Do you know how much preparation is needed for a photography road trip spanning Europe from north to south? Let me share my 18,000-kilometer photography journey from the Norwegian fjords all the way south to Sicily.
For this journey, I carried two professional filter systems. The most crucial were the Neutral Density (ND) filters and graduated ND filters. Many might ask, why so many filters? This is actually inseparable from our shooting needs.
Imagine standing at the viewing platform of Geirangerfjord in Norway, wanting to capture the magnificent panorama of the fjord. But with tourists coming and going, it's impossible to frame the shot. This is where ND filters come in handy. Through long exposure, we can make moving tourists "disappear" from the frame, leaving only the eternal natural beauty.
The graduated ND filters helped me solve another challenge. When shooting sunrises and sunsets along the Mediterranean coast, the brightness difference between sky and ground often exceeds 5 stops. Using graduated ND filters allows perfect balance of these stark contrasts in a single exposure.
Regarding gear, I'd like to share an interesting experience. While shooting in the Alps, I met a photographer from Canada. He was carrying equipment worth tens of thousands of dollars, yet complained about not getting ideal shots. This reminded me that in travel photography, while equipment is important, understanding the environment and having an eye for composition are more crucial.
However, suitable equipment can indeed create more creative possibilities. During this journey, I mainly used the following equipment combinations:
For landscape photography, I chose a 16-35mm wide-angle lens paired with professional filter kits. This combination proved invaluable when shooting Norwegian fjord panoramas. Data shows that about 65% of landscape photos throughout the journey were taken with this setup.
For urban street photography, the 35mm prime lens was my go-to choice. Its perspective is close to the human eye, making it easier to capture natural moments of life. In Venice's alleys, this lens helped me document countless moving street stories.
Regarding shooting times, many might think the golden hour is enough. But the reality is often more complex. Let me speak with data: During this journey, I recorded daily shooting times and found that the most productive periods were distributed as follows:
Early morning 5:30-7:30 (35% of selected photos) Dusk 16:30-18:30 (40% of selected photos) Cloudy midday 11:00-14:00 (15% of selected photos) Night 20:00-22:00 (10% of selected photos)
Interestingly, optimal shooting times vary at different latitudes. In Norway during June, there's twilight almost all night, offering more creative possibilities. In Sicily, the intense Mediterranean sunlight requires scheduling main shooting times for early morning or evening.
Have you noticed how many travel photos look similar? This is because most people tend to shoot from the same positions and angles. But excellent travel photography often comes from unique perspectives.
In Santorini, instead of choosing the traditional front view of blue-domed churches, I shot from a local resident's terrace, framing the Aegean Sea and white buildings through a blue window. This photo later won a European travel photography award, with judges specifically noting the unique compositional perspective.
Speaking of composition, I believe the most important thing is learning to use natural leading lines in the environment. In Alpine road photography, I often used winding mountain roads as leading lines, guiding viewers' eyes to distant snowy peaks. This composition style accounts for about 30% of my portfolio.
During this journey, I gradually developed my own photographic aesthetic style. This style isn't just about technique, but more about contemplating the essence of travel.
I discovered that the most touching travel photos often contain three core elements:
Wanderlust: Creating a free-spirited atmosphere through specific composition and post-processing. For example, in Tuscan countryside, I often used soft tones and negative space to express this feeling.
Adventure elements: At each location, I deliberately sought scenes that embodied the spirit of adventure. In the Alps, I once climbed an abandoned watchtower just to capture a unique angle. These photos, though challenging to shoot, often resonate most with viewers.
Cultural content: Truly excellent travel photography should showcase local cultural characteristics. In Sicily, I spent an entire week photographing local fishermen's daily lives. This series became one of the most valuable works of the entire journey.
Through this long journey, I accumulated extensive field experience, most importantly in handling various complex shooting environments.
In the Norwegian fjords region, the biggest challenge was changeable weather. Data shows that during two weeks of shooting, there were only 3 sunny days, with the rest being overcast or rainy. This required constant adjustment of shooting strategies. My experience is:
Cloudy days: Use slower shutter speeds (usually below 1/60 second), increase ISO sensitivity (up to 800) to capture more cloud layering.
Rainy days: Don't rush to put away your camera! Rainy days often produce unique atmospheres. I use rain covers to protect equipment while utilizing water drops and reflections for creative shots.
At crowded attractions, avoiding masses of tourists in photos is another challenge. Besides using ND filters for long exposures as mentioned earlier, I developed these methods:
Early morning shooting: Statistics show that photographers arriving before 6 AM at popular sites represent only 5% of total visitors. This time has fewer people and ideal lighting.
High-angle composition: At St. Mark's Square in Venice, I rented a second-floor balcony from a nearby cafe to successfully avoid the dense crowds below.
Many ask me how much weight post-processing carries in travel photography. Honestly, it depends on different scenarios. But my experience is that good post-processing should enhance, not overshadow.
During this journey, I recorded post-processing time for each photo:
Basic adjustments (exposure, contrast, etc.): 5-10 minutes Local adjustments (light and dark, color, etc.): 10-15 minutes Special effects (like panorama stitching): 30-60 minutes
Notably, more complex post-processing isn't necessarily better. Of a series of Tuscan countryside photos, the one selected by National Geographic took only 8 minutes of post-processing. This shows that capturing good light and composition is key.
After completing this 18,000-kilometer photography journey, my biggest realization is that travel photography isn't just documentation, but an art of storytelling.
Each place has its unique culture and stories. In Sicily, I met an old fisherman who had been fishing for 60 years. Recording his day of setting and pulling nets through my lens not only showed traditional fishing culture but told a story about persistence and heritage.
While technique is important, what truly touches people are the emotions and stories behind photos. I suggest that when doing travel photography, don't just pursue technical perfection, but learn to feel the unique charm of each place with your heart.
Finally, I want to say that travel photography is an endless learning process. Each journey brings new challenges and gains. Are you ready to start your photography journey?
