can send back a print I think they might like. But then, at the end of the edit they usually end up in the trash.
In this composition there is a clump of horses in the background, the horizon is in the middle of the frame, and there is empty space that has no purpose. It is just another boring shot of an interesting person.
Since everything has to matter in a frame, I moved right under the eagle, and laid down on the ground, in order to shoot up at the sky. It almost looks like the eagle wants to swoop down and eat me (maybe it did!).
© nevada wier Mongolia. Far west.
I am always looking for an interesting angle. Not long ago I was in Southern India. It is so easy to photograph in India that I feel I have to work extra hard to create a compelling image! I had a wonderful encounter with some pilgrims at the lovely Meenakshi Sundareswarar Thirukoil Temple.
© nevada wier India. Madurai.
I knelt down with my wide angle lens, exposed for the sky (I often work on manual mode), and added a touch of flash. (I will discuss my use of wide angles and fill flash in future posts). I think you can now image that a straight-on shot would be rather mundane in comparison.
So take your straight-on “insurance” shot — then think, feel, and move!
Recently I had the good fortune of being interviewed by two top-notch photographers who have very forward-looking blogs: Ibarionex Perello, The Candid Frame; and Matt Brandon, The Digital Trekker.
The interviews took place months apart but they happened to be published days apart. This is not the first time I’ve been interviewed on a podcast, but it made me pause and think about The New World Order for photographers.
The Candid Frame #80 – Nevada Wier
Depth of Field: Nevada Wier Part I
Depth of Field: Nevada Wier Part II
(You can also find these podcasts on iTunes)
There has been a steady, gradual shift in the business of photography over the past few years, but I really see a major tectonic shift this summer.
When I started out it was all about magazines. I wanted to be published in magazines; whenever I was interviewed it was in magazines. Editors were The Great Barrier Reef that all photographers had to penetrate.
Magazines are still around but they are not the only forums for photographers, and they have less and less circulation and influence. Conversely, there is an increasing abundance of alternative venues for photo stories (with and without audio), single images, and videos. It is quite exciting, overwhelming, and much more democratic.
But, I can’t help but wonder …who will be paying for it? How will professional editorial (current event, travel, nature, etc.) photographers survive in this New World Order? And, it seems so much more work to me than writing proposals and figuring out to crack into specific magazines.
Plus there is no way to funnel the photographers who rise to the top through talent and hard work into central showcases. Magazines used to be that funnel leading to recognition known throughout out the general public, not just photographers. Now there seems to be a myriad of cells (through Twitter, Facebook, Flicker, Internet forums, etc.) providing platforms for enthusiastic photographers. This is a great boon to a wide range of photographers, but none have a wide range of followers. So it is A Wonderful New World Order for avid photographers and an increasingly stressing one for professionals. But I don’t think this is such a bad thing (ha! fooled you…no, I’m not bemoaning the situation).
I think it is time for a change. The day rate in magazines has not changed in over twenty-five years (I can’t think of any other profession where a pay rate hasn’t increased.) So pros can moan and groan, but it can be very exciting to reinvent one self. And, eventually, I think there will be a new conduit for the world at large to see the creme de la creme of photographers. And will there be will be a new God of Visual Judgment after the demise of magazine editors? (Do you think the median is the best judge of an art form? I don’t.)
I don’t have any answers; it’s exciting and thought provoking (as well as often frustrating) to be at the cusp of such a change.
As Helen Keller said, “Life is either a great adventure or nothing.”
So I watch, marvel and try to ride the surf on top of the wave! Whether I get crunched … I don’t know.
© nevada wier Myanmar. Inle Lake.
UPDATE April 2009: I found the 1Ds too heavy so I purchased a used Canon 5D and converted it using www.lifepixel.com with the Standard IR (equivalent to Hoya R72 / Kodak Wratten 89b / 720nm). My primary lens is a Canon EF 24-105 mm f/4L IS USM. I carry it separately in a Lowepro TopLoad Zoom.
© nevada wier 2009 India, Rajasthan
Original Post March 10, 2008:
I recently converted my old Canon 1Ds to a digital infrared camera. And, I LOVE it.
I used it for the first time in South India this past November.
© nevada wier India. Madurai
© nevada wier India. Mahabalipuram.
To convert a SLR digital camera to infrared contact http://www.lifepixel.com/
I recently had a portfolio of my work published in a wonderful Czech photography magazine PhotoArt. I received a very kind and inquisitive email from a young man who asked a question I get quite often. Here is an excerpt from the email (It was written by a non-English speaking person so I fixed some of the spelling and grammar.)
“I have one question that your homepage doesn’t answer.
How did you become a professional photographer?
It would be very interesting to know how you began.
I recently bought a magazine called “PhotoArt” and I read an article about you and your work and I was fascinated.
Why? Because I want to know how to become a professional. I want to know the first step to becoming a professional photographer.
I am just a beginner, but I have been fascinated by photography since I was a child. Next year I will study in a German college. Do you think communication design is a good first step?“
I also used to ask this very question to any pro I could when I was first starting in the business. How does one begin to be an editorial or travel photographer? In most professions one goes to school, gets the grades, passes the tests, and pops out ready to become a paid lawyer, doctor, or whatever. Not so in photography, especially not so in journalism or other kinds of editorial photography. Yes, one has to be a creative, visionary photographer to make it in the upper echelons of the business and that takes talent, perseverance, and practice (just like any profession). However, the question is how? How does one get in that coveted “upper echelons”?
I could spout answers like: “Become an assistant for another photographer” (but most editorial photographers only have office assistants). “Get a job with a newspaper (actually that would be a very good idea. I worked for my local paper for a year.). “Take workshops with photographers whose work you admire” (another good idea). Or, “Marry someone with a MBA who wants to manage your business, especially if he/she has a trust fund. (This is my very best suggestion. I wish I had hung out with business students instead of rock climbers and river rafters!).
However, the people I know who are photographic professionals have something else besides great talent and business sense—they have what I call “the tenacity quotient”. They want to be a photographer; they live to be a photographer, and they will die being a photographer.
There is no pathway in the field of photography with sign posts, hints, or Get Out of Jail Free cards. It is like being dropped blindfolded in the middle of Alaska and being told to find your way to Seattle. Someone who wants to be a photographer will find a way to make a living in this convoluted, underpaid field. And, that is what it takes to be one. No one can tell you how. Each photographer finds a different route to becoming established and solvent. You have to figure it out on your own. All the photographers I know did this. And, you will have to also. It feels rather mean to say it this way, but it is true.
Note: However, I do think having a background in art, graphic design, and digital imagining helps. As well as having business acumen and technical know-how. I personally think I do very well as a travel photographer because I can eat anything and never get stomach problems — and I can hold quite a few drinks. I can also sleep anywhere, on any surface. And, I do not have a very good sense of smell, but I like to think I have a good sense of humor.
Good luck and … take one of Mary Virginia Swanson’s workshops (see previous post).
I was recently in the northeastern region of India, close to the Chinese/Burmese border. During a Naga festival and I had the opportunity to make a portrait of a young Naga prince (related to the royal family in the region). I loved the juxtaposition of the wall of the royal homestead and royal adornments with the contemporary fashion and pose. I am not looking to mythologize the world. So when I find a confluence of the modern world with tribal tradition, especially in a positive way, I am quick to record the moment.
Here are the RAW adjustments in Adobe Lightroom
Then I created a “Virtual Copy” so I could try a different set of RAW conversions:
Then I exported it as a .psd to Adobe Photoshop CS4 for a few extra adjustments in order to bring out more color in the necklace, using the colors in the original RAW conversion.
NOTE: THIS PHOTOSHOP WORKSHOP WAS UPDATED SEPTEMBER 13, 2009
and VOILA!
© nevada wier 2008 Nagaland, India
I love teaching workshops but used to dread it when I heard the question, “How do I sell my photographs?” However, I have learned how to answer with confidence, “You just need to know three words: Mary Virginia Swanson.“
The bio on her website http://www.mvswanson.com sums it up best:
Mary Virginia Swanson makes it her goal to help guide photographers towards the strengths in their work and to identify appreciative audiences for their prints, exhibitions, editorial and licensing placement. Swanson has a diverse professional background, having coordinated educational, publication and exhibition programs for a wide range of institutions and businesses in our field. Swanson is considered an expert in the area of marketing and licensing fine art. It was during her tenure heading special projects at Magnum Photos, that she recognized the opportunities for artists to develop second markets for their work and in 1991 she founded SWANSTOCK, an innovative agency that managed licensing rights for fine art photographers. Swanson currently works with photographers as a marketing consultant and is a sought-after portfolio reviewer at events such as Review Santa Fe , Fotofest and PhotoLucida. She also consults with business and agencies in our industry, assisting in their awareness of contemporary photography.
Her seminars, workshops and public lectures on the subject of marketing opportunities have aided countless photographers in moving their careers to the next level.
So if you want to know about how to market your work in stock, fine-art, or editorial — contact MV Swanson (not me!)
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