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  • How to fly with film

    How to fly with film

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    In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.

    (Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)

    The primary problem facing film fans who fly

    Related: How to travel with film by land and sea

    Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.

    Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment. 

    Can you avoid X-rays altogether?

    Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.

    Never put film in a ‘checked’ bag

    Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.

    A camera, passport and film.
    Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia

    Related: Going back to film? Here’s what’s changed

    A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.

    Film in carry-on baggage: Ask for a ‘hand inspection’

    The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)

    Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.

    *Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.

    The PopPhoto guide to hand inspections

    First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.

    Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).

    We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.

    Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.) 

    Someone loading a film camera
    It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images

    After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way. 

    Going home: Have all film hand inspected

    Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags. 

    If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.

    What about lead-lined film bags?

    Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.

    Advice for other countries

    While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film. 

    Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.



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  • The Best Photography Locations in Senja Island

    The Best Photography Locations in Senja Island

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    You may not have heard of Norway’s second largest island, Senja Island. This underrated must-visit travel destination spans 600 square miles of land area. It is situated above the Arctic Circle and is home to ragged mountains and fishing villages.

    With a population of fewer than 8,000 people along the eastern coast, the Senja municipality will most probably be excluded from your list of must-see places in Arctic Norway. There aren’t many tour groups covering this area. You can say that this island with its friendly southern coast is yet to be discovered. 

    If you are planning to explore the area, check out these photography locations in Senja Island you should definitely visit as a photographer.

    [table id=33 /]

    Senja National Scenic Route

    Senja National Scenic Route
    Aleksander Englund

    What better way to appreciate a new place is by seeing and experiencing it through a road trip? Visiting Senja Island and capturing amazing pictures is possible by taking a trip along Senja National Scenic Route or the National Tourist Route.

    There are 18 different routes that are portions of highways and railways. When taking this route you can take amazing pictures of Senja’s outer coastline. You should definitely watch out for the stunning views, picnic-worthy spots, and spectacular beaches that are picturesque.

    Tungeneset Viewpoint

    Kamchatka

    Traveling through the National Scenic Route, you can witness two picture-worthy viewpoints of Senja Island. One of which is the Tungeneset Viewpoint. Tungeneset is considered a photographer’s haven, and it’s considered Senja’s most photographed site.

    Here in the Tungeneset rest area, you can take snaps of the jagged Oksen Peaks or the Okshorn Peaks. You can also take snaps of the cliffs and the small pools on the rocky surfaces.

    You can also enjoy walking along the rocky edges and taking amazing pictures of the mountain that meets the sea. If you are lucky and it is low tide, you can take pictures of rock cauldrons that are filled with seawater.

    If you happen to visit Tungeneset Viewpoint during poor weather, you can still enjoy the famous Oksen Peaks and take amazing pictures. A tourist-friendly wooden walkway makes it easier for tourists to appreciate and marvel at the amazing view of so many mountains and the open sea.

    Bergsbotn Platform

    Inger Eriksen

    The other must-see site along the National Tourist Route is the Bergsbotn Platform. This platform is 44 meters long. Here you can capture the beauty of Bergsfjord town and its surroundings.

    If you like the thrill of heights, the view from the top is truly worth it to capture through your camera. The platform is made of wood but the view remains unbothered because the sides are made of see-through material.

    Ersfjord Beach

    Inger Eriksen

    Senja is home to the open sea and an enjoyable coastal stretch. The Ersfjordstranda Northern Norway hides several sandy beaches for both Norwegian hikers and foreign tourists. If you are looking for a white sand beach, you can get your treat by checking out Ersfjord Beach or Ersfjordstranda Beach.

    You can easily find photographers spending a lot of their time on this Arctic beach because of its clear skies, spectacular view, and chilling water. The Ersfjord Beach is a great spot for sightseeing, walking, relaxing, and having a photography break approximately halfway along your trip.

    Beach at Bøvær

    Claudio Beduschi

    The beach at Bøvær is another one of Senja’s must-see sights. Though, the road leading to Bøvær Beach can be extremely terrifying, narrow, and winding. But, reaching the spot can make the trip worthwhile because of the spectacular scenery.

    Bøvær is one of Senja’s amazing beaches. As a photographer, you can enjoy taking pictures of the beach’s long shoreline, as well as the white and sandy beach.

    After taking gorgeous pictures of Bøvær Beach, you can rest and relax at the Crow Caste. The Crow Castle or Kråkeslottet is a renovated wooden fisherman’s house located beside the lighthouse. You can enjoy and take pictures of the cultural programs while you are at it.

    Husøy at Fishing Sites

    Ernest Kung

    Husøy or “house island”  is Senja’s active fishing community. It is a small island found at the heart of Øyfjord. There is not much to do in this fishing village, but there is so much to see. You should get your camera ready when you plan to visit the picturesque fishing village, Husøy. 

    It doesn’t matter when you plan to visit Husøy because this small fishing village looks fantastic all year round. If you are planning to roam the site, be mindful that most stores close during mid-day which is an influence of the Spanish armada in 1588.

    With its remote location, you may think that this site is a living museum. However, it is home to a number of residents who make this village alive and beautiful.

    Red Cabins in Gryllefjord

    Perszing1982

    If you are looking for dramatic shots, you should visit Gryllefjord village. The fjord and the open ocean can give your pictures a dramatic feel. The red cabins in the fishing village Gryllefjord are found along the Norwegian coastline and are certainly a feast to behold.

    In the summertime, if you are considering a more extensive tour of Northern Norway, you should take a car ferry. A car ferry links Gryllefjord with the Andes at the northernmost tip of the Vesterålen archipelago.

    Sea Eagle Safari

    Jiri Hrebicek

    Aside from taking gorgeous scenic pictures, you may also be interested in taking pictures of wildlife while you are visiting Senja, Norway. You can join fishing trips by riding a small boat towards Hekkingen Island. This is the sure way you can capture amazing pictures of white-tailed sea eagles in action.

    Ånderdalen National Park in Senja’s Southern Coast

    Matze Friedrich

    If you fancy taking pictures of the outdoors with primeval forest and Norwegian coastal landscape, you will enjoy Anderdalen National Park. This wonderful place is 134 square kilometers in area. 

    The national park is accessible to hikers and bikers. Fishing is a fun activity during the summer. During wintertime, you can enjoy dog sledding and ski touring. 

    This small national park is home to different animals like the moose, reindeer, and red fox. You can take pictures of the amazing landscape, luscious forest filled with trees as old as 600 years old, and forest animals.

    Town of Finnsnes

    You can easily reach Senja, Norway by passing through Finnsnes. This town is found on the mainland. Shops, accommodations, and restaurants abound here. If you want to take pictures showing the busy side of Senja, you should stop over at the town of Finnsnes.

    If you are feeling nostalgic and you want to taste a bit of Senja history, you can visit the Lenvik Church which was built in 1130 in Bjorelvnes. Its architectural design and simplicity can make an amazing photographic composition.

    Hamn I Senja

    Lars Almeroth

    Hamn I Senja is a sheltered port in Senja, Norway. This place used to be a trading post and an old nickel mine. It is positioned south of Sugarloaf Mountain and the Atlantic Ocean to the west.

    You can capture amazing pictures of 98 islets of Bergsfjord that are clustered together up north of Hamn I Senja. The view is simply breathtaking and worth capturing through your camera’s lenses.

    Northern Lights and The Midnight Sun in Senja, Norway

    Winter is a great time to visit Senja, Norway. Seeing and taking pictures of the northern lights is a non-negotiable when visiting Northern Norway. The island of Senja experiences polar nights during winter which makes it the best place to chase some northern lights.

    Polar night can be experienced from the end of November until mid-January. Aside from witnessing the northern lights, it is also fun to go husky sledding and take amazing pictures with the white scenery and adorable huskies.

    Now, if you want to experience the midnight sun for once in your life, you should consider a visit around the months of May and July. It is when the sun never sets and Senja is also breathtaking during this time. 
    Hiking is a fun activity that you can do while still seeing the sun shine bright at any time of the day. While you are at it, you should bring your camera with you. If you spot an amazing landscape or intriguing wildlife, take that picture!

    Backdrop

    Activities and Photography in Senja, Norway

    There is no doubt that Senja, Norway has several spectacular views and must-experience adventures to keep its tourists entertained and enchanted. Aside from the view, Senja, Norway also offers amazing activities that any tourist would like to participate in.

    Senja challenging hikes are coupled with rewarding views on this small island. There are so many hikable mountains on the island. One of them is the Sukkertoppen Mountain which is a challenging and popular hike route for many.

    Nick Fox

    If you are looking for a gentler hike, then you may want to consider Husfjellet mountain. It is easy to climb and you can enjoy a fantastic view while you are on top. You can bring out your camera and take pictures of the spectacular view.

    Aside from hiking, you may also travel around the island on a bicycle. As a cyclist, you can take advantage of the Norwegian coastline. The route forms part of the European Cycle Route 1. Cycling on the road gives you a more advantageous way of taking excellent pictures. You can easily go to remote areas that offer equally picturesque villages.

    On Visiting Senja Island

    Dodi Sandradi

    Senja is famous among Norwegian tourists because of its gorgeous oceans and beaches, rugged mountain ranges, biking and hiking trails, and must-see fishing villages. This is Arctic Norway which is nestled between Tromsø Islands, Vesterålen Islands, and Lofoten Islands.

    As a photographer, you want to be able to manage your own time and enjoy the island at your own convenience. Thus, going around the island in your own car is best. Rentable cars are a good option. Bring your camera and gear so you won’t regret taking a trip to Senja, Norway.

    Lightroom Bundle Presets

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  • Kenya Adventure Elopement Photographer :: Africa Safari Wedding

    Kenya Adventure Elopement Photographer :: Africa Safari Wedding

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    Kenya Adventure Elopement Photographer :: Africa Safari Wedding

    You know it’s going to be a great engagement sitting when the couple is on time, in the right location, wearing coordinated clothing, and brings along with them a file folder full of ideas-including an ampersand that Sindura custom-created and made by hand to execute a shot she had in mind. What more can your photographers ask for? It was a beautiful evening in Lewa Wildlife Conservancy and created these incredible images. That’s what we consider FUN! We hope you enjoy these romantic images that capture Sindura and Chris’ personalities along with the surroundings of one of their favorite places to hang out.

    We loved exploring every nook and cranny of the Lewa Wildlife Conservancy, it is the perfect Wild Bush wedding destination that brings together the natural beauty of the Landscape Valley with the elegance and service one would want for a perfect engagement, proposal, or wedding.  We love working at Lewa Wildlife Conservancy because there is so much variety in the environment and so many fabulous locations to capture the romance and beauty of weddings held here and take advantage of the amazing light at the end of the day, with a sunset that made us feel like we had gone on vacation…  Thank you again for allowing us to use our creativity for you!

    From the amazing day we spent at Sirikoi Lodge Camp Lewa Wildlife Conservancy for Sindhura and Christopher’s surprise secret proposal engagement session and dinner through their storybook, we have had so much fun with this enthusiastic, appreciative couple.  Their excitement was contagious and we were proud to share the day with so many vendor friends.   Thank you so much you guys—it was even more perfect than we ever imagined.”

    Kenya Adventure Elopement Photographer :: Africa Safari Wedding



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  • The Problem with Mood

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    I do a little moonlighting for a small computer and imaging company that rhymes with Snapple. They are under the mistaken impression that my nearly 40 years behind the camera means I know what I’m talking about. Still, I like the challenge. One of my first tasks as their Creative Storytelling Specialist (yeah, I don’t know what that means, either) was to help the engineers understand mood as it relates to picture-making.

    So to get a head start, I did some poking around the internet in hopes that people with greater minds than I had already articulated the idea of mood. Mostly what I found was the advice to “put more mood in your photographs,” as if I were being told to add more salt to every recipe. Not helpful.

    The problem with mood is it’s not really one thing. Add mood? What kind of mood? If mood is about emotional connection then surely we can be more specific about which emotions. But before we disregard the advice entirely, it’s worth acknowledging that it comes from a good place, a recognition of the power of mood.

    The desire for more mood in our photographs—not unlike the desire for more salt—is a desire for more flavour. Only in this case, the flavour is emotion. It’s a desire to move beyond the pursuit of perfection in our images toward something a little more poetic. Poetry is about feelings; unless you’re working as a forensic photographer, feelings are probably something you hope to stir with your photographs. And that requires interpretation. It requires making choices that sway an emotion one way or the other. It requires taking some risks because almost every choice that leads to more emotion in our images is a choice that deviates from the playbook we were all given with our first cameras. It’s a move away from average and towards more flavour. Pass the salt, please.

    So back to my early efforts to articulate mood as a powerful tool (more like a toolbox, really) in photographic expression. Once I got over the confusion about why so little insightful information was out there, here are the first three realizations I had.

    You Can Learn Mood

    Mood isn’t the result of secret techniques, or even advanced techniques. It’s more a result of refined sensibilities. Maybe it’s also a matter of priority. It’s in looking for it, chasing it. It’s in recognizing it when you see it and knowing which choices can amplify those emotions through the image. And those are all present as visual cues that we can see and learn from. You can learn this.

    Set the camera aside for a moment and think about a photograph that you love—one that stirs something in you. Maybe one of the iconic images that made so many of us feel the power of the photograph and want to pick up the camera ourselves so we could find that power and beauty. What makes you feel the way you do about that photograph? Is it only the subject matter?

    I love bears, but not every picture of a bear makes me feel anything. Some make me feel bored. They lack mood. But the ones I love? It’s more than a bear. Bear in great light, perhaps. What kind of light is it, and what did the photographer do with it? Maybe it’s a bear in a great moment. Maybe it’s the camera placement or a story implied by other elements in the frame. Maybe—probably—it’s all that. Whatever it is, you feel it because of something you see. And if it’s something you can see, it’s something you can learn.

    In short, don’t spend more time studying your technical tools than you spend figuring out your mood tools.

    Light Is Everything

    The first thing we look to when we chase mood is light. And so it should be. Light is so often the first thing that hooks us. We feel something about light that resonates with us. We feel differently about backlight than about front-lit scenes. We feel differently about softer light than light that’s more direct and makes harsh shadows. We respond to the shadows and reflections created by light. Where light is concerned, what we seem not to respond to is, well, boring light. Average light. That’s not to say you can’t make expressive photographs in boring light, but it won’t be light to which we respond but something else. A different hook. So if light is so powerful, why do photographers insist on painting with anything but light that has the power of an emotional hook? If you want mood, look to the light. 

    It’s Not All About Light

    At the same time, it’s not all about light. There’s a reason photographers use different focal lengths, and it’s not just to “get more reach” or get more in the frame. It’s because different lenses feel differently. They interpret a scene differently. So do the places in which we put the camera. And the weather. And our choice of moment. Of course light isn’t truly everything. All our choices, all the elements, are everything.

    And that’s the problem with “put more mood into your photographs.” It’s every decision we make—or it can be. But here’s the other problem with mood: there are no rules. There are hooks, elements and choices that we do or don’t respond to, but there’s no playbook. Not really. And so it comes down to having a sensitivity to those hooks, taking risks, and knowing what stirs the OMGILT (Oh my God, I love that!). Many things stir emotion in our images—and nearly infinite combinations of them—but you won’t love to use them all. You won’t love the same colours I do. You won’t be as excited by the same focal lengths or perspectives nor drawn to the same subjects or stories.

    Your Turn. There’s a Prize.

    Are you up for an exercise? How about if I put a prize on the line? In the comments on my blog, tell me about that photograph I asked you to imagine a few paragraphs ago. Describe it. Tell me why you feel the way you do about it. It’s probably not just one thing, but many. What gives that photograph its mood, or what makes you feel the way you do about it? Don’t hold back. I’ll draw one person’s name from the comments below for a free enrollment in my next course, which may or may not be available very soon and is all about mood and making photographs that elicit a more powerful emotional response. Who’s in?

    Update: The lucky winner is Jon Lloyd. Jon, I’ll send you an email about your free enrollment in my Shoot What it Feels Like course. Thanks for playing!

    For the Love of the Photograph,
    David



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  • How to Position Your Subject for the Best Shot – Path

    How to Position Your Subject for the Best Shot – Path

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    Getting the hang of using a camera and photo editing is one thing, but directing subjects? Now, that’s hard! Even pro photographers can struggle with an awkward or camera-shy person in front of their lens. 

    How can you guide your subjects so your portrait shoots are consistent in quality, there are fewer retakes, and the result looks great? It’s a mix of technical shooting and composition skills, with plenty of soft skills, like getting your subjects to relax and smile.

    Want your next portrait shoot to be a success? Check out some practical tips for how to pose any subject—from corporate execs to creative professionals and family groups.  

    Prepare for a successful portrait shoot

    The secret to great portrait poses actually starts before your subject arrives. Here’s what experienced photographers do to prepare:

    Set clear expectations

    Help your clients arrive confident and prepared by sending them key information ahead of time:

    • Share simple wardrobe guidelines: solid colors work best, avoid busy patterns
    • Explain the location and background setup: indoor/outdoor, how many outfits to bring
    • Give grooming tips: classic styling usually photographs best—and a fresh shave won’t hurt!
    • Outline the session timeline: how long it will take, how many looks you’ll capture
    • Send examples of poses you’ll try: helps them visualize the result

    To speed this up, you can create a standard pre-shoot guide you can quickly customize for each client. Use apps like Canva or Adobe Express and export the guide as a PDF or create a shareable link.

    Build trust and rapport

    Most people aren’t naturally comfortable in front of a camera. Posing for headshots can be stressful even for the most successful business people, so your first job is to make them feel at ease. Try these quick tips:

    • Start with a quick chat about what to expect and what you’ll shoot first
    • Demonstrate poses yourself—it’s easier than explaining and helps break the ice
    • Pay attention to what works for each person—a pose that looks great on one subject might feel awkward for another, so stay flexible
    • The same goes for instructions in general—some people need more guidance than others 
    • Keep the conversation natural while you work, but keep your directions simple
    • Give positive feedback when you capture great shots, and if something’s not working, smoothly guide them into a different pose instead of pointing out problems

    Main posing frameworks for any portrait shoot

    Let’s break down some of the best poses for professional headshots and relaxed portraits that consistently deliver great results and let your subjects shine. 

    Standing poses 

    Standing poses are a great choice for both corporate headshots and casual portraits. They offer plenty of ways to help subjects feel comfortable—from leaning against the wall to interacting with the surroundings. Standing shots also work anywhere—in a studio, office, or outdoors—and you can repurpose them to crop in for tighter headshots or waist-up portraits. 

    Here’s how to pose for standing shots: 

    • Turn feet about 45 degrees from the camera—this creates a naturally slimming angle
    • Have subjects shift weight to one leg—usually the front one—to avoid looking stiff
    • Ask them to lean forward slightly from the hips, with just an inch or two being enough
    • Change arm positions between shots—relaxed at sides, hands in pockets, or arms crossed
    • Remember “if it bends, bend it slightly” for natural-looking poses
    • Keep shoulders relaxed and dropped because tension shows in photos
    • Ask the subject to change the direction of their gaze slowly from one side to the other to get a wide range of angles

    two photos of women, side by side, with gray hair

    For corporate shots:

    • Keep poses clean and professional
    • Arms relaxed at sides or one hand in pocket
    • Subtle lean forward to engage with the camera
    • Maintain a straight posture while avoiding stiffness
    • For tight headshots, still keep the body slightly angled, like on Treeconomy’s team page 

    treeconomy about us page with team individual headshots

    For personal branding:

    • Allow more dynamic movement
    • Try casual leans against walls or furniture
    • Experiment with crossed arms or hands on hips
    • Include interaction with the environment (desk, tools of trade, products), like Liz, owner of Wild Pines, an arts and crafts store

    Wild Pines about page with a photo and text about the founder

    • Allow space for naturally big smiles and laughter, too—it’ll create warm and welcoming portraits, like on Sojo’s company page

    Sojo about us page with the founder photo at a design table and some text about the brand

    Flattering seated poses

    Seated portraits can create a variety of engaging shots. Just because your subject is sitting doesn’t mean options are limited—it’s all about working with posture and leg positioning to create natural, dynamic results.

    Key principles for seated portraits include:

    • Guide subjects to sit at the edge of their chair or sofa instead of slumping back
    • Avoid letting subjects sink into soft furniture (like in the example below of Noura Sakkijha, CEO of Mejuri)
    • Keep the core engaged for good posture 
    • Point toes in the same direction to elongate legs

    Mejuri meet the founder page with text and portriat

    Professional settings:

    • Position at a desk with a slight forward lean
    • Hands clasped or resting naturally—play around with a variety of hand positions to find a flattering pose for your subject
    • Encourage subjects to engage with what’s on their desk, such as their laptop or notebook
    • Cross ankles rather than legs for a polished look
    • Keep shoulders level and relaxed
    • Walk around the subject to capture different angles—from camera-facing to slightly angled to full-on side profile

    man sitting at a desk looking away from the camera with an open laptop in front of him

    Casual settings:

    • Allow more relaxed postures while maintaining good form
    • Create asymmetry by shifting weight to one hip
    • Use arms for support when sitting on floors
    • Avoid both legs pointing directly at the camera—instead, either extend one leg towards the camera or angle them both slightly away from the camera

    portrait on off-white background of a woman sitting down casually, she has a prosthetic leg

    Creating dynamic duo shots:

    • Use seating to create interesting height variations
    • Try one person seated while the other stands
    • For co-founder shots, have one person sit in a chair while the other perches or leans on the armrest, like in the example below of ettitude’s co-founders
    • Vary the height of chairs or use different seating positions to add visual interest
    • Keep subjects at different heights but maintain connection through body language or eye contact

    Ettitude from the founders page on their webiste

    Relaxed group portraits

    Whether you’re photographing a corporate team or a family, group photos present unique challenges. 

    Basic principles for group shots:

    • Create depth by avoiding straight lines of people—unless you’re shooting a sports team photo that traditionally requires one or two straight lines of players
    • Stagger heights naturally using stairs, chairs, or standing/sitting combinations
    • Keep heads at different levels but close enough to feel connected
    • Position taller people towards the back or center
    • Arrange people in a slight arc to ensure everyone’s visible, like in Ora’s team photo below with the two people on both sides slightly turned inward
    • For large team shots, shooting from an elevated position, such as another floor, can help include everyone, but you could also use a drone
    • Shoot more photos than you think you’ll need—there’ll always be someone blinking so it’s best to have more images to pick from

    Ora about page showing the founders and their story

    For professional teams:

    • Keep poses consistent but not identical
    • Use the rule of thirds to arrange larger groups
    • Break bigger teams into smaller clusters
    • Maintain equal spacing between subjects
    • Ensure everyone’s shoulders are angled slightly rather than square to the camera—or, if facing the camera directly, ask the subject to shift weight from one leg to the other 

    two group shots, side by side, the group shot on the left has three older women standing and the group shot on the right has five diverse adults standing

    For family portrait poses:

    • Create natural connections through gentle touching (hand on shoulder, arms linked)
    • Position children in front or held by parents
    • Use props or furniture to create natural groupings
    • Let small kids move around and play between shots to stay engaged
    • Capture both formal and candid interactions—experiment with both seated and standing poses
    • Switch between some or all subjects looking at the camera to fully candid shots

    family portrait of two adults and two children in a casual home setting

    Common posing challenges and tips to solve them

    Even experienced photographers run into tricky posing situations. Maybe you’ve got a group with significant height differences, someone nervous about being photographed, or the shoot ran late so now you’re rushing to cover all your bases. So, what are some common challenges you might run into?

    Height differences

    If you have subjects with drastically different heights, it can make for an awkward portrait. Position taller people slightly behind or sitting. Seated poses work the best to tackle this, but that doesn’t mean you should avoid standing poses altogether. You can use elements like stairs or slopes to minimize extreme height gaps. 

    portrait photo of a group of students and their teacher in front of a blackboard

    You can also create diagonal arrangements instead of straight lines. Avoid placing the tallest and shortest people next to each other—unless they’re standing behind each other.

    Confidence issues

    If your subjects are camera-shy, start with simple poses to build trust. Give specific compliments about what’s working well, and show them the preview shots when you capture something great. 

    It’s a good idea to have a few go-to safety poses that work for most people. Some might also feel more relaxed if there’s music playing in the background, especially if you’re shooting in a studio.

    Your own confidence and body language as the photographer make a difference too—stay positive or even a little goofy if appropriate. Make sure to edit your portraits and headshots to show your subjects in the most flattering way while keeping their appearance natural

    Photographing glasses and reflections

    If shooting something reflective in the frame, slightly tilt the head down to avoid glare. You can also ask subjects to push their glasses slightly up their nose. Position lights at angles that don’t create reflections. If the reflection doesn’t cover the subject’s eye in full, you can always fix it with retouching.

    Rushing through poses

    Prepare a shot list ready but be flexible—you can have the shot list on your phone or even photograph it so you can flick through your camera during the shoot without stopping the session.

    Start with your most reliable poses first. Give clear, concise directions, and keep subjects engaged by showing progress.

    Are you ready to direct your next portrait shoot?

    Working with people can be unpredictable because everyone’s unique—but that’s exactly what makes portrait photography so rewarding. The trick is to adapt your approach for each subject while keeping your photo quality consistent. With these posing guidelines, you’ll be better equipped to direct any portrait session confidently, from corporate headshots to family gatherings.

    And if you need help getting those portraits polished and ready to share, our team of expert editors at Path can handle the retouching while you focus on capturing more great shots.

    Polish up your portraits with pro retouching from 79¢ per image

    Portrait poses FAQs

    How do you pose for a professional headshot?

    Start by turning your body 45 degrees from the camera, then face back toward it. If you’re standing, shift your weight to your front leg, keep your shoulders relaxed, and lean forward slightly from the hips. Small adjustments make a big difference—change arm positions between shots and keep movements subtle. Allow yourself to smile and laugh, too!

    How do you look professional in a headshot?

    • Maintain good posture without looking stiff
    • Keep shoulders back but relaxed
    • Sit at the edge of your chair for seated shots
    • Cross ankles instead of legs
    • Let hands rest naturally

    What are the best poses for group photos?

    Avoid straight lines of people. Instead, create depth by staggering heights using stairs or chairs, and arrange people in a slight arc. For professional teams, keep poses consistent but not identical. With families, encourage natural connections through gentle touching like hands on shoulders.

    What are common mistakes to avoid when posing subjects?

    Common portrait mistakes include forcing unnatural smiles, rushing through poses without direction, and not adapting poses to fit different subjects. Stay engaged with your subject throughout by having a conversation and provide positive feedback. If something doesn’t work, simply switch to the next pose.

    How to pose different body types?

    Work with your subject’s natural body language instead of forcing uncomfortable poses. The 45-degree angle works well for most people, as does shifting weight to one leg. For seated poses:

    • Focus on good posture
    • Create asymmetry through slight head tilts
    • Adjust your camera position rather than making subjects twist
    • Make sure subjects feel confident in their pose
    • Don’t let the subject sink back into a soft chair or sofa

    How do you pose someone who is camera shy?

    Start with simple poses and build trust gradually. Show them preview shots when you capture something great, keep the conversation going, and guide them into different poses smoothly. Playing background music can help relax in studio settings.

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  • Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

    Backscatter Introduces Excitation Filters for Fluorescence Photography and Video

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    Backscatter is getting into the fluroresence photography and video game with the latest accessories for its Hybrid Flash and Macro Video 4300—the new Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter, respectively. The former attaches to the HF-1 using the diffuser bayonet mounting system, while the latter snaps onto the front of the MW-4300 the same way as Backscatter’s color filter holder, and both filters are carefully tuned to excite fluorescence optimally. (The latter is also compatible with the Backscatter Mini Flash, but since fluorescence is a weak effect, Backcatter says you’ll get more vibrant images by making use of the power of the Hybrid Flash instead.)

    The new blue excitation filters for the Hybrid Flash and Macro Video 4300 are used in conjunction with suitable yellow “barrier” filters that attach to ports, lenses, and filter mounting systems. The barrier filter removes the blue light in your image or video, ensuring your camera records only the colorful fluorescence that is left behind. Backscatter offers threaded barrier filters in various sizes (52mm, 55mm, 67mm) as well as a barrier filter for the company’s FLIP filter system for GoPro. Also available is the Backscatter Fluorescence Yellow Barrier Filter Dive Mask, which allows you to find suitably fluorescing subjects.

    To give you a better idea of the amazing results you can achieve with the new excitation filters, Backscatter has prepared a must-read article, “The Backscatter Underwater Fluorescence Strobe & Lighting System,” which tells you more about the fluroresence phenomenon, gives you recommended settings to get the best results, and, of course, offers lots of inspiring fluoro images to get your creative juices flowing. Available now, the Backscatter Hybrid Flash Fluorescence Excitation Filter and Backscatter Video Light Fluorescence Excitation Filter are each priced at $200. The barrier filters cost between $20 and $50.

     

    Left: Backscatter Hybrid Flash with Fluorescence Excitation Filter.

    Right: Backscatter Macro Wide 4300 with Fluorescence Excitation Filter

     

    Left: Fluorescence Excitation Filter for Backscatter Hybrid Flash.

    Right: Fluorescence Excitation Filter for Backscatter Macro Wide 4300

     

    Left: Threaded Fluorescence Barrier Filter (52mm, 55mm, 67mm).

    Right: FLIP Fluorescence Barrier Filter for GoPro

     


    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



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  • Packing For An African Safari (Updated)

    Packing For An African Safari (Updated)

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    The notes below are specific to Kenya but having done safaris in Zimbabwe and South Africa as well, most of these suggestions apply just as well to other places.

    I’ve been asked over the years, both by my safari clients and others, what and how to pack for a trip like this, so it felt like this might be a good time to explore that for those who are curious. If you and I were sitting down over a glass of wine and you told me you were planning a safari and asked me for my advice on packing, here’s what would be most likely to tumble out of my mouth, in no particular order. This is a long one, so you might want to get that glass of wine (or cup of coffee) now.

    Arrive Early

    Most flights into Nairobi arrive late at night, usually from 9 pm to midnight. You clear customs, grab your bags, and head out of the airport to take your first breath of air—a mix of dust and diesel and the heady promise of adventure. If you’re on one of my trips, a driver will pick you up and take you to your hotel for whatever sleep you can get before an early breakfast and a short flight to the Maasai Mara. That’s if it all goes well: if there are no delays, no missed connections, and no lost luggage.

    My recommendation is to arrive at least one night earlier; I prefer to spend two or three nights at The Emakoko. Located in Nairobi National Park, staying at The Emakoko means I’m in a Land Cruiser and out of the city within 20 minutes of walking out of the airport (about 40 minutes to the actual camp). And when the sun comes up the next morning, I’m photographing rhinos and lions in the morning light, shaking off the dust and jet lag while waiting for my clients to arrive. (The Emakoko is lovely but not inexpensive. If I don’t have time or budget, I stay at the Emara Ole Sereni)

    And if there’s a problem with international flight delays (or wayward luggage), I’ve got time to sort that out before I need to be on a small plane heading to the Mara or whichever area I’m exploring. Planning to arrive two nights before you’re meant to be on a charter flight to the Mara (or Amboseli, or Meru, or wherever) provides a buffer and some peace of mind. And if you want to get out to see things like the Giraffe Centre, the Sheldrick Elephant Trust, or just spend the day exploring and photographing in Nairobi National Park, this gives you time to do that.

    Pack Light

    This is easily the hardest part of most safari travel. Sure, your international flight to Nairobi will let you carry 50 lbs (or more) of checked luggage and maybe as much as 50 lbs in your carry-on luggage as well. So bring it all, right? But the problem arises when you need to get on a small Cessna and they tell you you’re limited to something insane like 25 lbs—total! It’s an impossible ask of photographers with gear.

    Even if I didn’t bring a stitch of clothing (look away!), my camera gear alone weighs more than this. The workaround is to book an additional seat or child’s seat with your airline (usually SafariLink), or to travel with a small group specifically catering to photographers, like one of my trips, in which case we just charter the whole plane. Weight limits of some sort still apply, but they’re much less restrictive. Mercifully, my clients can now pack a few pieces of clothing as well.

    Once you arrive at your safari camp, you need very little. A couple changes of clothes is really all you need as there’s basic laundry at most camps. Bring a sweater or light jacket as the mornings can be cool. Bring a rain shell if you’re there during the rainy season. You’re not there to make a fashion statement, so just bring the basics. But do be aware of what your limits are before you get there and plan for those limits (everything is negotiable) or you’ll find yourself frustrated and stressed out when all you want to do is board your plane. If you’re going with a group or you’ve got a safari organizer, be sure to ask about this. Of course, if you’re driving to the Mara (or whichever area you’re visiting) it becomes a non-issue, but I wouldn’t trade more time on safari for unlimited gear and the long drive ever again. A 45-minute flight compared to an eight-hour drive on Kenyan roads? That’s an easy choice for me.

    Soft Luggage

    The other thing to keep in mind is your luggage itself; the smaller planes really don’t like rigid luggage, so leave the hard shell suitcase at home. Pilots like to be able to get as much luggage as possible into the small holds, and large rigid suitcases make this more difficult than it needs to be. They’re also heavy, so if you want to save weight and not get your pilot’s nose out of joint, stick to something soft. I like the Base Camp series of duffel bags from The North Face. I’ve got five of these bags in different sizes, and they’ve never failed.

    (Updated: as of 2025 I’m using a Patagonia 70L Black Hole Wheeled Duffel. In June 2023 I had my right leg amputated below the knee and find a wheeled duffel easier for hauling my gear)

    The North Face Base Camp Duffel has been around the world with me, in various sizes and colours for many years. Reasonable weather-proof and extremely durable, these (or something like them) are my recommendation.

    In addition to what I wear as I travel, here’s what’s in my duffel for most of my trips:

    • 2 long-sleeve buttoned shirts (lightweight and synthetic) 
    • 1 warmer long-sleeve shirt (I like merino wool)
    • 2 pairs underwear
    • 2 pair of socks
    • 2 pairs lightweight long pants
    • Lightweight flip-flops/sandals
    • Shorts that double as swim trunks
    • 1 baseball or sun hat 
    • 1 sweater, merino wool (I like the Icebreaker brand)
    • 1 lightweight puffy jacket (Patagonia) for cooler mornings
    • Light gloves and toque
    • Lightweight rain coat (Patagonia)
    • 2–3 Buffs, which are handy fabric tubes that can be worn around your neck to protect from sun, pulled over your nose and ears to keep pesky flies out, and wrapped around lenses and camera bodies to protect them in transit. I love my Buffs!

    What About Footwear?

    My favourite slide-on/slide-off boots are Blundstones, and they’ve been around the world (and on safari) with me many times. You don’t usually need much more than light sneakers or ankle boots for safari because you’re not often out of the vehicles unless you’re on a walking safari. Don’t weigh yourself down with heavy leather hikers. I have clients who happily wear sandals all day, though I prefer to keep my feet covered and out of reach of bugs (especially ticks which freak me out!)

    About Carry-On Bags

    Now, this all assumes you’ve managed to get to Kenya in the first place without running the gauntlet of various luggage limitations imposed by international carriers. Since they all differ, the best thing you can do is check your limits and buy a decent luggage scale and keep it with you as you pack.

    My last British Airways flight to Kenya (YVR – LHR – NBO) allowed me two pieces in the cabin, each up to 23 kg (or 51 lbs). That’s generous; many airlines don’t give you this much. To my surprise, Air Canada is currently limiting the size and number (2) of carry-on bags but is saying that no specific weight limits apply. I’m not sure when that change happened, but it’s welcome! Know your limits and work within them.

    My carry-on bags are the Gura Gear Kiboko 30L and the Gura Gear Chobe 16″. Both are lightweight, can carry a ton of stuff, and still fit in almost every overhead bin I’ve ever tried and under some of the tightest seats, and they look like they carry less than they do. I own seven different Gura Gear bags, they’ve been to 7 continents with me, and they’re my hands-down favourites for my long-lens trips. Read more about them in this post here.

    One of my Gura Gear Kiboko bags (left and centre) and my Gura Gear Chobe (right). Made from a durable sail cloth these are lighter than any other bag of the same size that I’ve used.

    About Gear

    For most trips, I pac the following in my Kiboko 30L backpack (carry-on #1):

    • 2 x Sony a1 bodies with vertical battery grips
    • 24-105/4.0 lens
    • 100-400/4.5-5.6 lens
    • 600/4.0 lens or 300/2.8 lens
    • 1.4x  and 2x teleconverters
    • 8 batteries for the cameras (lithium-ion batteries cannot go in checked luggage)
    • 1  small Petzl USB-rechargeable (lithium-ion) headlamp (don’t overlook this; you’ll be starting and ending the day in the dark, and having a hands-free light to find things while you’re bumping around in the truck at the edges of day can really help)
    • 1 card wallet with 10 x 256 GB SD cards (bring more than you think you need)

    *A note about packing lenses: don’t travel with them attached to your camera bodies, especially longer lenses, which act like levers. It’s just too easy for the weak point—where the lens and body connect—to fail if a bag gets dropped. Keep them separate in transit and put them together when you get to your camp.

    I pack the following into my Gura Gear Chobe bag (carry-on #2):

    • 1 x Apple MacBook Pro 13″
    • 2 x Samsung 4TB SSD hard drives (SSD drives have no moving parts and are much faster and more durable than drives with spinning platters (and they’re so small I can put one in my passport wallet)
    • 1 card reader and one hub to connect it all
    • Power cables and plug adapter (Kenya uses type G, the same as the U.K.)
    • Sony battery chargers x 2
    • 1 novel
    • 1 journal and pens
    • Apple AirPods Max
    • Passports, copies of my visa, and relevant vaccine passports (copies of all these are also in the cloud on Dropbox, just in case)
    • iPhone
    • Sunglasses
    • Medications and a couple of meal bars
    • Cash for tips and emergencies (USD in newer, smaller bills—most camps take credit cards, but it’s good to have a few hundred bucks in cash to tip your drivers)

    On other trips when weight limits are tighter (for example, on Lufthansa, I’m allowed two carry-on bags, but each max out at 8 kg/roughly 18 lbs, and that’s for the business class cabin!), I move some of the heavier stuff from the big bag into the smaller one because the big bag is most likely to draw attention and get weighed. Fortunately, the airlines don’t like putting expensive gear, lithium-ion batteries, or life-saving medication in the hold, and that pretty much covers everything in my bags!

    What I like about this set-up is that when I get to camp, my computer and personal stuff is all in one bag that stays in my tent, and once my gear is all together, I have only one backpack and a long lens and camera to take to the Land Cruiser for game drives. It’s easy to work out of and still keep my stuff (as well as a raincoat, a sweater, and a bottle of water) all together.

    So, Which Lenses?

    I’ve listed above which lenses I bring. Out on the savannah, you’ll have plenty of times when the 24-105mm will be perfect (the lions and beasties almost within touching distance), and the wider focal lengths for landscapes and shooting the adventure itself are great. Other times you’ll want the reach of a longer lens.

    Do you need a 600mm lens? No. In fact, longer lenses are bigger and weigh more, and you might be better off with a 300/2.8 and a 1.4x or 2x tele, depending on the quality of images you get with your particular glass. A 1.4x on my Sony 600/4.0 is amazing and gives me the extra reach. Another way to get some extra reach might be to bring one body that’s not full-frame in order to take advantage of the crop factor.

    If I have lenses that cover from about 24mm to 600mm I’m happy. That could be a 24-105, 100-400, and a 600mm or a 300 with a 2x. It could also be a 16-35, 70-200, and 600 or 300 with a 2x. Or it could be 24-105 and 200-600. Whatever the combination, 24 to 600 is perfect coverage for a safari.

    The other consideration is not only reach but how much light it lets in. Some of the best opportunities I’ve had in the softer light on either side of the day have benefited from a lens that lets more light in, but if your camera does well at low-light/high-ISO, then just nudge that ISO up. It’s always a compromise (with budget as well), and for many people, the best compromise might be something like a slightly slower zoom lens rather than a long fast telephoto. And because you are usually confined to vehicles, generally choosing zoom lenses over fixed primes will give you some flexibility with your compositions. I personally don’t think there’s any reason to bring more than three lenses on safari.

    Instead of the big heavy 600mm and the 100-400mm, you could bring a lens like Sony’s excellent 200-600/5.6-6.3. As long as I could get to about 600mm of reach with focal lengths in between from about 24mm, I’d be happy on safari.

    (Updated: Sony now makes a 300/2.8 lens that is gorgeous and, coupled with a 2x teleconverter, gives me the option of a 600/5.6 at a fraction of the weight. My 600/4.0 mostly stays at home now.)

    Remember, some of this glass is prohibitively expensive, especially if you’re not doing this often, and this is where I suggest you consider renting. Don’t buy a $10,000 lens when you could rent one and get access to a much longer, faster lens for much, much less.

    Which Camera?

    Well, for most of us, the answer is “whichever cameras you own.” But something with decent high-ISO performance, a fast burst mode, and quick autofocus will serve you well. It’s probably more important that you have two of them so you have a backup if one fails, and so you don’t have to change lenses too often in what is often a very dusty environment. Most of the time, I’ve got one body with my 600mm and mounted to a monopod, and the other with my 100-400mm sitting in my open bag at my feet.

    Batteries?

    Bring enough batteries for a long full day of shooting a lot of frames. Most lodges have easy access to charging stations, but you’ll want to be sure you can shoot all day. Not every camp has charging stations in the tents, so it’s helpful to label your batteries and chargers just so you know what belongs to who if there are others there with similar gear.

    SD Cards?

    Bring them all. My hard drives max out at 4TB, so I have 4TB of cards (mostly 256GB, but some older 128GB cards, just in case). They weigh nothing, so if you’ve got’em, bring’em. I make sure I have enough cards and hard drives that I can arrive home with everything backed up on two drives and not have to reformat or re-use my cards until the images are safe at home.

    Anything Else?

    • 1 x 4-outlet power strip with USB (this means I only need one plug adapter and can charge multiple things at once—handy if there are other photographers wanting to use a limited number of outlets)
    • A rocket blower and small sensor cleaning kit
    • 6-8 microfiber lens cloths in a Ziploc bag
    • Small multi-tool (Gerber)
    • 2 x garbage bags in case it rains or my big gear needs quick protection from dust
    • Tiny roll of duct tape and tiny tube of Superglue
    • Tiny pocket-sized first aid kit
    • Spare glasses and sunglasses (if I can’t see, the trip is over!)
    • Binoculars (although the camps often provide them, I like using my own—and if I’m cutting bag weight, these are the first to get left at home)
    • Monopod (Really Right Stuff) with a gimbal head specific to monopods (I use and HIGHLY recommend the Wimberley MH-100 – it’s the best $170 I’ve spent on photography. Hate using a monopod? Me too. This small head changed that.)

    About Support

    Longer lenses mean the need for some kind of support. Sure, you could just hold that 600mm (it weighs 3 kg without the camera), but not for very long! Wildlife requires a lot of patience and waiting, and you want to be ready when the action happens, not sitting there with a camera on your lap.

    For years I brought a bean bag filled with lightweight buckwheat husks, and filling it at home saves you from having to find beans or some other filler when you get to camp. I still suggest this for those who don’t want a monopod or who use lighter lenses, but many vehicles (especially the open-sided ones that are best for photography) don’t have a great place to put a bean bag, or if they do, they’re so low you couldn’t see through the viewfinder if you wanted to (tilting LCD screens to the rescue).

    What About Tripods?

    I haven’t packed a tripod for safari in 12 years, but a few years ago I started using a monopod, and with the right gimbal head for lenses with a tripod collar, it’s amazing. 

    I keep my monopod collapsed and rest it on the seat or my thigh most of the time. But I can also expand it and rest it on the floor, or expand it more completely and rest it on the ground outside the vehicle to get my camera much lower. And once it’s up, I can sit for hours, holding it loosely, with my camera aimed where I want it. I can’t believe I waited this long to shoot this way. And if you don’t want it, take it off, and it’s out of the way.

    So, ahem, while we’re talking about support, Cynthia and other female clients have told me often that a good sports bra is a welcome addition to my suggested packing lists. There is a lot of bouncing around in the safari vehicles and for those for whom that might matter (you know who you are), a little extra support might go a long way.

    My first Kenyan safari was over 15 years ago, and it changed my life. We now spend every January (pandemic notwithstanding) exploring this wonderful country. For wildlife lovers, it’s an extraordinary experience. But it’s not only the fantastic animals: it’s the light, the landscapes from which the human race sprung, and the people. I feel so…home here. If you’re at all curious about exploring or photographing Kenya, I’d love to answer any questions you may have in the comments below this post.

    Or you could come with me. Add your name to my Adventure List and you’ll be among the first to hear about new opportunities.

    I’ve got an incredible safari planner, and if it might help you plan your own trip, let me know in the comments, and I’ll introduce you by email. He’s my secret weapon.

    Got a question about gear? Let’s talk about that, too. It’s taken me a long time to dial this in, and I’d like to make it easier for you if I can. There’s so much I didn’t cover in this article, but if you’ve got questions, let’s explore them!

    For the Love of the Photograph,
    David



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  • The best carbon fiber tripods for 2023, tested and reviewed

    The best carbon fiber tripods for 2023, tested and reviewed

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    We may earn revenue from the products available on this page and participate in affiliate programs. Learn more ›

    Carbon fiber tripods offer several very tangible advantages over their metal counterparts. They are stiffer, stronger, and more durable than aluminum. Despite those things, they also weigh significantly less than aluminum, making them a popular choice for travel and landscape photography. Of course, they also will cost you more than an aluminum tripod, but for many, it is worth it. The best carbon fiber tripods will help you get stable shots while making it easier to bring a tripod along.

    How we chose the best carbon fiber tripods

    The writers and editors at Pop Photo have decades of photography experience across the full spectrum of photographic genres and equipment. We’ve used our fair share of tripods in a wide variety of situations, from cheap plastic and heavy aluminum to more advanced carbon fiber models.

    When selecting the carbon fiber tripods on this list, we aimed to choose options suitable for different pursuits, from travel to studio work. And while carbon fiber tripods are pricier than aluminum, we looked for products at various price points to suit different budgets. In addition, durability, sturdiness, and ease of use were all part of our decision-making process. Lastly, though tripods aren’t exactly feature-rich, we looked for options with enough features to make them versatile and usable in different–even challenging–situations.

    The best carbon fiber tripods: Reviews & Recommendations

    There is certainly no shortage of carbon fiber tripods available. Below you’ll find our favorite options for a variety of situations and use cases, so you’re sure to find one that fits your needs.

    Best overall: Peak Design Travel Tripod

    Why it made the cut: Peak Design’s Travel Tripod weighs only 2.8 pounds and folds down to the width of a water bottle while still being able to support up to 20 pounds.

    Specs

    • Maximum height: 60 inches
    • Minimum height: 5.5 inches
    • Weight: 2.8 pounds
    • Weight capacity: 20 pounds
    • Folded length: 15.5 inches

    Pros

    • Includes a ball head
    • Compact and lightweight
    • Good height range
    • Excellent strength-to-weight ratio

    Cons

    • Expensive
    • Only two leg angles

    Originally released through a Kickstarter campaign in 2019, the Peak Design Travel Tripod made waves thanks to the unique leg design. When folded down, it is just 15.5 inches tall and about the diameter of a water bottle. That makes it very easy to throw in a backpack‘s side pocket instead of fumbling with attachment points and straps.

    The five-section legs can all be deployed at once with the aluminum lever locks to save time–and to look really dramatic. It can support up to 20 pounds and is very sturdy, considering its small size. The included ball head is minimal and aids in the tripod’s compact design. Instead of levers and knobs like normal tripod heads, there are simple locking and adjustment rings.

    The Peak Design carbon fiber tripod can extend to 60 inches with the center column or 51.25 inches without that extended. For low angles, the center column reverses and hangs underneath the legs. There is also a removable hook on the center column, so you can easily hang weight to add stability. And this tripod comes with a slick travel bag, mobile mount, and hex wrenches. The mobile mount is a nice touch and makes this tripod excellent for all sorts of creators.

    Best for hiking: Manfrotto Befree Advanced

    Why it made the cut: Its lightweight form factor but very adjustable height and 20-pound weight capacity make this a great option to take backpacking. 

    Specs

    • Maximum height: 59.1 inches
    • Minimum height: 16 inches
    • Weight: 2.8 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 16.1 inches

    Pros

    • Includes a ball head
    • Lightweight and compact
    • Three leg positions
    • Well-designed twist lock legs

    Cons

    • Center column doesn’t move as smooth as the legs

    Manfrotto’s Befree line has been a popular choice for travel and adventure photographers for years. The Advanced version brings a higher weight capacity to the line, able to support nearly 20 pounds. It weighs the same amount as the Peak Design tripod mentioned above, though it is slightly larger when folded down. However, it still fits nicely into a side water bottle pocket on a hiking backpack. And the extra space between the legs makes it easier to secure with a strap for peace of mind while hiking.

    The Befree Advanced tripod comes with a ball head, or you can also get it with a fluid head if you need smoother movements for shooting video. The ball head offers 360 degrees of swivel and can tilt 90 degrees for portrait orientation as well. It’s easily controlled via the large knob, even if you have gloves on. The center dial in the control knob allows you to adjust the tension and get more precise positioning. 

    The legs are made up of four sections and are locked into place using twist locks. Unlike other tripods I’ve used, the leg sections don’t automatically extend when untwisting the locks, which is good and bad. It takes a little more time to set up but is less of a pain when putting the tripod away or if you forget to lock one down all the way. The legs lock at three different angles, giving you lots of flexibility. 

    Best rugged: 3Pod Everest T3

    Why it made the cut: As the name suggests, the Everest T3 is built for harsh conditions. It is cold weather resistant, features CNC machined dust-proof construction, offers anti-corrosion faces, and comes with spiked feet for better traction.

    Specs

    • Maximum working height: 64.17 inches
    • Minimum working height: 13.4 inches
    • Weight: 3.2 pounds (without ball head)
    • Weight capacity: 33 pounds
    • Folded length: 19.7 inches

    Pros

    • Sturdy, heavy-duty build
    • Built for harsh environments
    • Comes with spiked feet for added grip
    • Available with or without a ball head

    Cons

    Photography can take us to some wild, rugged places. The 3Pod Everest T3 is up for the challenge, thanks to a seriously rugged build. 3Pod made this tripod with CNC precision for a dust-proof design. It’s also cold weather resistant, meaning the joints will keep moving even in extreme cold. The grippy material on two of the legs makes it easier and more comfortable to hold in the cold, even if you have gloves on.

    The legs of the Everest use a twist lock design for quick assembly and breakdown. It comes with 3Pod’s H4 ball head (or you can opt for a version without a head) and Arca-Type quick-release plate. The ball rotates very smoothly with just enough resistance. Two bubble levels help you ensure your shots are level in-camera. This carbon fiber tripod can extend to 5.3 feet with the center column extended or 4.4 feet without the extra extension when you need extra sturdiness. Should you need a low-angle shot, you can remove the center column to get shots as low as 13.4 inches. You can invert the center column for creative angles as well.

    The main downside to the Everest T3 is that it’s a fairly bulky tripod. It weighs 3.2 pounds and is pretty long, even when folded down. But, the heavy-duty design results in a 33-pound weight capacity. Should you want something more robust, 3Pod also makes a larger version—the Everest T5—which offers a 55-pound load capacity and 6.6-foot maximum height.

    Even more carbon fiber tripods to consider

    If one of the three above doesn’t tick all the boxes for you, check out these additional options.

    Best for versatility: Manfrotto MT055CXPRO4

    Why it made the cut: This versatile Manfrotto tripod can go from 3.5 inches to 66.9 inches, thanks to the angle selectors on the legs and sturdy center column. Plus, it has a convenient attachment point for arms to hold accessories like reflectors.

    Specs

    • Maximum height: 66.9 inches
    • Minimum height: 3.5 inches
    • Weight: 4.6 pounds
    • Weight capacity: 19.8 pounds
    • Folded length: 21.3 inches

    Pros

    • Ample height range
    • Sturdy and durable
    • Center column bends 90 degrees
    • Includes attachment point for accessories

    Cons

    • Tripod head must be purchased separately

    Manfrotto has long been one of the top tripod producers. Its MT055CXPRO4 is an extremely popular tripod, and for good reason. At  4.6 pounds, it weighs a bit more than some of the other models on this list. But it is very sturdy and supports nearly 20 pounds, which is more than enough for a full-frame camera and hefty telephoto.

    Each leg features Manfrotto’s Quick Power Locks (a type of lever lock), which are easy to use but extremely sturdy. The legs can be set to multiple angles, allowing you to set the tripod as low as 3.5 inches. You’ll be able to get some really dramatic and unique angles for landscapes while still getting stability from a tripod.

    With the center column extended, you’ll get 66.9 inches of height. Manfrotto redesigned the center column on this carbon fiber tripod to enable one-finger operation, so you’ll be able to raise it with much less fuss. And the center column can bend 90 degrees for better versatility or more unique angles. There is an Easy Link attachment point for adding accessories like a LED light or reflector with a compatible arm.

    At the top of the tripod is a bubble level that swivels 360 degrees so you can see it no matter how you have your tripod set up. But, you will need to purchase a head for this tripod separately. For most people, we’d suggest Manfrotto’s XPRO Ball Head.

    Best for landscape photography: 3 Legged Thing Leo 2.0

    Why it made the cut: It can hold up to 66 pounds, so even if you use a large camera and bulky lens, you won’t have to worry about stability. And yet, the tripod only weighs 4.8 pounds, so it will still be feasible to pack on a trip.

    Specs

    • Maximum height: 54.3 inches
    • Minimum height: 4.9 inches
    • Weight: 4.8 pounds
    • Weight capacity: 66 pounds
    • Folded length: 14.7 inches

    Pros

    • Heavy weight capacity
    • Good height range
    • Lightweight and compact
    • Highly modifiable

    Cons

    • Not as tall as other options

    3 Legged Thing is a small British company that was launched in 2010. The Leo 2.0 has a surprising weight capacity, supporting up to 66 pounds. So even if you use a large DSLR or medium format camera with a heavy lens, this tripod will be able to handle it. And yet, the tripod only weighs 4.8 pounds with the head attached, which is only slightly heavier than the Manfrotto 055. 

    One of the best things about the Leo carbon fiber tripod is that it is very modifiable. Each leg can be removed and acts as a monopod. The center column can either be removed entirely or inverted to get lower to the ground. And you can purchase tripod feet for better stability on different types of surfaces.

    This tripod comes with a carrying case and also the 3 Legged Thing Toolz multi-tool for adjusting various parts of the tripod. It can’t extend quite as high as other options, but the ability to modify it so much and the large weight capacity are huge benefits. 

    Best heavy-duty: Gitzo GT5533S Systematic Series 5

    Why it made the cut: The Gitzo Systematic Series 5 holds a whopping 88 pounds, making it the ideal choice for those shooting with large cameras and lenses.

    Specs

    • Maximum working height: 52.8 inches
    • Minimum working height: 3.9 inches
    • Weight: 6.2 pounds 
    • Weight capacity: 88 pounds
    • Folded length: 24.4 inches

    Pros

    • Very heavy duty
    • Available in different heights and configurations
    • Exceptionally sturdy
    • Feet are articulating for better stability

    Cons

    • Center column or head must be purchased separately

    If the 3 Legged Thing doesn’t provide enough stability for you, the Gitzo Systematic Series 5 will. It supports up to 88 pounds, which is ideal for those using large lenses or cameras. Even if you use a large format camera, you’ll get enough support from this carbon fiber tripod. Even when the legs’ three sections are extended, the tripod is extremely sturdy with limited flex.

    The Systematic Series is unique in that they do not include center columns, unlike other tripods. Center columns are not very sturdy when extended, so it makes sense to leave that out if you want the most stability. It does, of course, limit the height you can get from the tripod, but luckily Gitzo makes different heights in this line. 

    Like the 3 Legged Thing, Gitzo sells lots of accessories compatible with this tripod line. For example, should you want a center column, you can add a compatible one, as found on Gitzo’s website. You’ll also need to purchase a tripod head if you want more than the flat top plate. And there are also alternative types of feet available for better stability on different surfaces. 

    Best budget: Neewer 66 Inch Carbon Fiber Tripod

    Why it made the cut: At a much more affordable price, this budget carbon fiber tripod still offers support for up to 26.5 pounds and can convert into a monopod.

    Specs

    • Maximum height: 66 inches
    • Minimum height: 23.2 inches
    • Weight: 3.40 pounds
    • Weight capacity: 26.5 pounds
    • Folded length: 19.3 inches

    Pros

    • Can be broken down into a monopod
    • Affordable
    • Comes with a ball head
    • Center column can be inverted

    Cons

    • Does not go very low
    • Not as durable as other options

    Neewar is fairly well known for its affordable lighting and accessories. Like its other gear, its carbon fiber tripod is much more affordable than other brands but still offers a good amount of quality and features. Unlike more expensive options, it comes with a ball head, so you don’t need to purchase it separately. 

    It supports up to 26.5 pounds, so even somewhat heavy cameras and lenses will work. And it only weighs 3.4 pounds, so it won’t be too much trouble to pack with you on trips. You can break it down into a monopod, so it is multifunctional. And the center column can be inverted if you want low to the ground shots. The legs have three sections and are controlled via twist locks.

    Of course, with the budget price comes some downsides, though they are luckily minor. The included ball head isn’t all that stable, so you may want to invest in a better tripod head if you will be pushing the weight limit of this tripod. And some have had issues with pieces breaking after not all that much use. It may not last as long as more expensive options, but if you want to get started with a tripod without breaking the bank, this still is a great option.

    Things to consider before buying the best carbon fiber tripods

    Tripods, in general, aren’t exactly feature-packed, as they are pretty basic, straightforward pieces of equipment. But, that said, there are still some vital things to pay attention to before purchasing to ensure that it will fit your needs and work with your camera setup. 

    Weight

    Though carbon fiber tripods weigh less than their aluminum counterparts, their weight still varies across different brands and models. And while you may assume you need to find the lightest option, that won’t always be the best. Lightweight tripods lose stability unless you add weight to them. That could be via sandbags or a backpack hung from the center column. Without added weight, the tripod may be prone to getting blown over by strong winds or tipped over if bumped. So, if you are looking for a sturdy option and don’t want to fuss with adding weight, go with a heavier tripod.

    On the flip side, if you travel or like to have a tripod while hiking, be sure to go with a lightweight option. Tripods are never all that convenient to carry along, but if it weighs a lot, you definitely won’t want to bring it along. 

    Capacity

    Beyond the weight of the tripod itself, tripods will be able to support different sizes of cameras and lenses. For example, some tripods are only suitable for lightweight mirrorless setups with small lenses, whereas others can hold heavy medium-format cameras. 

    Before purchasing a tripod, be sure to do a rough calculation of what your heaviest setup will be. Look up the weight of your camera and largest lens to ensure that the tripod and tripod head you are considering is able to support that much weight.

    Maximum and minimum height

    All tripods will be able to extend only so far. Some will be able to go quite high with the help of a center column, while others won’t go beyond eye level, if that. If you like to get serious height with your tripod for unique perspectives, be sure to look for a tripod with a tall maximum height. 

    On the other side, some tripods can’t go lower than the closed length of the tripod. Some, however, allow you to bend the legs out, resulting in the camera sitting very low, sometimes just inches off the ground. This ability is ideal for landscape photographers who want dramatic angles or like to focus on things in the foreground. If you want more flexibility with angles, be sure to look for a tripod that can get low as well as high.

    FAQs

    Q: Are carbon fiber tripods worth it?

    Carbon fiber tripods are worth it for some people, but not all. Those who travel or hike a lot will want a compact and lightweight tripod, as heavy or bulky ones will be frustrating to carry around. Carbon fiber tripods are smaller and lighter than aluminum alternatives, and those weight savings can absolutely be worth it. But, if you need a sturdy tripod for a studio or other general-purpose setting, a carbon fiber tripod may not be worth the cost.

    Q: How much do carbon fiber tripods cost?

    Carbon fiber tripods will cost you anywhere from around $150 all the way up to $1,700 or so. Typically, the more expensive the tripod, the sturdier it will be and the more weight it can support. 
    While you may be tempted to go with the cheapest carbon fiber tripod you can find, keep in mind that all carbon fiber is not created equal. A cheap carbon fiber tripod may actually be less durable and sturdy than an aluminum tripod that costs the same amount.  

    Q: Which is better, carbon fiber or aluminum tripod?

    Whether carbon fiber or aluminum tripods are better depends on your needs and preferences. Carbon fiber tripods are stronger, more durable, and lighter, making them the better choice for photographers who travel or use a tripod in harsh conditions. But, they are more expensive, and because they are so lightweight, they may need weight added in order to have enough stability.
    Aluminum tripods are much more affordable than carbon fiber, making them better for beginners. And, for those using big, heavy cameras or needing extra stability without additional weight, aluminum may be the better choice.

    Q: Can you buy refurbished carbon fiber tripods?

    Yes, you can buy refurbished and used carbon fiber tripods. This can be an excellent way to get a quality carbon fiber tripod while saving some money. You’ll find plenty of options on sites like eBay or the B&H used section.

    Final thoughts on the best carbon fiber tripods

    Carbon fiber tripods are not cheap pieces of gear, especially good ones. They are an investment, to be sure. But for a bit of equipment that can keep your camera safe and potentially improve your images, it is worth spending a bit more to ensure you have a reliable tripod that will last for years.

    Why trust us

    PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

    We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.



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  • Scott Lowden – A Photo Editor

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    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Scott Lowden

    Terra Nostra is an exploration of place, memory, and the invisible threads that connect us to spaces we inhabit. Photographed intuitively, the images embrace imperfection. Long exposures, soft focus, and alternative lenses let light and atmosphere shape each frame, softening sharp edges in favor of emotion and mood. These photographs prioritize feeling over documentation—a visual sense of how a place lingers in memory and spirit.

    This project resurfaced during five years spent with my father during his illness. Places like Kimmel Lookout in Pennsylvania became meditative spaces as I made photographs to help process the emotions of witnessing a loved one’s decline. Through these experiences, this series became a bridge between personal story and a broader connection to place.

    Terra Nostra invites viewers to step into the spirit of these spaces, to sense the echoes of the past and the presence of what endures.

    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

    Today’s featured artist:  Scott Lowden

    Terra Nostra is an exploration of place, memory, and the invisible threads that connect us to spaces we inhabit. Photographed intuitively, the images embrace imperfection. Long exposures, soft focus, and alternative lenses let light and atmosphere shape each frame, softening sharp edges in favor of emotion and mood. These photographs prioritize feeling over documentation—a visual sense of how a place lingers in memory and spirit.

    This project resurfaced during five years spent with my father during his illness. Places like Kimmel Lookout in Pennsylvania became meditative spaces as I made photographs to help process the emotions of witnessing a loved one’s decline. Through these experiences, this series became a bridge between personal story and a broader connection to place.

    Terra Nostra invites viewers to step into the spirit of these spaces, to sense the echoes of the past and the presence of what endures.

    To see more of this project, click here

    Instagram

    Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

    Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

    As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

    Instagram



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  • Destination Wedding Elopements Photographer :: Indian Weddings

    Destination Wedding Elopements Photographer :: Indian Weddings

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    Destination Wedding Elopements Photographer :: Indian Weddings

    Kenyan Indian Asian Hindu Wedding Ceremony Gurdwara Nanaksar Kabete, Brookside Dr, Nairobi

    Destination Wedding Elopements Photographer :: Indian Weddings

    Specialists in Indian Wedding Photography over the years. We started with one Indian Wedding several years back and from there we were referred to another. From there, the effect snowballed, and now the majority of our weddings are for Indian couples. The journey has been amazing and we feel so blessed to be a part of the Indian Community, capturing some of the most elaborate, grand, and beautiful weddings in the world.

    Though Indian Wedding Ceremonies are spiritual and religious, they are also full of emotion and candid moments. Our style is to get a unique combination of wide-angle photos and close-up photos from a variety of angles, anticipating smiles and emotional moments during the Indian Wedding Ceremony. For example, we know that if a bride is being blessed by the married women in her life, there are going to be great emotional moments; and we know to get in position to capture them. In another example, we also know that after the couples walk around the fire, there is a good opportunity for some amazing laughs as they race to sit first!

    Beyond photographing the most important wedding moments, we emphasize capturing them with creativity. We’re always in search of reflections, interesting foregrounds and backgrounds, and the perfect light in our photography. Our unique combination of lighting techniques along with our creative post-production allows us to create amazing, creative imagery for your Indian Wedding.



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