Travel Photography Essentials

Travel photography is all about knowing your essentials. It’s important to pack light and be quick on your feet, but it’s doubly important to really know your gear. Bringing a cool new device, whether it be a new camera body or a simple filter, is not a great idea. To ensure a fail proof shoot, bring the gear you trust.

Each trip and adventure is different. As a result, items are added and subtracted from my gear bag depending on the exact nature of the journey. When I’m on a boat up in Alaska, for example, I’ll add a 300mm f/2.8 and a 2x. If I’m someplace “funky,” I’ll maybe bring a fisheye or maybe a macro for those small details. With that said, here is my essential travel gear.

Camera Bag

I never travel on a major trip with only one camera, and I don’t count my phone as a camera either (at best it’s a back up to the back up). My main camera is a Canon Mark III which I’ll use for about 80-90% of the shots. From time to time it’s nice to have a second camera ready without changing lenses and that’s where the 7D plays a part.

It can also be helpful when needing a longer reach for wildlife or sports type action. And of course it’s the back up should something happen to the Mark III. I use black electrical tape to cover as many logos and unnecessary markings to tone down the appearance.

Pro Tip #1


The key to this photo is a super slow shutter and a high F-stop. There was an abundance of light in the background whereas the beach had very little. A tripod would be preferable in this situation, but I just used my 24-70mm lens with an f/22, ISO200 and exposure. Also, having my Rocket Blower and cleaning supplies came in handy in this particular situation. After a day on the beach, I spent the beginning stages of this sunset cleaning!

I love the f/4 zooms. They are lightweight, constant aperture and very sharp. Are they the sharpest money can buy? No, but they are more than good enough for my needs.

Boy Drinking

The 50mm is great for street shooting. I prefer it over the 35mm as I don’t like intruding on people’s personal space. When travelling, we often forget that we are entering a new society. Sometimes that slight difference, when you need to get a bit closer to get everything in frame (with a 35mm), you can disrupt the people and life in front of you.

I usually chose to bring 3 extremely different lenses. I like to bring 3 such lenses because it makes lens choice extremely easy. There’s never really a question in my mind as to what lens would be best:

Camera and Lenes

– The 17-40mm for interiors, architecture and landscapes
– 70-200mm for distant action, compression and details
– 50mm for low light and when I need something between the other two.

On my last notable trip with this collection of gear, 40% of the keepers came with the 17-40mm, 40% with the 70-200mm and 20% with the 50mm.

Pro Tip #2


Sometimes it’s a tough call, but using the 17-40mm is a great choice for capturing vibrant light and a rugged landscape like this one.

Photo Accessories

Photo Accessories

The following accessories are quite standard and trustworthy.

I’ve traveled in some areas with a lot of dust and dirt floating in the air so I have lots of cleaning gear: multiple cleaning cloths, brushes and sensor cleaning supplies. When shooting with filters I pull the filter case out and clip it onto my belt for easy access.

Canon Extender EF 1.4x III
This is really the perfect add-on to any Canon super telephoto lens. The communication between lens, extender and the actual camera body is phenomenal. It can be your best friend when trying to get up close to tough to capture images (sporting events, nature shots, etc).

3-Stop Graduated ND filter
2-Stop Graduated ND filter

No filter, and I mean no filter, can substitute for being in the right place at the right time when the light is just perfect. That said, all because you are travelling doesn’t mean that these types of moments will become more frequently. You still need to carry a few essential filters.

77mm Polarizer
77mm Slim Polarizer

Some people might see having more than one polarizer as excessive for a travel pack, but not having to share between lenses is a huge time saver, which can be the difference between getting that perfect shot from a bus window or before a sunset, etc.

Memory Card Wallet with Cards – Far too often people don’t take proper care of their cards. You could argue that they are the most valuable piece of equipment in your bag near the end of your trip, so take great care of them with a solid wallet and plastic cases.
Filter case for 5 filters – Similar to the memory cards, keeping your filters in good shape is crucial. There’s no point in carrying them around, weighing down your pack, if they aren’t in condition to use.

Large cleaning cloth
2 x small cleaning cloth
Rocket Blower – With all the dirt and dust that you inevitably gather on your gear while on the road, a rocket blower is pretty crucial to have in your bag.
Old toothbrush – Yes, an old toothbrush.
2 x camera straps -You’ll have your camera on your shoulder all day. Get a quality strap.
4 x camera battery – If you find yourself in one of those picturesque places or moments, don’t be the guy who doesn’t have enough juice left in the battery to get the perfect shot. I feel that 4 batteries is more than sufficient for any day out shooting.
Battery Charger.

General Accessories

General Accessories

The five non-photography essentials I’ll never leave home without are all small and very helpful on the road.

– The Buff works as a neck gator, hat and a cleaning cloth in a pinch.
– The Petzel headlamp is super small, very bright and has a red light for maintaining your night vision when shooting in the dark.
– The Leatherman Wave is great as it has replaceable tools that fit everything I might take. The only problem is that I can’t carry it onto an airplane.
– The mystery white powder – detergent, for cleaning clothes in the sink.
– Earplugs for noisy campgrounds, thin hotel walls and loud airplanes.

John Greengo is a life-long resident of Seattle, and not surprisingly a typical Northwest outdoor adventure lover. He picked up his first camera at the age of 10, and has since been lucky enough to travel to amazing locations on all seven continents. Between major journeys, John teaches photography. He uses a unique blend of illustrations, animations and photographs, all of which makes learning photography easy and fun. John’s teaching a free Travel Photography course on creativeLIVE this Friday (12-7 EST).

Creative Photography Techniques For Famous Locations

When I launched Blue Ridge Parkway Daily, I needed a shot of the Parkway which would be widely recognized. The most recognizable stretch of road on the Parkway is far and away the Linn Cove Viaduct. The Parkway is the most visited unit in the National Park System with 15 million visitors a year nearly doubling the 2nd place park – The Great Smoky Mountains National Park at 8 million. So the viaduct is photographed quite often.

It is counted as an engineering marvel and makes for an incredible scene. The double-S curve bridge hugs a boulder field on Grandfather Mountain. In fact, it was the boulders which caused the viaduct to be built. They were considered valuable ecologically, so instead of cutting into them, the road was built around them.

From the north end of the viaduct, several things come together to make this THE SPOT from which literally hundreds (maybe more) of Parkway photographers have exposed film or captured digital files. The graceful curves lead the viewer naturally into the scene. A large variety of deciduous trees cover the side of the mountain providing fantastic color in the fall. The boulders literally anchor the scene and tie the color of the viaduct to the scene. Two peculiar mountain peaks stretch out just above the viaduct giving the background some interest. And, almost as if placed there by a photographer, a small boulder sits in the perfect spot about 20 feet above the viaduct. The boulder opens the trees to frame the image and is an easily accessible perch from which to capture the image with a wide-to-mid range lens.

The result, as you can imagine, is that all photographers gravitate to this spot as though it were a huge magnet attracting their metallic cameras and tripods. They have to go to this rock or equipment mutiny will ensue. Cameras have been known to lock themselves up if the photographer passes this spot and refuses to go up and get this shot of the Parkway.

I have seen this scene grace the cover of more than one world atlas and with good reason. It really is remarkable. Check out this image search for a sampling of images of the viaduct.

So, what’s a guy to do? One of the reasons I’m an entrepreneur and a photographer is that I enjoy being creative. But how can you be creative with a scene that uncounted legions of other photographers have captured? (This is a question wedding photographers often face. It tends to be the same set of events week in and week out.)

linn cove lights

6 Ways To Get Creative

Here are a few tips that I used to get what I believe is an exceptional and original image of one of the most iconic stretches of road in the eastern US.

Don’t be intimidated. I could have said “To heck with it. I won’t even try. I can’t imagine that I would get anything better or different than all the other great photographers have gotten.” But I didn’t. Think about it this way. You are a photographer because you have a God-given gift to visualize, frame, and record. And you have a background, experience, and vision that is peculiar to only you. You are a snowflake. There are no other “you”s in the universe. So it is quite likely that you will see something in the scene that no one else sees. I decided to climb the bank and sit on that rock and see for myself partly because I was predominantly a wedding photographer and would see the scene differently than a traditional landscape photographer might. Get off your bum and go.

The scene changes. When you are going to photograph a well-known location, you never know what might happen that will make your image unique and extraordinary. A bear might have crossed the viaduct, an eagle might have flown over, a shooting star, a rainbow, lightning, new trees may have been trimmed opening the view to something new. There are lots of things that could make the image unique. Go with the knowledge of the constants in the scene and keep your eye open for what will make it unique.

Let your mind go. I got up to the perch late in the day, an hour and a half or so before dusk. After a few exposures that were rather bland, my mind went quickly to what would happen as it got darker. It occurred to me as I sat there that I had never seen a dusk or night shot of the viaduct. Wow. Why not? This is a road after all, and what would happen when it got darker? Lights! (NOTE: I have seen a couple of similar light-streak images turn up in image searches for the viaduct, but only after I shot mine 3 years ago. Not saying they copied my idea, just that I had never seen this type of image before I shot mine.)

Invest the time. When I visualized this dusk shot I immediately called my wife and told her I would be later than I thought. I thoroughly enjoy spending time with my wife and this was going to be a sacrifice. The later it got, the more I realized that this might take even longer than I thought. Cars were not coming by at regular intervals. I was just hoping I could get what I wanted and not have to come back another day. But I would have if I hadn’t gotten it on this day. I wanted this image.

Use your equipment creatively. For this shot I needed the car to get all the way around the curve so that there would not be a break in the steak of light. I counted the seconds on a couple of cars and figured I needed to be at a minimum 20 second exposure. That meant I’d have to use some filters to get there. I pulled out the regular neutral density filter and a graduated ND to darken the sky portion of the image and found that wasn’t enough. So I looked in my bag again. Hey, the polarizer might get me a few more seconds. Other landscape photographers would likely carry a lot of NDs, but I didn’t. So I used the polarizer for something other than what was intended.

Feel free to break the rules. Landscape photographers don’t usually have cars in their images. While you can’t see the cars, the lights are certainly there and this is probably a no-no for some photographers. But who makes the rules? While I wouldn’t carry this philosophy into other parts of your life, I would say that in photography nobody makes the rules. If you were to lean one way over another I’d say lean toward what your viewers want, not your peers. (Our Facebook page has over 39,000 fans and I have used this image as the profile pic from day 1. We average 10,000 views per day and at 3 years running, it has likely been viewed over a million times.)

I don’t know if you’ll like this image or not. That’s not the point. The point is that you can shoot a famous and overly-photographed scene like nobody else. Open your eyes and your heart and bless the world with your camera.

Eric McCarty

Eric McCarty is a photographer, inbound marketer, and founder of Blue Ridge Parkway Daily featuring Blue Ridge Parkway pictures. You can read his wedding photography post here on The Photo Argus – 8 Ways To Get Candids Without Being Noticed.

Connect with him on Google Plus.

Fix Carpet Dents

Life Tips Week 43C 01a Fix Carpet Dents

Fix dents on your carpets that were caused by heavy furniture by letting ice cubes melt on the spot. Use a toothbrush to fluff the surface after it dries.

icecarpet 650x282 Fix Carpet Dents

icecube line 650x189 Fix Carpet Dents

IMG 5464 650x487 Fix Carpet Dents

View on IPPINKA:

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One Simple Tip to Take Your Portrait Photography to the Next Level

Do you want to instantly improve your portrait photography with one amazing tip? If so, watch this high energy video by photographer Peter Hurley explaining how to magically improve a head shot by accentuating the jawline of your subject.

It blew me away when I saw how simple it was to make a subject look 100% better in about 5 secs.

Tell us what you thought about this video in the comments below.

(via PetaPixel via Scott Kelby)

5 Tips For Streamlining Your Photography Workflow

Do you ever find yourself overwhelmed with a never-ending to-do list? Running a successful photography business takes plenty of time and effort, and streamlining your workflow will give you more opportunity to photograph clients — not to mention more down time for yourself (the final season of Breaking Bad doesn’t watch itself!).

I maximize my hours both in and out of the studio by following 5 rules of thumb to amp up my efficiency.


Put Pen To Paper

Breaking down your weekly workflow will help you pinpoint areas of weakness and recognize what’s slowing you down. I map out each step of my process, from “meet with client” to “take the picture” to “deposit the payment,” and see where I can consolidate tasks, thereby increasing my efficiency. For example, you could set aside one day of the week that’s completely devoted to managing your business’ finances, rather than cramming in a few hours every day!


Get Comfortable

Having a comfortable work environment is crazy-important when managing your time. I paid more for the chair I sit in at my computer than I did for some of my best camera equipment. If you aren’t comfortable in your workspace, you’ll look for ways to distract yourself from the task at hand. I suggest investing in a great chair that you’ll happily sit in for several hours, keeping your office organized so you don’t feel overwhelmed, and decorating in a way that’s aesthetically pleasing so you genuinely enjoy hanging in your work area.


Learn Actions

You can save huge amounts of time by making your own Photoshop Actions. If you find yourself altering an image in the same way over and over again, create an Action and give it a keyboard shortcut. The next time you’re working on a photo, you can simply push a button and apply your go-to edit! By the end of the day, you’ll have shaved off an hour or more of work.


Network Your World

You can save even more valuable time by networking your equipment so that it’s in sync. Your camera and computer systems should be in constant communication so that if you leave the studio to go home, you can hop right on your office computer and pick up where you left off. Syncing your equipment will save so much time, you may even find yourself with a free day to hang out with your family each week! Or play golf, whatever floats your boat.


Educate Yourself

It’s tempting to lean on plugins and templates when shooting and editing your work, but you can’t always rely on your go-to Photoshop Action. Not only will learning the basics save you plenty of money on templates you probably don’t need, it can save you time if you ever find yourself in an Action-less pinch!

For more tips on simplifying your workflow, as well as advice on working with teens, check out my CreativeLIVE course!

All images by Kirk Voclain

Kirk Voclain

Kirk Voclain was born on July 4, 1962. He has a love for photography that began when he got his first camera by saving box tops from a popular breakfast cereal when he was just 8 years old. Kirk has been asked to speak to groups of photographers all over the United States & Canada. Kirk has a motivational style of speaking that will keep you on the edge of your seat.