On the Road

On a recent trip to Jordan I was going through my nightly routine of cleaning the cameras’ sensors and backing up the day’s shoot when it came to me that these two exercises in what you might call preventive maintenance—keeping dust off the sensors and making sure my pictures are safe—are among the things that concern me most as a professional travel photographer.

Some photographers call it a personal project; others, a self-assignment. I haven’t spent a lot of time thinking about whether there’s a difference, and if there is, what it might be. Besides, I have my own mash-up of it: the personal assignment.

It’s sort of a reverse magic trick: now you don’t see it—now you do.

Earlier this year I co-led a photo tour in the Palouse region of Washington state. I’d never been there before, but reputation alone indicated an awesome photographic destination offering vistas of rolling hills and farmland, plus all the textures, colors, and plays of light and shadow you could wish for.

This may be strange to hear from a travel photographer, but I can make a case that location isn’t everything—light is. And I’d build my argument on the fact that the right light brings out the best in any location.

I learned photography in the film days, and when the huge change to digital came along, I changed not only my gear but the way I see. I used to have to see in terms of very specific criteria of what would work within the ISO range of my film and what the film could record in terms of light and shadow. Low ISOs meant I couldn’t get enough depth of field, or a tripod was needed, or I had to light something because there wasn’t enough information in pictures that had incredible shadow detail. High ISOs often meant an unacceptable level of grain and bad color rendition. As a result I passed up a lot of situations that got my attention but were beyond the capability of my film to capture.