On the Road

My flights in helicopters, small planes, and hot-air balloons are often provided by clients as part of my assignments; if I’m shooting for stock, I’ll pick up the hire fee. Aerial tours are widely available to tourists and photo enthusiasts alike, and there’s certainly no limit to spectacular locations you can photograph from above.

According to a photo industry writer I know, I do something that’s a bit unusual: I freely admit that sometimes I’m too close to my own photographs to judge them objectively, and because of that, I ask for help.

Years ago I took a photograph of prayer flags at a Buddhist monastery in Bhutan, and as I was shooting the image I wished I could also shoot video to record the movement of the flags and the sound they made as they danced in the wind.

I travel to take pictures, but sometimes I just happen to be in an interesting area, like last spring in Lexington, Kentucky. Let’s see: Lexington, horse country, the Keeneland racetrack nearby, and me never without my camera gear. Photography was bound to happen.

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.

Color is everywhere, so why would I be writing about finding and using it in photos? Why would this even be a concern?