Snapseed II

When it comes to creativity in photography, there are lots of options, both in camera and post-processing. In a post earlier this summer, I discussed a new app available for iPads (and possibly smartphones, but not desktop or laptop computers). It's called Snapseed and has an amazing array of special effects, most of which are fine-tunable by the photographer.

While India is a blaze of color, the simplicity in me likes the opportunity to boil an image down to its essentials. So, starting with a vibrant color photo, it took only a few adjustments in Snapseed to truly get down to the basics - almost a line drawing.  As with any photo of a person, the eyes probably matter the most, and that's obvious here.  I did not do selective work (meaning a different degree of adjustment on the eyes versus other elements of the photo), but rather and overall adjustment applied to the whole photo.  I love the result. Hopefully you will too!

Decisive Moment

Henri Cartier-Bresson is credited with coining the term "decisive moment." "I suddenly understood that a photograph could fix eternity in an instant." The challenge that photographers face is being ready for that decisive moment and following through - taking the photograph at just the right moment. 

The women were walking down a side lane toward me, approaching the sacred Lake Pushkar. Ranging in age from pre-teens to grandmothers, for some, many, most, it would be there first journey to the Lake, second only in holiness to the Ganges, corresponding to the November full moon.  I could see that there may be a photograph and quickly positioned myself head-on.  And just as I got ready to take my first shot, Lake Pushkar came into their view.  Their expressions say it all -reverence, awe, and excitement - the decisive moment.  Did I know that their expressions would take on such meaning?  No.  But I was ready for whatever came. 

And, honestly, I didn't know what I had frozen in time for quite some time.  The photograph was not shot as a panorama.  It was not until much later that, as I kept coming back to the photo, I really mentally zoomed in on the image and their expressions - and cropped the photo into the resulting panorama, focusing on the women's faces. It has subsequently become one of my favorite images - full of meaning and having the ability to convey meaning. 

Zero In on Subject

Our eyes zero in on subjects without us really know it.  Its only when we take a photograph that we see all of the extraneous material that our "eye" did not see but our camera lens DID!  Sometimes it takes a while to fully comprehend what the subject is.  Or, just maybe, there are several ways of presenting the same subject - one in a more "environmental" setting and one that is close-cropped, centering on the "real" image. 

One of my favorite photographs from last fall's journey to Rajasthan and the Pushkar Mela was of a young girl, perhaps 10 years of age - though looking more wizened than that.  The daughter of itinerant salespeople, she naturally composed herself for this first image. The "environmental portrait" included the tools of the family trade and the jumbled surroundings of sand and litter.  And those "Raj Girl Eyes" always have drawn me in. 

Recently, in looking at the photo again, I realized that there was a second image - and I think a stronger one - that zooms in on the face and the eyes. The wizened beyond years look is more pronounced because our eyes are now longer distracted by the surroundings, but can zero in on the face. Both images are, in my humble opinion, wonderful.  Each has its place. And as you review and edit and view and edit some more, look at options to more tightly zoom in the the "meaning" and "subject" of your photographs. 



Authenticity

There are those who feel that we should travel in certain ways - connecting with the locals - seeing certain sights - eating at certain "local" places. While I'm certainly one who wants to explore the cultures of the places I travel to and through, I really don't feel compelled to follow someone's dictates as to what constitutes the right way to travel. 

Gideon Lewis-Kraus book, "A Sense of Direction: Pilgrimage for the Restless and the Hopeful,"  relates stories about pilgrimages and the reasons why some of us do them these days. And the question becomes, if not done for the original reason (usually spiritual or religious), "is it still authentic?" And Gideon has a really noteworthy response: 

"My own feeling about authenticity is that we're all best off when we don't worry about it too much and just get on with the business of trying to travel in ways that feel meaningful to us, for whatever reason."

Know why you're traveling and make the journey your own - how more authentic and meaningful an experience can you ask for!

BTW, Gideon is interviewed on his pilgramage experiences on the WorldHum website: http://tinyurl.com/congnzz. 

Photography Tours

I'm generally not one to take organized tours. Whether I travel alone or with my family, I usually do all of the trip planning (with their input of course!), finding hotels, making air and car rental reservations, etc. But there is one exception - and that's the photography tour. I've been on four such out-of-the-country tours over the years.

•  Nevada Wier - Bhutan
•  Daniel Milnor/Adam Weintraub - Peru
•  Douglas Beasley - Guatemala
•  Deriusz Klemens - India

Could I have done these on my own?  Well, in three cases, probably. Bhutan is the exception (while independent travel is theoretically possible, the governmental requirements are such that practically everyone visits as part of a tour group). But by traveling with a group of photographers, led by a professional photographer (with local logistical assistance), you gain so much.  First, you get to hang out with the pros and with like-minded photographers and travelers. Second, the leaders know what time of day to be where and often the local assistants can arrange special access, etc.  Third, you live and breathe photography (and travel) for the length of the tour. Fourth, the interaction with the rest of the group actually improves your photography as well.  Many of my best photographs have come from these tours.  Now, admittedly, its really hard to go too-wrong in Bhutan, Peru, Guatemala and India - especially India.

What to look for in a photo tour:
1. Do you like the photographic style of the group leader? Always check the photographer's website and ask yourself: "Do I like their work? Can I learn something from their style?"

2. Are spouses or partners encouraged?  (In only one of the 4 tours above were some spouses along - and it was a definite drawback in that they had only passing interest in photography. They also made, in my opinion, wind-down and meal times less interesting, less focused on photography.)

3. How big a group? Photo tours can have anywhere from 2-48 members from what I can tell.  Again, in the case of the four I've been on, the participant numbers (sans instructors) were 2, 5, 6 and 18. The three smaller groups were definitely more interactive than the larger group, though I will give the leader of that group credit for really interacting with everyone, especially the photographers in the group (this was also the tour with a number of spouses along). I'm still in touch with folks in the 2, 5 and 6 person groups; not the 18 person group, other than the instructor. 

4. Am I getting value for the money?  When I booked the India tour (Rajasthan including the Pushkar Camel Fair), I had the choice of about 1/2 dozen photography tours offered by different photographers with tours ranging from $4K to $8K. I knew where in India I wanted to go and tried to match it as closely as possible. And my real desire was to spend a 5-7 days in Pushkar, which narrowed the choice down to 2! I also wanted to stay in local-style hotels and guest houses than 4* and 5* accommodations.

These are all considerations in matching your interests, your preferences and your wallet to the right tour.  And, in reality, I think its hard to go too wrong when you're traveling with photographers who are also travelers!

Range of Focal Lengths

My favorite lens is a Nikon 18-200 wide-angle-to-telephone zoom.  Its not the fastest lens in the world, but with vibration reduction it manages to work in most situations.  But not all.  A faster lens would have helped in a few instances while in India for sure.  But there's no such thing as a fast extreme zoom.  I would have to switch to two lenses - probably 18-70 and 80-200 or so - to achieve the same range and speed things up (and weigh things down - fast zooms are heavy). And switching lenses, especially outdoors in the dust of India, would have had its own series of problems.

So before I made any drastic decisions, I looked at what focal lengths I used while in India.  I choose the first 667 shots (out of 1950 or so) and, checking the metadata in Adobe Lightroom, plotted out the focal lengths of all shots and then my "*****" favorite shots (28 out of 1950).  The results:

                 All      *****
18-30       17%     18%
31-40       13%     14%
41-50       10%       7%
51-60       10%       0
61-70         8%      7%
71-80         3%      4%
81-90         3%      4%
91-100       3%      7%
101-110     2%      0
111-120     3%      7%
121-130     2%      7%
131-190     7%      0      (few shots taken in this range)
191-200   18%    21%

Over half of the photographs were taken between 18-70mm (27-105 given the size of my digital sensor on the Nikon D300). BUT then there were those 18-21% shot at 200mm. Changing lenses would definitely have been a drawback in an active environmental like the Pushkar Mela. I noted that as I recorded the data, I would jump from 18mm to 50mm back to 18mm and then to 200mm in consecutive shots. So changing lenses would likely have resulted in missed opportunities. On the other hand, with a faster lens with even higher quality glass, I may also have had some * and ** shots turn into **** and ***** ones. 

While a time consuming exercise, I think it was worth it to get an understanding of how I use my lens - and that the use covers the full focal length range of the lens.  That doesn't mean I won't consider a faster lens, probably covering the wide-angle to normal (18-70) range; it just means that when I'm in an active festival-oriented environment, I'll probably stick with the trusty 18-200 model for quick response to changing circumstances.

You might want to do the same exercise to see how you use your zoom lenses, especially before buying something new.

All Things Raj

Finally coming down from an uplifting and overwhelming experience twelve times zones away - two weeks in the Indian state of Rajasthan.  Half the time was spent in the chaos of Pushkar during the Pushkar Mela (camel fair and Hindu pilgrimage); the other half a slower-paced exploration of the amber, blue and pink fort towns of the Raj.  Photo opportunities galore among the coughing, smiles, dust, joyousness, blaring loudspeakers, intimate encounters (no, NOT that kind), crowds, majesty, poverty, bubbas and sadhus, a/c vans, auto rickshaws, dogs and cows that make up just a portion of the experience that is India. You really can't prepare yourself for it; you just plunge in and take it as it comes - and it will come and blow you away. 

Some 2000 photos later, it's clear to me that my photography headed in yet a new direction compared to past journeys.  More people, less landscapes.  And more up-close-and-personal photos.  Personal space is not much of an issue in crowded India; and few mind if you take their photography, even close-up.  It still takes a while for this Westerner to get close and not feel as an intruder.  But that's the luxury of 7 days in one town - overcoming personal resistance and taking photography - and interpersonal interactions - to the next level.  

  

Travel Writing and Photography at its Best

I'm beginning to plan a trip this fall to India (yea!) and in looking through back issues of travel magazines (yes, the printed kind), I came across Pico Iyer's article on Varanasi entitled "Maximum India."  Superb prose, accompanied by just awesome (not a word I use very ofter) photography by Peter Bialobrzeski. Makes me want to go all the more or maybe just stay away in the comfort of my own home.  That's the call of India.  http://www.concierge.com/cntraveler/articles/503351

Photos to Convey Meaning

When I lead photography workshops, I talk about the importance of taking photos that convey not just the "stark image," but also the emotion behind the image. The f64 school of landscape photography, with all elements of the image in sharp focus as exemplified by Ansel Adams, conveys the beauty of the natural setting. 

A different type of landscape, that of the spirit of Varanasi, India, might not be well served by the f64 school.  Rather, fleeting images taken by Peter Bialobrzeski are used to illustrate the splendid and moving story by Pico Iyer entitled "Maximum India" in the January 2011 edition of Conde Nast Traveler.  Varanasi is where devote Hindus come to die and deal with their mortality. And the photos do an outstanding job of supporting the article, showing respect to the devote, and encouraging me to make my own pilgrimage to this most holy of cities. The following link will take you to the on-line story - BUT NOTE THAT THE PHOTOS ARE ONLY AVAILABLE IN THE PRINT EDITION.  Check it out at your local newsstand, bookstore or library. 

By the way, Pico Iyer's article is also one of the more evocative I've read in a while and probably provides a better insight into the experiece of visiting Varanasi that you would ever find in a travel guide. Whenever I wonder aloud whether I should eventually travel to India, I'll come back to this article and go for it.
    
http://www.concierge.com/cntraveler/articles/503351