Telling the Story of your Journey Through Travel Portraits By Robert Kurkjian and Matthew Karanian For the past several years, an elderly Irish couple had been renting out the spare bedroom above the kitchen in their home in Wexford, Ireland. Each day the man would drive to the train station and ask if there are travelers who needed a place to stay. This was how he advertised his rental. He was a gentle man with a warm smile, so he didn’t have any difficulty finding lodgers. After we stayed overnight in their home, after we had tea with them and listened to endless stories, this man drove us back to the train station and wished us well. Today, years later, he and his wife remain one of our most vivid recollections of Ireland. Usually when we think about our ideal vacation, we’ll think about a place. We’ll think about a city. Or about a country. Or about some wilderness location. This is how we visualize travel. But, whether we are aware or not, the thing that sets one trip apart from others is people. We remember a place because the locals were hospitable or rude, colorful or odd. And the stories that we tell about our travels are usually more about people than they are about places. As photographers we are storytellers. We use our cameras to tell the story. And for many of us, the stories we tell are the stories of the people who live where we travel. In order for us to do this, of course, we must actually meet some of these people. This is because the best portraiture is done up-close. You cannot expect to convey an intimate story about someone from behind a long telephoto lens. The best portraits are possible when we stop, talk and get to know our subjects. These people are aware that we are photographing them, but they are nevertheless at ease because we are friendly and we aren’t in any rush. If you attempt to snap a picture secretly, while on the run, chances are your results are going to reveal your technique. Your image will have all the intimacy of a surveillance photo.You don’t need to be fluent in the local language in order to put your subjects at ease. People everywhere understand friendly smiles and warmth. Still, you can do more than just use body language in a foreign country. Even if you only learn a few phrases of the native tongue your efforts are certain to be rewarded. After mangling words in Russian and in Chinese during travels in those regions, we discovered that our efforts were not merely appreciated, but were also helpful in removing suspicions about our intentions. Benign intentions will not always be enough to keep you out of trouble. In some parts of the world you could be detained if you attempt to take a photograph of a police officer or soldier. Members of some religious groups do not wish to be photographed, either. Be sure to do your research before your trip so that you will be aware of any cultural and political prohibitions. You can also avoid problems by asking for permission before making any photographs. Sometimes you get great photographic opportunities because of your camera. It can spark people’s interest, and frequently, we have found that people enjoy being photographed. We often carry a Polaroid camera so that we can give, as well as take, photographs. Doing this also helps build a rapport with your subjects, and many people will also be put at ease after seeing their photograph. Once they’ve finished with their stiff poses, you will have the opportunity to capture a more natural portrait. This is the perfect moment—if you are prepared. This is not the time for changing lenses and filters, or reloading film. Be sure that you are equipped properly before you approach your subject. If you aren’t prepared, you may end up being stuck with a couple of grinning children, when you were hoping to capture their expressions while they were playing. PORTRAITURE IN CONTEXT Often times, a person’s physical characteristics are enough to tell a story. A young Thai woman wearing native headdress, for example, or an old man wearing a Russian fur hat, may make strong images when tightly framed. The person’s face should be the dominant image in the frame, without being perfectly centered. The ideal focal length for most portraits of this type is between 50mm and 135mm. We often use 85mm and 105mm fixed focal length lenses. These short telephoto lenses will create a flattering image of the face while also making it possible to stand at a comfortable distance of several feet from the subject. Since the focal point is the face, you’ll want to use a fairly wide aperture (perhaps f/4.0-5.6) in order to blur-out any distractions in the background. The most-noticed features of any portrait are the eyes, so always keep them in sharp focus, even if this causes another part of the portrait to fall slightly out of focus. Some of our favorite travel portraits are those that show the subjects in the context of their environment. These so-called environmental portraits might be a person weaving a carpet, a shepherd with his cattle, or a farmer leaning against a rake. In each case, the image of the environment shows the place but the person who is photographed within this environment tells the story of the place. The story of frequent police stops in the newly independent states of the former Soviet Union, for example, is told in the image of a cop making a stop—as seen by the driver. Environmental portraits need not be posed or planned in advance. Candid images often work well, too, and this is how we take many of our photographs. If you plan to use the portraits commercially, to advertise a product, for example, you will need a model release from the subject. Carry a standard form in your bag. Model releases are not needed for editorial usages, such as for illustrating a magazine or newspaper story. Still, if you think you’ve just captured something fantastic, ask the subject to sign a release. For images that show people in their environment, shorter lenses of 28mm to 35mm work best. These wide-angle perspectives will allow you to capture more of the background and put people in the context of their environment. When using these shorter lenses, pay close attention to the area surrounding the subject. These wide-angle lenses may bring things into the image area that you aren’t aware of—things such as litter, utility poles, or other distractions. TECHNIQUE Bright light, especially direct sunlight, can create unflattering portraits. When the sun is directly overhead, the brow and nose will cast shadows on the subjects face. The result may be a pair of dark sockets where the eyes should be, and a dark shadow across a person’s lip. You can use a reflector to deflect light back up into the person’s face, thereby eliminating, or softening, the shadows. Be sure to take a meter reading after you set up the reflector. Another remedy, even in the bright sun, is to use a fill flash. A flash can lighten the person’s eyes and remove the shadows. You can use a plastic diffuser over your strobe, or if the strobe is adjustable, change the angle of the head by tilting it up slightly so as not to overpower the main lighting. Another alternative, of course, is to move the subject out of the sun. The softer and more even lighting under a canopy, for example, will permit a more flattering image as well as a subject that isn’t squinting into the sun. Light diffused by a window or by a fabric also works in many instances. The best outdoor lighting condition, however, is the warm light of early morning or late afternoon. This is the time that we schedule our shoots, if possible, therefore it requires planning and patience. Overcast days with soft light are also good for outdoor portraits. Another type of lighting, side-lighting can give a dramatic effect. Experiment with all types of lighting, angles, and lenses to get the most flattering or effective image. Unless you are striving for some special effect, attempt to shoot your portraits at the same level as the subject. This means stooping down when photographing children so that you can see the child’s face, and not just the top of his head. If the subject is seated you will also need to stoop down. This is more than just a good photographic technique. It’s also a good social technique. You will find it is easier to talk and develop a rapport with your subjects if you are at their level. Your ability to develop a comfortable rapport with your subject in just a short amount of time is critical to the success of your imagery. Remember that you are imposing upon others. Be considerate when making requests for photographs, and respect their refusal. OTHER CONSIDERATIONS Filters sometimes improve color when shooting during less than ideal conditions. We rarely use them, but a warming filter on an overcast day or a polarizing filter on a bright day may change the mood of the image and provide the desired color effect. The most important consideration in color rendition and image quality, however, comes from one’s choice of film. We use digital capture almost exclusively these days. But for various technical considerations, we use color slide film whenever we shoot film. Professionals have long been fans of Kodak’s slide films for portraiture because of the accurate skin tones that they reproduce. Another excellent choice for portraits is Fuji Provia (ISO 100). This is one of the finest-grained color-slide films on the market and also offers bright colors and outstanding sharpness. We usually avoid using the slower Fuji Velvia (ISO 50) for close-up portraits because the film’s saturated greens and blues don’t lead to the best skin color rendition. Agfachrome RSX II (ISO 100 and 200) are also good choices. Experiment with different films to see which works best for you in different circumstances. During your travels, don’t forget to make photographs of your traveling companions. Capture them while they are talking with local people, or engaged in an activity—even while they are making photographs. Use the same creative techniques with them as you would with the local people that you photograph. The results will be more interesting, and will reveal a more realistic picture than a straightforward image of a smiling face next to some famous site.