Verdict: The Holiday & Travel Show

Well, I did drop by the London Travel Show in Earl’s Court. The exhibitors included every travel-related business operating in the United Kingdom, from Audley Travel Group to World Expeditions. Hundreds of travel operators offering travel packages, adventure and specialty tours, along with tourism boards and vendors of travel gear, were all represented there. Heidi Laughton, a photographer friend here in London, joined me in attending a Beyond the Lens lecture in the hall. It was moderated by photographers Paul Goldstein (Exodus), Ariadne Van Zanderberger of Bradt, and Steve Davey. The lecture was a ho-hum affair with nothing more than superficial discussions on the current travel photography industry in the UK....but let's face it, it was free.

The short listed submissions in the Travel Photo of the Year competition (run jointly by the Independent newspaper and Wanderlust) were exhibited. Heidi’s submission was a lovely black and white photograph of street urchins in China.

I came out of the show with a handful of handsomely printed travel catalogs. The quality of the printing of some of these catalogs surpass anything I've seen in the United States. Audley Travel's glossy catalogs with superb photography, as an example, really stand out. Many of the well-known UK and European travel and stock photographers, such as Paul Goldstein, Steve Allen, Peter Langer, Toby Sinclair and Mario Pozzi, are credited for photographs on the Audley catalogs.

Audio Editing Software

As a mac user, I normally use Apple's iTunes to download the tracks recorded on my M-Audio and edit these on GarageBand. Nothing could be easier than the combination of these two programs. However, I have also used Audacity, which is a free open source software for recording and editing sounds. It is available for Mac OS X, Microsoft Windows, GNU/Linux, and other operating systems.

Why have I used Audacity? Well, it's because it allows me to record a perfectly silent soundtrack when I want a non-aural slideshow. You see, Soundslides is audio-driven which means that it builds the sequencing of images on an audio track. If I have no audio, I cannot create a Soundslides slideshow. However, the way around that is to record a 'silent' track, and incorporate into one's slideshow and it works perfectly. You can refer to my earlier post on Soundslides for its tutorial.

A reader of this blog suggested that I write about the audio tools I use, prompting my two Audio posts today. Thanks, Cathy!

Here's Audacity's website Audacity

Audio Recording On The Go

I've recently expanded my photographic interests into producing my own multimedia stories, merging still photography and ambient sound (generally recorded live while I am photographing), and musical soundtracks. This was influenced to an enormous degree by the availability of Soundslides software (which I wrote about in an earlier post), and by non-expensive lightweight audio recorders needing only a Compact-Flash memory card.

The M-Audio Microtrack 24/96 is the recorder I chose for my work in the field. It's quite easy to use, and is small and inexpensive enough to be viable for many purposes. I found it to be perfect as a lightweight field recorder for recording interviews, capturing live performances at festivals or ethnic music, recording ambient sounds to provide aural 'texture' to my images, allowing me to record vocal notes to myself while photographing, etc. Its sound quality is better than expected for such a small package, and I imagine that, if fitted to a pro microphone, it would sound even better. I use a 250mb CF card with it, which is more than enough to record hours and hours of sound.

What I don't like about it is this: its seperate microphone (it looks like a T) is flimsy, and is not part of the unit which means I'm bound to lose it one day; the controls are somewhat fiddly, and lastly its batteries are not replaceable except by the manufacturer.

I found that the size of this recorder (and its tiny mic) doesn't intimidate whoever I interview or record, which is a big plus when working in the field. I used it in India to interview a number of widows in Vrindavan, and not having a huge microphone and machine waved at their faces, made things much simpler and they didn't shy away from it.

There's a new guy on the block, and that's the Zoom H4. I hear good things about it as well, especially that it runs on regular AA batteries and it has built-in mics.

For those of you who are still tentative about expanding their travel and/or their documentary photography into the multimedia sphere, I really encourage you to do so.

Here's a review for the M-Audio:M-Audio Microtrack

And another for the Zoom H4: Zoom H4

Le Festival Du Desert, Mali

Le Festival Du Desert is held every year in Essakane, two hours from Timbuktu in Mali, and its roots are in the traditional Tuareg festivities, such as Takoubelt in Kidal and Temakannit in Timbuktu. This seems to be an interesting festival to attend from cultural and visual standpoints. The Tuaregs are visually compelling subjects, and the reputed hardship in getting to the festival appears to be well worth it.

A multimedia show is on the BBC's website and is found here:
Le Festival Du Desert

Joyce Birkenstock

Joyce Birkenstock is a remarkable artist and photographer, and a peripatetic international traveler who has visited most countries of the world. She received her training at the University of Dallas, the University of Iowa, the Norton Art School, the Art Students League, and the Vermont Studio Center, and her awards, achievements and professional affiliations are too many to list here. Her artist's statement on her website includes this: "I feel a human connection with the people I paint, and while I may never see them again, I have become a part of them and they have become a part of me."

She traveled on most of my photo expeditions, and the picture above is one of her exquisite paintings made during the photo expedition The Temples of People of Angkor Wat, which I organized and led in February 2006.

Joyce's work can be seen on Artistic Journeys

Image Copyright 2006 Joyce Birkenstock

Environmental Portraiture

Image from Sufis of the Dargahs-Copyright 2006 Tewfic El-Sawy
A large part of my work is photographing people in their local context, resulting in what I like to call ‘environmental portraiture’. Some of the techniques I use are:

1. While most of my portraits have been of single subjects, I currently prefer adding a second person into an image to add a new layer to the subject matter. The image is no longer just about one person and his/her environment, and the viewers of the photo begin to speculate about the subjects’ relationship with each other, to the immediate environment and to their surroundings. A whole story plot can emanate from such images. Phil Borges is particularly adept at this technique, with a main protagonist in the photograph taking center stage, and another person in the background adding depth to the visual scene.

2. When opting for a single person portrait and realizing that the background doesn’t add much to the image’s context, I try to get as close as possible to fill the frame. On the other hand, if the background is relevant or complementary to the portrait, and isn’t distracting, I pull back.

3. The choice between candid (or natural) portraiture and posed photography is determined by the situation in which I find myself. If the circumstances allow it, I try to do both with the same subject. On my photo expeditions or when photographing solo, I frequently set up extended photo shoots, and although this goes against the grain for some travel photographers, I found that it allows my images to tell a story about the persons I photograph. During these photo shoots, I have the opportunity of establishing a rapport with my subjects, put them at their ease, interview them and record their voices along with any ambient sound. This gives me the raw material I need for the production of multimedia stories.

"Reheated' Photo Itineraries

In my view, the majority of so-called photo tours are based on nothing more than 'reheated' tourist itineraries, and are labeled as 'photo tours' just because a photographer is leading them. Sure, let's label them whatever encourages people to take them, but these are not really photo tours.

My take on what makes a photo tour a real photo experience is much narrower. The real thing requires weeks (if not months) of research, and on site contacts, to offer enthusiatic (and demanding) photographers unusal locations and itineraries. Yes, some of these itineraries may often resemble those offered to regular tourists, but will differ in certain locations, differ in the amount of time spent at these locations, and certainly differ as to when (dates and time of day) these locations are visited.

A particular egregious example of a 'reheated' tourist itinerary is the ubiquitous photo tour which lists the popular Pushkar fair as main destination. It's absolute nonsense for serious photographers to time their stay in the town of Pushkar at the peak of the fair because it'll be full of tourists, the real camel trading occurs almost a week before the fair's announced schedule, hotels are more expensive at the height of the fair, and so on. If the idea of photographing a solitary dopey camel trader left with his final unsold scrawny camel (not to mention the gaggle of tourist-photographers who invariably will intrude in your viewfinder) excites you, go right ahead.

Another thing: photography is essentially a lonely activity, and being in a group photographing the same subject matter lemming-wise dilutes the thrill and satisfaction of photography. Many of these photo tours have participants who photograph whatever the tour leader photographs, who probably have no faith in their own visual abilities (aka 'eye) and rely on the leader to 'see' for them. I suspect these photographers return home, happy with their photographs just because they look like those of the leader!