You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved. ― Ansel Adams

There's a tendency in travel film and photography today to bend towards sweeping and epic drone shots. Not only do they convey a sense of awe and beauty, they help establish the area and give a bird's-eye view of the destination. The problem I have with drone photography and videography is that it generally takes the user and audience out of the frame. The big, sweeping shots set up lots of space but without a good subject (Iceland and a few other rugged destinations come to mind) the shots tend to all blend together.

In his short film above, filmmaker and photographer Fabien Ecochard takes the time to blend into the people of Nice and use his camera to frame some immensely beautiful shots. By staying close to his subjects, Ecochard keeps you glued to the everyday activities in the seaside town in the south of France. Watching a man paint a sign never looked so cinematic and real.

Film as Humanity

Don't get me wrong, drone footage has some amazing uses in film and photography. I just think that a lot of times it gets relied on too heavily, pulling you up from the world of the film with it. The images that we see in Ecochard's film "Nicely" ground us in the every day, the mundane.

At 1:08 we see a girl sitting on the beach as a boat bobs in the waves in front of her. There's a simplicity in the framing. The calmness is a lesson in framing the right situation to convey emotion. There's hardly any camera movement in the first two minutes. The subjects keep the action flowing and their humanity keeps the images interesting. I'm particularly struck by the little girl curling her hair around her ears at 1:38. She seems as if she has no cares in the world. Isn't that what escaping to a beach town should be like?

A Lesson In Timing

The image at 0:55 of the plane flying above the market, as seen from a car's side mirror is almost genius and no doubt took a small miracle of timing. That dedication to staying in one place and being among the subject serves as a testament to persistence. You won't always get that amazing of a shot, but the more time you invest, the more opportunities you will be afforded.

Drone photography can create some brilliant images, just look at this example from "Icarus" by Vadim Sherbakov, but when relied upon too heavily, it can become a crutch. Maybe I'm just more partial to people than landscapes. I like to feel humanity in my images. Find a balance and you may just create some of your most beautiful images.

To learn more about framing, take a look at this short on center framing featuring the films of Wes Anderson. Rule of thirds be damned.

There's something cathartic about walking around water. The sound it makes washing against the rocks helps soothe the mind and soul in a way that few things can. My wife and I spent a few days in Galveston, Texas this week for work but we did manage to sneak away to walk out onto a rock jetty and feel the wind and salt air.  

seawall

After reading Daniel J. Wood's excellent intro to street photography post, I was dying to take my camera out and take some walking shots. The weather the day before had been incredible, the sun rising form the water like a fiery orb. The trouble was, work came first so I pushed off my photo trip until the next day. We woke up to this pea soup style fog at 6:30 a.m., barely able to see the water from our hotel on the beach. We decided to head out anyways and use the moodiness of the weather to get some haunting, vintage style photos.

galveston

I packed my Nikon D750 with only my 50mm 1.8D and headed down to the rock jetty outside of our hotel. The day before the beachside was full of people but with the descent of the fog, we had the jetty mostly to ourselves. The more I look over the photos the more I realize my love for moody, high contrast photography. There's a grittiness to the images that comes from heightened detail and vignettes.

galveston

I've struggled with finding a distinct style for my photography but if I had to make a choice, it would tend toward the look and feel of these images. The gray and cool tones just really feel like me at the moment. I'm sure that will change at some point, but right now I'm all about pulling the melancholy out of an environment.

galveston

So even if the weather doesn't cooperate, take some pictures. You never know what lies just behind the fog.

galveston

This is the first in a series about street photography from my good friend and photographer Daniel J. Wood. 

So, you are looking to increase your street photography chops? Great, because there is no right or wrong camera for the job. Whatever you’ve got, it will be perfect. Okay, maybe not perfect, but it will be more than adequate. Eventually, you’ll find a style and subject that suits you and can choose camera/lens combos for your needs. In another segment we will go through different camera modes and lens types, but for now let’s take a brief walk through the history of street photography and the philosophy behind it.

A Brief History

Street photography really started to take off in the 1930s and 40s with the popularization of 35mm film which helped the photographer move around much quicker and inconspicuously compared to the larger format cameras of the time. Also, film was starting to become more light-sensitive which allowed the photographer shorter shutter durations and the ability to shoot handheld in lower light levels.

Essentially journalists, guys like Henri Cartier-Bresson, Robert Frank and Walker Evans pushed photography as an art by capturing the humanist side of life. Finding emotion by using split-second decision-making in available light to create what Cartier-Bresson termed, with a book of the same name, “the decisive moment.” It was about creating something momentous of the mundane. Since then, the basic premise of street photography has been the same, taking candid photographs of humanity. Or as I like to call it, journalism of the everyday.

Tools of the Trade

Technology has come along way since then. From a smartphone to a full-frame SLR, you have the tools to get the image you want. The great thing about the camera in your phone is that the lens is similar in focal length to what most people use for street work with interchangeable lens cameras. For those who can change lenses, I am a big fan of 28mm (full-frame equivalent) lenses, which is what I have attached to my camera. Such a big fan that for my main camera, this is the only lens I have, but anything from 24mm-50mm is adequate. And as always, you are not limited to that by any means.

No matter what type of camera you are using you can easily practice several techniques to push your skills a bit further. Just because it is street photography and not some carefully crafted fine art still life doesn’t mean that composition is not important. There should still be a carefully defined foreground, middle-ground and background, but feel free to play with what is in those areas. When you use your camera enough, you start to know what the images will look like without even putting your eye to the viewfinder. Knowing this is important to composition as you will see like your camera does and therefore, what will and will not fit into the frame.

Filling The Frame

Pick a subject, a person is always nice to show emotion, but even a unique object such as a certain sign or building can be especially great if you use composition to create interesting angles and color (or tonality for those B&W shooters) changes. If it is a person, focus on them, wait for them to hit the right area of the frame or a particular glance, hit the shutter and let the magic happen.

Obviously light plays an important part, really the whole part, in photography so choosing a good time of day to shoot helps, particularly when photographing buildings. Different lighting situations will help create different moods for your images. Those times of the day in which strong shadows happen are great, but I will take shooting in or just after it rains any day — I have to take what I can get here in Seattle. Sometimes, though, the best photos happen in less than optimal conditions, so go ahead and take it. If the subject or emotion or whatever it is that grabbed your attention is great enough, who cares if it is “golden hour.” Just take the picture.

daniel j. wood

Daniel J. Wood is a writer, photographer and musician who currently resides in Seattle. He is a lover of music and art and is consistently working on blending different mediums together to create unique pieces that tend to focus on introspection through the outward examination of others. His works include “Self-Portraits” a hand-bound letter-pressed photo/story book featuring 4×5 fabric contact prints and “Untitled Dreams I, II and III” which are massive 35’ long prints. His ongoing project “The Streets” is a collection of photographs which document the surroundings in which he immerses himself in. The main image in this article is part of a collection called "Sea Breeze" that will be available as a book soon. Wood can be found on Instagram here.

I recently read "Rock Your Travel Photography: Camera Gear Guide" from Ashlea of A Globe Well Travelled and it got me thinking about what my ideal travel photo camera gear setup is. Ashlea has some great tips for getting started with cameras for travel and this list is meant to build off that. And if you haven't checked out A Globe Well Travelled do so. Lots of great tips, tricks and reviews for the avid traveller. Easily one of my favorite travel blogs and some great video blogs too.

A 3.5" Digital Beginning

The first digital camera that I ever used was a Sony Mavica that stored all of its imaging data on a 3.5" floppy disk. It was about as big as a sandwich box and looked nothing like what a camera was supposed to look like. I mainly lugged it around on field trips, to basketball games and making would be selfies at my house. At the time, the 0.3 megapixel images were stunning and oddly large in size when compared with the RAW image files I shoot today. It was the beginning of a love affair and pretty much replaced my collection of disposable cameras.

Since then I've tried all types of digital cameras big and small. Here's what I recommend for the budding travel photographer.

Travel Camera Gear Guide

In this guide I'll cover options for DSLR, mirrorless and smartphone cameras. I don't have a lot of experience with action cams like the GoPro Hero 5, which I'm told is the best, so if you're looking for one, that's probably the best choice.

DSLR

When it comes to DSLR's I've been a pretty loyal Nikon guy for years now. I started with a Nikon D3200 that was excellent for travel photo and video. That's now been replaced with the Nikon D3400, a compact entry DSLR that boasts a 24.2MP DX-Format CMOS Sensor. The trade off between the D3400 and my favored Nikon D750 is all in the size of sensor. The D3400 uses a cropped sensor that basically zooms in from what you actually see. So if you're using a 24mm lens, you get the equivalent of a 36mm lens view due to the 1.5 crop factor. For most people, this won't make a difference at all. The pictures are still crisp, clear and beautiful, just exposed on a slightly smaller image sensor.

Taken with my Nikon D3200.

The 18-55mm kit lens that comes with the D3400 will work well for most travel photography and covers the major basics for video as well. Speaking of video, the D3400 captures 1080p HD video at up to 60 frames per second for excellent slow-mo video. Some of the best video shots I've taken have come from entry-level DSLR's, meaning you don't have to have all the bells and whistles to get good footage.

Early last year I upgraded to the aforementioned Nikon D750 and I absolutely love it. The full frame FX image sensor allows for much better low light photography, especially when paired with a super fast prime lens like the 50mm 1.4G. Basically, the larger image sensor allows  more light in to expose the frame so even when shooting at night I can get sharp, beautifully lit images. One thing that I've really enjoyed is the expanded options for videography that the D750 allows for. With a HDMI out, mic in and headphone port I can record better audio in camera or from an external video recorder like the Atomos Ninja 2.

Taken with my Nikon D750 in downtown Houston.

For an in between choice, the Nikon D500 offers all the options of the D750 with added support for 4k video and the best autofocus system I've yet to use in a camera. The price is steep for a DX style camera, but it should future proof you from having to upgrade as quickly. Another great thing about the D500 and it's DX sensor is that lenses for DX cameras tend to be cheaper and easier to find used.

Mirrorless Cameras

If I had to do it all over again, I'd probably have started with buying a mirrorless camera for travel. The ultra compact size and ability to handle low light make it almost unbeatable when looking to build a small, portable kit. Since they don't have an angled mirror in body, mirrorless cameras fit into a smaller form factor, sending light directly from lens to sensor. My favorite mirrorless camera is the Sony A7SII as I've talked about before. It's ability to record beautiful images and video make it a travelers dream.

If you're looking to spend a little less money and don't mind the smaller image sensor, the Sony a6300 with a 16-50mm lens is a great choice. With internal 4K recording and a 24.2 megapixel sensor, it should be able to cover everything needed on even the most demanding of trips.

I purchased the newly released Fujifilm X-T20 mirrorless camera recently and it's everything I hoped it would be. The retro stylings and the ability to apply film simulation in frame to achieve a super stylized look really make it a great option. The internal 4K and versatile autofocus settings more than make up for its smaller sensor size. At $1,200 with an 18-55mm 2.8-4.0 lens it makes for an ideal travel camera.

fuji x-t20

One thing I really had to get used to on the X-T20 was the electronic viewfinder. Coming from a traditional Nikon setup, the EVF on the Fuji threw me off a little bit. The digital blur definitely takes a bit of getting used to but I love how the touchscreen shuts off every time I bring the camera up to my eye. I've been really impressed with the quality of color and depth that I've gotten out of this little sensor. Using the Provia, Acros and Neg. Hi. film simulation settings, I'm able to get some really cool images with very little post processing.

Shot with my Fuji X-T20 in downtown Houston.

My favorite part about the X-T20 is the physical aperture ring around the 18-55mm lens. It feels like I'm actually manipulating something with my hands, even though it's all electronic. The buttons and dials make it feel like you're recreating that film shooting experience and it makes me think about my shots more before I take them.

Shot with my Fuji X-T20 in downtown Houston.

Smartphones

I've always said the best camera is the one that you have with you. You never know when a moment is going to happen so having a smartphone with a good camera can be key to capturing those moments. I currently use an iPhone 6 with the Filmic Pro app for video and the VSCO app for images. Filmic Pro allows for more customization when filming and can really enhance your travel videography.

A smartphone camera is better than a point and shoot because it has basically the same functions and you're more likely to carry it with you. So instead of getting a point and shoot, just invest in a better phone like the new iPhone 7 (I'm dying to try out the new Portrait Mode) and you'll be happier and your bag lighter.

Find What Works For You

Having a good camera setup really depends on what you prefer and the type of use. I like to shoot a lot of video so I emphasize that in my gear. If you're more of a still shooter, then I'd say invest in some really good zoom lenses for whatever camera you use. I tend to work more with prime lenses (50mm, 85mm) because of the swirly bokeh and ease of use in video but a good 16-80mm can really make life a lot easier when traveling, covering all your bases. I used my Nikon D750 and a single 50mm lens in Paris & Amsterdam and loved the experience of not having so much gear with me.

Remember, travel photography is about having fun and capturing moments. Build a camera kit around what feels good and how you plan to shoot, because when you're happy you see the world differently. The camera is simply there to catch that happiness in frame.

The more I see of Sony's A7 series, the more I wish I'd started shooting mirrorless. The depth of color that the Sony A7S II gets in these shots from the northern section of Bangladesh is absolutely beautiful. The compact body makes it ideal for travel filming and the internal 4K and S-Log picture profile give you full control over your final product. This short piece was filmed by Vitùc using Sony's 16-35mm f4 and 35 mm f2.8 lenses resulting in some beautiful wide shots among the Bangladeshi people.

Seeing Everyday Life

One of the things that drew me to this film was not just the technical aspects, but it's focus on everyday life. Vitúc places himself in the normal lives of the Bangladeshi people as he treks across the small country located to the east of India. This focus on the average really informs the normal, mundane lives of the people. You see them traveling on trains, getting ready for the day and even in school. Sometimes the normal is more fascinating because it's rarely ever shown. We become transfixed with the weird or fleeting when the normal is just as beautiful.

Sony A7S II

For more examples of just how beautiful footage from the Sony A7S II can be, check out this short film shot in California/Yosemite and this one from Stockholm, Sweden.