Every time I scroll through my social media feed, I'm amazed by other people's travel photos. When I look at my own shots, why is there such a big difference? We're at the same location, so why do others' photos catch the eye while mine look ordinary? As someone who went from knowing nothing to making a living from travel photography, I want to share my experiences and insights with you today.
When it comes to travel photography, many people's first thought is just "snap snap" taking pictures of scenery. But honestly, that's too simplistic. Travel photography is quite a profound art that requires not only an eye for beauty but also your storytelling ability.
Take my shooting experience in Venice last year as an example. Of course, I had to photograph the gondolas on the Grand Canal, but it's the details of everyday life that truly touch people's hearts. I remember one morning, while wandering in an alley near St. Mark's Square, I saw an elderly lady hanging bed sheets on her balcony. The sunlight filtered through the white fabric, casting dappled shadows on the ground. An accordion melody drifted from afar, and a spotted cat lounged lazily on the doorstep. At that moment, I felt I had captured Venice's most authentic side.
As someone who learned step by step from being a complete novice, I truly understand beginners' confusion. I remember when I first started taking photos, I wanted to shoot everything I saw, resulting in either chaotic composition or overexposure. Looking through my album was unbearable.
When it comes to travel photography specialties, there are many to explore. Just basic landscape photography is enough to keep you busy for quite a while. Last summer, while shooting at Kanas in Xinjiang, I really learned what "challenging" means. To capture the sea of clouds at sunrise, I had to wake up at 3 AM and climb to the viewing platform in the cold wind. But when the first ray of sunlight pierced through the clouds and fell on the birch forest, all the hardship was worth it.
Mastering light is really crucial. The same scenery shot at different times can produce vastly different results. Morning light is soft and warm, perfect for landscape photography; although midday light is harsh, it's great for capturing architectural geometric lines; the backlight at dusk can make human silhouettes particularly atmospheric.
As my skills improved, I started experimenting with more interesting shooting directions. For instance, macro photography opened up a whole new world. Last winter at Jiuzhaigou, I used a macro lens to photograph ice crystals on tree branches. That kind of crystalline beauty is hard to capture with the naked eye. I put in a lot of effort to get those shots. A tripod was essential since macro shooting is particularly sensitive to shake. I also used a remote shutter release to avoid camera shake when pressing the shutter, and even had to control my breathing rhythm.
Street photography is also a fascinating field. In Lijiang Ancient Town, I particularly enjoy capturing scenes of local life. An elderly man selling silver jewelry, focused on polishing his pieces; schoolchildren with backpacks chasing each other on the stone-paved streets after school; in the old town's teahouse, the owner sitting leisurely at the entrance, chatting with regular customers. These seemingly ordinary scenes best represent a city's living atmosphere.
Architectural photography also fascinates me. When shooting at the Shanghai Bund, I pay special attention to the buildings' lines and geometric shapes. During the day, I can shoot architectural details, while at night, the entire Bund becomes a brilliant canvas of light and shadow. I often use long exposure techniques to turn tourists into blurred light trails, highlighting the buildings' magnificent presence.
Speaking of field experience, there are endless stories to tell. The shooting experience at Zhangjiajie was particularly memorable. To get the ideal shot, I started checking weather forecasts a week in advance. I chose an evening when the cloud cover wasn't too thick but enough to create layering. I found a spot with a great angle, set up my tripod, and waited for the perfect moment. When the sunset turned the clouds red and mist swirled between the peaks, I pressed the shutter continuously and finally captured the image I had in mind.
The shooting at Qinghai Lake gave me a new perspective on "bad weather." I went hoping for blue skies and white clouds but encountered continuous rain instead. Initially disappointed, I changed my mindset - wasn't this actually a rare opportunity? The overcast sky added an epic atmosphere to the photos, and combined with the ripples on the lake surface, I ended up with a series of very atmospheric shots.
Photography skills really need gradual accumulation. Composition technique is a good example. When I first practiced the rule of thirds, I would rigidly place the subject on the third points, making it look forced. Later I understood that the rule of thirds isn't dogma but a reference. Sometimes placing the subject slightly off the third points creates more tension in the image.
While shooting in the Maldives, I paid special attention to studying the water color changes. The transition from shallow to deep water is very subtle. To accurately capture these layers, I experimented with different exposure parameters. I eventually discovered that slightly reducing exposure compensation could make the water colors more transparent without losing detail.
Post-processing is also an important part of technical improvement. When I first started editing, I would always turn the saturation and contrast way up - it's painful to look at now. Through continuous learning and practice, I understood that the core of post-processing is to restore the visual experience of the moment, not over-process.
Regarding equipment, my advice is to progress gradually. I started shooting with just a phone before slowly upgrading to an entry-level DSLR. Although I now have a full-frame camera, I still think phones are the most convenient recording tools. What matters isn't what equipment you use, but how you observe the world.
When choosing lenses, base it on your shooting needs. Wide-angle lenses are suitable for landscapes and architecture, portrait lenses for people and street photography, and telephoto lenses for wildlife and distant scenery. But having more lenses isn't better - choose based on what you most commonly shoot.
These years of travel photography have taught me deeply: photography isn't just about pressing the shutter - it's a life attitude, a way of observing the world. Through the lens, I've seen many beautiful moments that are easily overlooked in daily life.
Anyone can become a travel photographer. The key is to feel with your heart, discover with your eyes, and record with your lens. Don't rush to pursue equipment; start by practicing with the scenery around you. Gradually, you'll discover that beautiful scenes are in our daily lives - we're just usually too busy to stop and appreciate them.
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