Travel Photography How To

A couple weeks ago we brought you some breaking news about a Super Resolution feature in Adobe Camera Raw that effectively quadruples the size of an image. Our take was that this capability would be particularly useful for those using older cameras with a lower pixel count, thereby enabling some cropping while still ending up with a relatively large file.

Professional travel photographer Mitchell Kanashkevich gets asked one photography question more than anything else: what is the best lens for travel and documentary photography? The answer’s not so simple as he explains in the below video.

Somewhere along the line in a pro photographer’s career, or amid an enthusiast’s pursuit of picture making, you achieve a balance between geared up and weighed down when it comes to lens choices. You want versatility, but you also want to be mobile, even comfortable.

The world of photography offers a wide array of camera systems, each designed to cater to different needs and budgets. And one of the key considerations is choosing a model with a sensor size that works best for your style of photography.

The photography of natural disasters and human tragedy—from earthquakes to suicide bombers—is an area of photojournalism filled with challenges. Photojournalists often face both physical and emotional obstacles but still need to keep a cool head and continue capturing the images. While their photos will tell the story of the event, photographers have their own personal stories to tell as well. The accounts told here are mostly about business but also touch on the heart of why someone takes on this area of photography and keeps going despite the emotional toll. We discuss issues of privacy and model releases, working at a disaster scene, what agencies to coordinate with, handling injury and trauma, and the pros and cons of pursuing this work.

If you’ve been around the block more than once you’re no doubt familiar with many of the “rules” of composition. Budding outdoor photographers are told to use the Rule of Thirds, always include the foreground to create a sense of depth, and never position a subject in the middle of the frame or bisect a shot with the horizon.