The explorer’s guide to travel

photography and destination video

Chapter 1
Travel tips
From paperwork to personal safety, these are the things you
need to know when planning your trip.

The first thing you need to do is figure out how to get there. From flights to
rental cars, there’s quite a lot to remember—so we’re here to help!

Vasily Pindyurin / Westend61 @Offset

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Airports, baggage, and security photographers will travel with two batteries over 100Wh and
the remaining batteries under 100Wh.
If you’re traveling by plane, check the airline’s regulations
for carry-on bags, weight of checked bags, and their rules for
traveling with batteries. Don’t forget that things will have to come out of your bag when
you go through security. Airport security, like the TSA in the
Every airline is different. Never assume that you can bring US, have stipulations like removing your batteries and placing
everything you want. them in their own x-ray container. If you’re traveling with film
stock, put your film rolls in your carry-on as well. Film with
Seasoned travelers will remind you to keep your camera gear ISO rating of 800 and greater can be damaged by the scanners,
on you at all times—if your camera body and lens get lost in so request a hand inspection at the security checkpoint. Pack
transport, you won’t be shooting at all. This is also the best way all your film together, preferably in a clear bag, to simplify the
to protect them from being tossed around in a cargo hold. process.

Lithium metal and lithium ion batteries are not allowed in your You may just need a passport to travel, but an extended stay
checked luggage under any circumstances, so you’ll have to may require a work visa or permit. Another consideration is
pack these in your carry-on. Most airlines allow you to bring an to travel with proof of previous purchase of equipment. When
unlimited (yet reasonable) amount of batteries under 100Wh. returning home, customs may ask you to verify that you had
For batteries over 100Wh, passengers are usually limited to previously owned your gear to make sure you aren’t avoiding
carrying just two. Combinations are often allowed, so many taxes.

ilu ros @Shutterstock

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Packing your bag • Wool socks – the extra padding will keep you comfortable
on long shoots
Every location has its own set of challenges. From weather • Hat – protect your face and eyes from intense sunlight
events to the nature of the landscape, you need to pack clothes
accordingly. Much will come down to personal tastes, but • Gloves – in colder temps, you’ll need to keep your hands
remember that clothing also plays a functional role. Here are a warm in order to use your equipment
few things you should try to include: • Fanny pack – a clip-on carrier can save you lots of trouble

• Rain jacket – keeps you dry and doubles as a camera On top of clothing, there are a few other items you’ll always
monitor cover want to pack. Most important is a first aid kit, especially if
• Pockets – pockets in your shirts, shorts, pants, and jackets you’re shooting in a remote location. Even a few bandages and
can carry small equipment without hassle alcohol wipes will help. You’ll also want to protect yourself
with sunscreen and bug spray. Be sure the bottles you bring
• Quick-dry clothing – sweat-wicking and water resistant meet airline standards for travel.
material is your friend in cold and hot climates

• Long sleeve shirts – stay warm in cold weather,

and protected from the sun in the heat Protect Yourself and Your Gear
• Closed-toe shoes – boots or hiking shoes protect your feet
Traveling without insurance is a risk. Make sure you have an
and are built for walking
insurance policy in effect while abroad that will protect you
and all of your equipment from damage and theft.

joekung @Shutterstock

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Chapter 2
Cameras
Discover best camera for your trip.

When it comes to choosing the perfect camera, know that there isn’t one camera for
every shooter.

Traveling photographers have countless options. Point-and-shoot, compact, DSLR, and

mirrorless cameras are all perfect for travel. There are even specialty cameras like
underwater action cameras and drones. Here are a few of the most popular options
from the biggest camera manufacturers. The cameras featured in this list shoot both
stills and video.

Adrian Cano / Addictive Creative @Offset

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 Cavan Images @Offset

Canon

PowerShot G7 X Mark II (MSRP: $599 US) Canon EOS 5D Mark IV (Body only MSRP: $3499 US)
• Compact Point-and-Shoot • DSLR
• 20.1 Megapixel CMOS Sensor • Canon EF Mount
• 4.2x Optical Zoom Lens (24-100mm) • 30.4 Megapixel Full-Frame CMOS sensor
• HD 1080p Video up to 60fps • 4K Video up to 30fps
• HD 1080p Video up to 60fps
Canon EOS 80D (Body only MSRP: $899 US)
• Compact DSLR EOS 1D-X (Body only MSRP: $5299 US)
• 24.2MP APS-C CMOS Sensor • DSLR
• Canon EF Mount • Canon EF Mount
• HD 1080p Video up to 30fps 720p up to 60fps • 18.1 Megapixel Full-Frame CMOS sensor
• HD 1080p Video up to 30fps
Canon EOS R (Body only MSRP: $1999) • HD 720p Video up to 60fps
• Mirrorless
• 5,655-Point Dual Pixel AF System
• 30.3MP Full-Frame CMOS Sensor
• 4K Video up to 30fps

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 Muna Mesic @Offset

Nikon

Coolpix P900 (MSRP: $599 US) Z6 (Body only MSRP: $1800 US)
• Compact Digital • Mirrorless Camera
• 16 MP CMOS Sensor • Nikon Z Mount
• Zoom-NIKKOR ED (24-2000mm Equivalent) • 24.5MP FX-Format BSI CMOS Sensor
• HD 1080p up to 60fps • 4K up to 30fps
• ISO 100-51200
D7200 (With Kit Lens MSRP: $996)
• DSLR D5 (Body only MSRP: $6499 US)
• Nikon F Mount • DSLR
• 24.2MP DX-Format CMOS Sensor • Canon EF Mount
• HD 1080p up to 60fps • 30.4 Megapixel Full-Frame CMOS sensor
• ISO 25600 • 4K Video up to 30fps
• HD 1080p Video up to 60fps

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 zoff @Shutterstock

Sony Panasonic

Alpha a6500 (Body only MSRP: $1199 US) Lumix LX100 ii (MSRP: $999 US)
• Compact Mirrorless • Mirrorless
• Sony E Mount • 17 Megapixel Micro 4/3 MOS Sensor
• APS-C 24.2 Megapixel Exmor CMOS Sensor • Leica DC 24-75mm lens [F1.7-2.8]
• 4K up to 30fps • 24p / 30p 4K video
• HD 1080p up to 120fps
Lumix DMC-GH5 (MSRP: $1999 US)
Alpha a7S II (Body only MSRP: $2999 US) • Mirrorless
• Mirrorless • Micro Four Thirds Mount
• Sony E Mount • 20.3 Megapixel Micro 4/3 MOS Sensor
• 12.2 Megapixel Full-Frame CMOS Sensor • 4K 60p/50p
• 4K up to 30fps • 12800 ISO
• HD 1080p up to 120fps

Alpha a7 III (Body only MSRP: $1998 US) Fujifilm

• Mirrorless
• Sony E Mount X-T3 (Body only MSRP: $1399 US)
• 24.2 Megapixel Full-Frame CMOS Sensor • Mirrorless
• 4K up to 30fps • Fujifilm X Mount
• ISO 50-204800 • 26.1 Megapixel Crop CMOS Sensor
• 4K up to 60fps

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 Tropical studio @Shutterstock

Olympus

OM-D E-M II (MSRP: $1499 US) GoPro

• Mirrorless
• Micro Four Thirds Mount Hero 7 Black (MSRP: $399 US)
• 20.4 Megapixel Live MOS • Action Camera
• 4K up to 30fps • 12 Megapixel Photos
• Live Streaming
• Ultra-Wide Lens
Blackmagic Design • 4K up to 60fps
• HD 1080p up to 240fps
Blackmagic Pocket Cinema Camera 4K (MSRP: $1499 US)
• 4/3” Sensor
• Dual Native ISO up to 25,600
• Micro Four Thirds Mount
• 4K up to 60fps

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Chapter 3
Lenses
Learn what to look for when you’re choosing lenses for
destination shoots.

Choosing the right lens or lenses will come down to the type of mount your
camera uses, the style of shooting, the weight of the lens, its build quality,
and overall lens speed.

Here is a breakdown of lens properties and some suggestions based on the

type of travel photography and video you may be shooting.

bogdandimages @Shutterstock

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Focal Length
F-Stop
The most important information to know when looking
for a camera lens is the focal length. Focal length tells a The f-stop is a numerical representation of lens aperture size
photographer or videographer how the image is going to in relation to the focal length. An f-stop will tell you how much
look. The shorter the focal length, the wider the angle of view. light your lens is letting in. Lower f-stop numbers (1.2, 1.4, 1.8,
The longer the focal length, the higher the magnification and 2) will let in more light than a higher f-stop number (8, 11, 16,
narrower the angle of view. 22.)

In photography and video, a stop is a step that can either

Depth of Field double the incoming light or cut the incoming light in half.
Stopping down is the equivalent of moving from a lower
The depth of field is the area of an image that is in focus. number like 2.8 to a higher number like 4. Stopping up
This focus range measures the distance between the nearest moves from a higher number down.
and farthest objects.
Lenses with the same f-stop do not necessarily let in the
Lenses can precisely focus on one distance at a time. same amount of light. The glass elements within the lens
To have sharper images, a larger depth of field is necessary. affect the total amount of light passing through the camera.
For images emphasizing a single subject over the background, More expensive lenses will allow in more light versus cheaper
a shallow depth of field is needed. lenses. A professional lens may allow in 90% of source light,
whereas a consumer model may only allow in 60% of light.

Yevhenii Chulovskyi @Shutterstock

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 Selenit @Shutterstock

T-Stop Lens Stabilization

T-stops are used by filmmakers to precisely measure the exact Most lens manufacturers use a form of lens stabilization to
amount of light entering a lens at any given f-stop. Combined compensate for camera movement during use. The system
with the f-stop, t-stops give a much more accurate number. uses electromagnets to move internal glass elements. The
For example, a 100mm lens at f/2 with a light transmittance magnets act like a spring suspension that absorbs camera
of 75% will have a t-stop of 2.3. shake. You might be familiar with these types:

• Canon – Image Stabilization (IS)

Crop Factor • Nikon – Vibration Reduction (VR)
• Sigma – Optical Stabilization (OS)
Not to be confused with a 35mm lens, crop factor deals with • Tamron – Vibration Compensation (VC)
the size of a camera’s sensor. A full-frame sensor is 35mm, • Leica – MegaOIS
though technically the size is 36mm x 24mm. It comes from • Pentax – Shake Reduction (SR)
35mm film, which required a 35mm sensor to capture full-size
images on the film stock. Any camera with a sensor smaller The downside of lens stabilization is the added cost, as these
than 35mm wide is a cropped sensor. Regarding lenses, this lenses can go for double the amount of the same lens without
will make a lens appear to be more of a telephoto lens. For stabilization. If you’re using the camera and lens with a tripod,
example, a 100mm lens with a crop factor of 1.6x will act like it is best to turn off the lens stabilization. This prevents the
a 160mm lens on a full-frame camera. lens from overcompensating and wearing out the system.

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 David Prado Perucha @Shutterstock

Types of lenses

Wide-Angle lenses Standard Lenses

A wide-angle lens has a focal length of 35mm or smaller. Standard lenses have a focal length between 35mm and
Lenses smaller than 24mm may also be called ultra-wide 85mm. The most commonly used standard lenses are the
lenses or fisheye lenses. Due to size exaggeration, wide-angle 35mm and 50mm. Standard lenses usually have a much
lenses are great for shooting landscapes and architecture. cheaper base price than wide-angle and telephoto lenses.
Standard lenses are also perfect for shooting portraits and
Telephoto Lenses medium shots.
Telephoto lenses have a focal length of 85mm or higher.
They are usually very long, making them easy to identify. Prime Lenses and Zoom Lenses
Telephoto lenses are used to shoot objects that are far away, Lenses that have a fixed focal length — meaning the focal
ideal for capturing wildlife and sporting events. They blur the length cannot be changed — are prime lenses. Lenses with an
background, which is ideal for isolating subjects. adjustable focus length are called zoom lenses. Zoom lenses
have a multitude of moving parts, limiting the amount of light
Telephoto lenses tend to be more expensive because they they let in. However, they give the shooter more control of the
have more glass elements. They can be broken down into two composition based on their position. Prime lenses require the
subtypes: Medium telephoto lenses have a focal length of 85- shooter to physically get closer or farther away from a subject.
300mm, and super telephoto have focal lengths over 300mm. Travelers often find zooms to be more practical.

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Lenses for Travelers General Purpose Travel

Every traveler has their own preference for both the type If you want to only carry one lens, or as few as possible,
of lenses they use, as well has how many they take with a general purpose lens is ideal for capturing everything
them. Some photographers prefer to only carry one from portraits to landscapes. General travel photography
versatile lens, but most average three lenses. and video calls for either a large zoom lens with little weight,
or an all-purpose prime lens. Here are the best focal length
Here are some of the most recommended lens options options for travel photography:
based on popular types of travel photography and destination
video. Remember to take the crop factor into account on 15-85mm (Zoom)
cropped sensors. • Versatile zoom lens
• Standard for everyday photography
• Designed for cropped sensors

24-70mm (Zoom)
• Wide-angle to medium telephoto
• Popular among professionals
• Produces very sharp images

50mm (Prime)
• Versatile focal length
• Compact and lightweight
• Perfect for work from portraits to action shots
• Performs spectacularly in low light

Todd Klassy @Shutterstock

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 Kiselev Andrey Valerevich @Shutterstock

Portraits and Culture Landscapes

If your travel photos and videos focus on people and their Wide-angle lenses are the best for landscape travel
culture, you will want a lens that can really capture intimate photography and video. Lens apertures of f/5.6 and
moments. Lenses with apertures of f/1.8-f/3.5 are great for above will help keep everything in focus.
portraits with a subject in focus and a blurred background.
• 16-35mm
• 16-35mm ‐ Ultra wide-angle zoom
‐ Popular among photojournalists ‐ Amazing for landscapes and portraits
‐ Great for taking group shots ‐ Expensive
‐ Offers similar angle to mobile phones
• 17-40mm
• 85mm ‐ Wide-angle zoom on full-frame sensor
‐ Captures excellent interior and exterior shots ‐ Standard zoom on cropped-sensor
‐ Ideal for portraits on full-frame sensors ‐ Similar to the 16-35mm
‐ Great telephoto lens for crop-sensor cameras ‐ Captures sharp details

• 18-35mm
‐ Excellent for shooting landscapes and architecture
‐ Versatile wide-angle to standard zoom
‐ Similar to the 16-35, and also cheaper

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• 10-24mm Wildlife
‐ Ultra wide-angle zoom
‐ Great for landscapes, cityscapes, and interiors Telephoto lenses are a must for capturing wildlife. That said,
these lenses are the heaviest. A zoom lens offers more variety
• 24mm while traveling, yet fixed super-telephoto lenses may be
‐ Wide-angle prime necessary depending on the distance to your subject and the
‐ Excellent for low light and astrophotography subject’s size — think birds vs. elephants.

• 70-200mm
‐ Fantastic for photos and video
‐ Acclaimed by pros and hobbyists
‐ Perfect for shooting both wildlife and portraits
‐ Heavy and expensive

• 200-500mm
‐ Wonderful for wildlife, especially birds
‐ Great for photographing distant landmarks
‐ Large and heavy

• 600mm
‐ Designed for shooting wildlife and sports
‐ Very expensive
‐ Very large and heavy

Chris Schmid / National Geographic @Offset

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Timelapse

Timelapse photography requires a wide lens with a deep • 14mm

depth of field. For those shooting days, nights, and day-to- ‐ Ultra wide-angle
night, you will need a lens that can perform at every time ‐ Stellar for landscape
of day. ‐ Captures perfect nighttime shots

• 16mm
‐ Ultra wide-angle
‐ Small and light
‐ Great for landscapes and architecture

Solis Images @Shutterstock

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Chapter 4
Gear and accessories
From batteries and tripods to backpacks and cases,
these are the extra things you’ll need on your trip.

Shooting abroad poses one of the biggest challenges for photographers.

How much gear is too much? From extra baggage fees to misplaced luggage,
there are plenty of valid concerns.

Your best resource is your own research on the locations. You may find that some
places, like major cities, have rental houses for you to rent additional equipment
like specialty lenses or tripods. Renting can save you the hassle of transporting
all your gear. But, if you don’t have the luxury of renting, choosing the right gear
is a top priority.

EKKAPHAN CHIMPALEE @Shutterstock

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 Niradj @Shutterstock

Batteries and Power Memory Cards

Depending on your location, you may not have access to If you plan to shoot a ton of material, your first instinct
electricity while shooting. Be sure to have enough camera may be to purchase one very large SD or CF card. While that
batteries to last you in the field. Your camera isn’t the only may seem like the easy solution, it’s actually best to have
thing that needs batteries. Don’t forget the ones you may need multiple smaller cards. If something happens on location—like
to operate equipment, like lights. You can also invest in a dropping your camera—you will still have all the photos and
battery pack to recharge your phone. footage you shot on the other memory cards that didn’t end up
taking a dive.
It’s always a good idea to have some surge protectors and an
extension cord to add a few outlets to your hotel room. Don’t
forget power adapters that work in the country or countries Tripods, Monopods, and Stabilization
you’re headed to. If you will spend significant time in a car,
pack a car charger as well. Having stable images and footage is crucial to a successful
travel shoot, so invest in stabilization gear that is light and
compact. Carrying heavy poles over a long period of time will
really wear you down.

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Monopods are the easiest form of stabilization for travel. They Lights, Flashes, and Reflectors
are incredibly compact and even some of the most rugged ones
are still rather lightweight. A carbon fiber monopod may cost Photographers will be quick to find that traveling with a
more upfront, but they are well worth the price. video light is usually much more practical than carrying a
camera flash. That’s not to say camera flashes can’t be the
Tripods are the standard form of stabilization for go-to for lighting your travel photos, but the video light also
photographers. Luckily, there is a whole tripod market for doubles as a flashlight and can be used in combination with
traveling shooters. When it comes to choosing the right reflectors to help capture stunning images. Video lights are
tripod, your key concerns should be the weight, the size when compact, and you can easily find them at a very low cost.
collapsed, the tallest height when extended, and if the tripod Many use rechargeable batteries or even AA batteries.
can support the weight of your camera and lens package.
Tripods with pivoting heads tend to be the best for travel since High-end video lights and light wands can change their
they can offer level images no matter how rugged the terrain. color temperature. This versatile nature makes them great
for all sorts of shoots. You can use them to light subjects, or
Videographers may want more options when it comes to adjust the colors and use them as backdrop lights. Overall,
stabilization. There are travel shoulder rigs built for a variety a collapsible reflector is the best lighting tool for traveling
of cameras, as well as traditional stabilizers like a Steadicam. photographers and videographers. Most travel shoots will
Weight should be a primary concern, as well as the size of the use natural lighting, and a reflector gives you the power to
rig when collapsed. The smaller the better, but remember that harness the sun.
a variety of small parts means the potential for pieces to get
lost in the shuffle. You may also need a set of tools to put the
rig together, depending on the type of stabilizer you choose.

bodiaphvideo @Shutterstock

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ND Filters Microphones and Audio Recorders

No matter if you’re shooting stills or footage, you will want Videographers will need to remember microphones or audio
to make sure you have some neutral-density filters. Shooting recorders to capture audio on location. From ambient sounds
outdoors in the middle of the day can be a nightmare lighting to interviews, quality audio is crucial to every video. For
situation, but an ND filter can help you capture excellent travelers, the best option is a handheld audio recorder and a
images in bright conditions. With an ND filter and the correct lavalier mic. Both are small and easy to transport. You can use
combination of aperture and exposure settings, your camera the hand recorder to capture ambient sounds, and then plug
can grab stills and video that would otherwise be overexposed. the lavalier mic directly into it for interviews. It’s the simplest
Graduated ND filters, or split ND filters, can be used to balance and most travel-friendly setup. Depending on the type of
light, especially at sunrise and sunset. They can darken a lavalier mic you own, don’t forget audio cables and adapters if
bright sky while leaving the landscape naturally lit. needed. Wireless lavs can be a hassle in remote locations, so
consider going hardwired into the recorder.
Variable ND filters offer multiple stops of light control, all in
one filter. You can easily adjust the ND filter to whatever you
need for the shot. If you invest in a nice variable ND filter, you
may want to add a step-up ring. That will allow you to use the
filter on all of your lenses, no matter the lens diameter size.

EKKAPHAN CHIMPALEE @Shutterstock

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 Flamingo Images @Shutterstock

Cleaning Kit and Tools Laptops and External Hard Drives

From microfiber wipes to a dust blower, a portable cleaning Working on location means more than just shooting. Bring
kit can save your shoot. Dust, dirt, and other natural elements your laptop so you can dump and check your photos and
will wreak havoc on your gear. Make sure you can easily clean footage. Create a solid folder structure for your project, so
your lenses while on the go. Be sure to pack the necessary files are easy to find when it comes time to edit. You can
tools to take your gear apart if you have to do heavy cleaning break your travel photos and video into individual folders
or assemble any camera rigs. Invest in a quality multitool, based on the time or specific locations.
not one that will easily break. A steel multitool with built-in
screwdrivers, pliers, and knives is often the best. Store your files on external hard drives as additional backups.
Opt for a Solid State Drive (SSD)—they are more durable and
have faster read/write speeds.

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Backpacks, Cases, and Carry-Ons and a couple lenses, and there are heavy-duty backpacks that
can carry several camera bodies, lenses, and gear. You can
Sling bags and messenger-style camera bags are great for even clip on additional gear outside of large bags, like your
those with a small amount of lightweight gear, but if you’ll be tripod. These backpacks are designed to keep you moving,
wearing them for a long period of time, they can start to wear so look for a bag that distributes weight evenly and has nice
out your shoulders. sturdy straps.

Rolling bags will only be your friend in the airport. Oversize For safety and security, inconspicuous bags are better, as
rolling bags and hard-shell cases will keep you gear safe in thieves can easily spot tourists with expensive camera gear.
transport, but when it comes to working on location, portable Low-profile bags are the best for getting around unnoticed.
camera bags are far more practical. Also consider removing any camera straps with brand names
and placing gaff tape over the brand name on the camera body.
For the best experience, consider an ergonomic backpack-style
camera bag. There are small bags for those with just a camera

MRProduction @Shutterstock

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