The Camera

The Camera Looks Both WaysIn picturing a subject,

we are also picturing a part of ourselves.

Rick Sammon

My goal with this e-book:

I want to give you some ideas about how you can improve your pictures. Therefore, when looking at the images on these slides, imagine yourself in the same shooting situation. Think what you might do to turn a snapshot into a great shot. To help train your photographer’s eye, you will find several paired examples here with comments on improving your images. Have fun!

Always remember: Cameras don’t take pictures, people do!

All images © Rick [email protected]

A special thanks to Robert M. Sammon, Sr., for his help on this e-book.

Schoolchildren, Lombok, Indonesia

My photographs show that I love people. I got these kids to like me by playing with theminside the school for about an hour. Actually, I was doing magic tricks for them – something I do all over the world to get people to like, or at least to accept, me. Get to know your subjects before you shoot and you’ll get good photographs. Photograph what you love, and love what you photograph.

Canon EOS 1N, 17-35 mm Kodak E100 film

Moroccan Woman

Canon EOS 1N, 70-200 mm, Kodak E100

This is my best dumb-luck shot. (Yes, pros need luck, too.) A policeman was coming toward this woman to tell her to stop asking me for money. Because I was ready to shoot (my camera is always set on Program mode and autofocus), I got the shot – and the dramatic look in her eyes.

I was also lucky because the shadow of the banner in the foreground fell right between her eyes.

Talk about luck, here is one of my favorite sayings: “The harder you work, the luckier you become.”

Another thought on lucky photographs: Do you know the difference between an amateur and a professional photographer? Well, a professional never shows his or her bad pictures – or outtakes.

School Children, Costa Rica

These schoolkids were playing outside when I first saw them. Harsh sunlight was casting ugly shadows on their faces. I moved them into the shade of a building for soft, pleasing lighting. The look in their eyes reminds me of the saying, “The eyes are the windows to the soul.”

Canon D3017-35 mm

Young Woman,Katmandu, Nepal

Canon EOS 1N70-200 mm Kodak E100

Most of the time, I shoot eye-to-eye, so my subject is looking directly into the lens. That technique often produces strong portraits.

I enhanced this shot in Photoshop. First I darkened the background. Then I lightened her eyes. I also painted her shawl and eyes blue using a color layer in Photoshop. I then softened her skin using a blur tool.

Young Girl,Trinidad, Cuba

Canon D3070-200 mm

When we remove the color in a scene, we take out some of the reality, and create a more impressionistic picture.

Softening an image also softens reality.

I converted this color picture to a grayscale image in Photoshop. The softening effect was created with the nik ColorEfex Pro! Midnight filter.

This shot just happened. The girl was posing in the window as I walked by. I took about a dozen pictures of her.

One of the most important tips for travel photographers is to “be there.”

“The Sister,” Old Havana, CubaCanon D3070-200 mm

While walking down a side street in Old Havana, I spotted this young woman dressed in blue. She was standing near an old, blue car. I knew the colors would make a nice picture. When I travel, I look for color, not just an interesting subject.

I shot from a crouching position. I rarely shoot standing straight up. Next time you get ready to take a photo while standing, try lowering yourself for a perspective that looks up at the subject. Shooting with a long lens compressed the elements in the scene.

Canon D30, 70-200 mm

“Smiling Sister,”Old Havana, CubaAs usual, I took several pictures of my subject,from different positions, and with her in different positions.

I shoot a lot of pictures because I never know what will work best – or what an editor may want. For this shot, I had “the Sister” sit on the hood of the car. I also asked her to put her sunglasses on top of her head, because I wanted to see her eyes.

Why do I call her “the Sister”? My friend and fellow shooter, Gerry Oar, and I were first introduced to her by her brother. To us, she will always be “the Sister.”

That night we went dancing with our new friends. They, like all the people we met in Cuba, were very friendly.

Guitar Man, Old Havana, CubaCanon D3017-35 mm

Examine the composition in this picture, and notice how the man’s head is placed against a plain background. Watch the background when shooting, because it can make or break a shot. A dynamic subject such as this man’s expressive face may be best seen against a uniform background.

To get everything in focus in this picture, I used a small f-stop. Watch your f-stop when shooting.

Official Parking Man, Trinidad, CubaCanon D3017-35 mm

I asked this man to stand in the shade against a plain backdrop. Soft natural light then revealed all the wonderful character of his face. In the bright sun, we would have missed that depth.

Because of the contrast range of this scene (bright sign, dark subject), I bracketed my exposure over and under the recommended setting to ensure one good exposure.

Friends in the Forbidden City Canon EOS 1N, 17-35 mm, Kodak E100

Digital cameras make photo sessions much more interactive, because subjects can see themselves immediately. I always travel with one, and I believe it has helped me increase my number of “keepers.” Here, these Chinese students are looking at an image that I had just taken of them.

My best digital camera tip: Take extra batteries and memory cards. (Photo by Tom Niccum)

Elderly Man, India

Kodak DC4800

Notice the catch light in this man’s eyes. When you take a pictureof a person or an animal, try to get some catch light in your subject’s eyes. Light from the sky can add catch light. You can also add catch light with a reflector or with a flash.

This portrait has a very shallow depth of field to draw attention directly to the eyes. Notice how the man’s shirt is slightly out of focus.

He was part of a demonstration in one of the forts in Rajasthan. I like the expression in his eyes; they convey a sense of peace.

Camel Driver,Rajasthan, India

Kodak DC4800

I always travel with a small reflector/diffuser. This accessory lets me control the light falling on my subject.

For this portrait, I asked my guide to hold the diffuser over this man’s head – turning harsh sunlight into beautiful, soft light. Pack a reflector/diffuser and you’ll turn snapshots into great shots.

Speaking of diffused light, overcast days are the best days to photograph people, because the sunlight is diffused by clouds.

Iguana, Costa RicaCanon D30100-400 mm IS

I photographed this animal on the side of the road in Costa Rica. I got down on my belly to see eye-to-eye with the animal. I focused on the eye and used a wide aperture for shallow depth of field.

I darkened the background, edges, and the twig in the foreground in Photoshop.

When an animal or a person is looking to the left or right, leave some room at that edge of the frame so your subject’s nose is not butting up against the edge of the picture.

Scarlet Macaw,Costa Rica

Canon D30, 100-400 mm IS

I’d like to tell you that I trekked into the rain forest to take this picture, but I actually shot it in the lobby of my hotel. Even in hotel lobbies, I’m always ready to shoot.

Soft skylight added to the softness of the picture, as did the very shallow depth of field, created by shooting at a small aperture.

This picture illustrates one of my favorite shooting tips: “The name of the game is to fill the frame.” In other words, fill up the frame with interesting subject matter.

When taking wildlife pictures, try to capture the animal exhibiting some sort of behavior, even if it’s just a bird preening its feathers.

Behavior shots are often, but not always, more interesting than portraits.

Northern Jacana,Costa Rica

Canon D30100-400 mm IS

Wildlife photography takes patience, especially when it comes to photographing birds. I took more than 50 pictures of this beautiful bird to get the one I like.

I was up at 5 A.M. and in a canoe on the river at 6 A.M. to be in time to catch the beautiful early-morning light. I had my canoeist constantly change position so the sun was always at my back – or at least to the side – to avoid a silhouette.

To “freeze” the bird’s movements, I shot at a fast shutter speed – 1/500 of a second. I also used a wide aperture to blur the very distracting background.

Three-toed Sloth, Costa Rica

Canon D30, 17-35 mm

Honesty is the best policy when it comes to wildlife photography. This sloth was photographed in captivity at Aviarios del Caribe, a beautiful and peaceful wildlife sanctuary near Limon, Costa Rica.

It would be very hard to get a shot like this in the wild. Honestly.

I used a wide-aperture to blur the background.

I used my camera’s focus lock to focus on the animal’s eye.

Even though the sloth was moving very slowly, I still had to take lots of pictures to get one I liked. When it comes to animal and people photography, take lots of pictures. Your next shot may be your best.

Red-eyed Tree Frog, Costa Rica

I photographed this little guy at night in a tree by the swimming pool at my hotel. Sometimes, you don’t have to go far for good pictures.

I used a macro lens with a ringlight for nearly shadowless lighting. If you don’t have a ringlight, a coil cord will let you hold your flash off-camera for creative lighting effects.

When taking macro pictures, shoot at a very small aperture for good depth of field. For natural-light macro shots, you’ll need a tripod to avoid camera shake.

Canon D3050 mm macro lens ringlight

Want to impress editors with your work? Produce self-promotion sheets like this in Photoshop. You can also use this format for

creating your own posters or book or calendar covers.

Captive Tiger, Wild Eyes, MontanaCanon EOS 1V100-400 mm IS Kodak Portra 160 NC

Wildlife, sports, and fashion photographers use telephoto lenses to blur the area behind and in front of a subject. As the focal length of a lens increases, the depth of field decreases. Also, as the f-stop gets wider, the depth of field becomes more narrow. Try different apertures when you are shooting to achieve different areas of sharp focus.

Two Tigers, Wild Eyes, MontanaCanon EOS 1V,100-400mm IS Kodak Portra 160NC

I like to have fun in the digital darkroom. I used two pictures of the same tiger to create this image.

When creating a composite like this one, make sure your pictures are equal in color and contrast.

Dangerous Profession?Here’s what I go through to get a shot. These pictures were taken at Wild Eyes in Montana.

Photo by Rick Booth

Camel at Sunset, Rajasthan, India

Canon EOS 1N, 70-200 mm Kodak Elite chrome Extra Color 100

This is one of my favorite sunset pictures. While looking through the viewfinder, I thought about the tip: “Dead center is deadly.” In other words, off-center subjects often produce pleasing composition.

When shooting slides or digitally, expose for the brightest part of the scene to prevent overexposed highlights. When shooting negatives, expose for the shadow areas of the scene.

I spent some time setting up this shot. First, I hired the camel driver. Then I had him ride back and forth many times over a sand dune I had selected. I asked him to hold the rope in the air.

Camels, Agra, India Kodak DC 4800

I don’t like the exposure in this picture, but I do like the subjects and the composition. We’ll see how I enhanced it in the next slide. I took this picture because I knew I could fix it in Photoshop.

Camels, Version #2 Kodak DC 4800

See what I mean? I used the Graduated Coffee Midnight filter in nik ColorEfex Pro! to darken the sky. Then I selected the sand in the foreground using the rectangular Marquee tool in Photoshop. Finally, I used Curves to brighten the selected area. Compare this picture to the previous one, and you may start taking pictures that you normally would not have taken. Photoshop has changed my shooting habits.

Native American, Monument Valley, ArizonaCanon EOS 1N 70-200 mm IS Kodachrome 64

These two pictures were actually taken just minutes apart, but from two different positions. They illustrate how important it is to “see the light,” and how it can dramatically affect your pictures. After all, when we take a picture, all we are doing is recording different light levels.

Frigate Birds, GalapagosCanon EOS 1N17-35 mm Kodachrome 64

Silhouettes work best when the sun is directly behind a subject. When I shoot silhouettes, I usually shoot on automatic and underexpose by one and two stops. That technique prevents the highlights from being washed out.

I converted my color image to a black-and-white photo in Photoshop. I used the Diffused Glow filter to enhance the feeling of the scene. The Diffused Glow filter simulates the effect of shooting with infrared film.

Resting Jaguar, Belize,


I like this captive jaguar. But he’s just hanging out – no action, no excitement. What’s more, the burnt-out highlights in the background are very distracting. See the next slide for a few improvements.

Yawning Jaguar Canon EOS 1N70-200 mm Kodak E200

Ah, that’s more like it. I waited for about an hour for the jaguar to do something. More action! I removed the white spots in the background using the Clone Stamp tool in Photoshop.

The jaguar was behind a wire fence, which I had to shoot through. To make the wires disappear in my picture, I shot with a long lens and used a wide aperture. Use this technique for local zoo shots.

Jaguar in the Rain

Canon EOS 1N, 70-200mm, Kodak E200

Ansel Adams once said that a picture is never finished.

As you can see, I cropped the original (previous slide) much tighter. I added the “rain” by using the Graphic Pen filter in Photoshop, and faded it about 50 percent.

Simple as it sounds, most pictures can be improved with a bit of cropping.

One tip I try to follow: If you think you are close, get closer!

If you don’t have a zoom lens, use your feet as a “zoom.” That works, too.

Jaguar, Belize

Canon EOS 1N, 70-200 mm, Canon Speedlight 540 EZ Flash, Kodak E200

“Think flashy outdoor pictures.” What do I mean? Use your flash outdoors to fill in shadows caused by hats on people and leaves above animals.

When I use a flash outdoors, I reduce the flash output by 1 1/3 to 2 stops, so my pictures don’t look like flash pictures. To do this, you need a variable-output flash. To soften the light, I use a flash diffuser, which attaches to my flash with Velcro tabs.

“Running” JaguarCanon EOS 1N70-200mm Canon Speedlight 540 EZ FlashKodak E200

Adding motion to pictures is popular these days in magazines like National Geographic. In camera, you can do it by selecting rear-curtain sync on your flash. But it’s easier to do in Photoshop. Simply make a duplicate layer of your original. Then apply a Motion Blur filter to the top layer. Control the angle of the blur, as I did in this picture from the top left corner of the frame to the bottom right corner. Finally, use the Eraser tool and erase the blurry area over the areas of your subject that you want in sharp focus.

Dancer, Indonesia

Canon EOS 1N, 70-200 mm, Canon Speedlight 540 EZ Flash Kodak E100

“The name of the game is to fill the frame” when you take flash pictures. If you don’t, your flash will try to light the area behind your subject, and you will most likely get an overexposed subject.

When I take flash pictures, I always bracket my exposures over and under the recommended setting to ensure good pictures.

When you photograph a scene that includes a lot of white (white dress or shirt), increase your exposure by one stop. If you don’t, your pictures will be too dark, because the white area will fool your camera’s exposure meter and turn off the flash too soon.

Dancer, Version #2

Canon EOS 1N, 70-200 mm, Canon Speedlight 540 EZ FlashKodak E100

I included this picture to show you that the motion effect that I used on my jaguar picture can also be used for people shots.

I added the “spotlight” in the background with the Lens Flare filter in Photoshop.

I have a blast when I am traveling. I stay out shooting all day and all night. After all, I can sleep on the plane or at home.

Snowy Egret, San Diego, California

Canon EOS 1N 100-400 mm IS Kodak E100 SW

Perhaps the most important filter in outdoor photography is a polarizing filter. It can darken the sky when the sun is off to your left or right. It is ineffective when the sun is in front of you or behind you.

Polarizing filters can also make pictures look sharper, because they reduce the reflection on water molecules in the air. They can also reduce reflections on water and glass.

Snowy Egret, Mirror Effect

Canon EOS 1N, 100-400 mm IS Kodak E100 SW

No, this bird is not standing on a branch over water. It is actually perched high in the air.

I created this effect in Photoshop, using the following technique:

1) I copied my original.

2) I pasted my copied image into a new file the same size as my original.

3) I rotated the image vertically.

4) I applied the Glass filter.

5) I doubled the vertical canvas size of my original image.

6) I pasted the flipped image into my original and matched up the branches.

7) I used the Blur tool to soften the area between the two pictures.

Sunrise, Remote Mountaintop, China


You guessed it! Another mirror effect, as described in the previous slide.

Cowhand, Ft. Worth, Texas Canon D3017-35 mm

Here is a snapshot – a pretty boring snapshot – that I took in a parking lot in Ft. Worth, Texas. Poor composition, poor color. But wait! Photoshop to the rescue once again – as you can see in the next slide.

Cowhand, Version #2Canon D3017-35mm

Once my original picture was in Photoshop, I cropped it much tighter. Then I pulled down Curves, which not only darkened the picture, but increased the color saturation. Then I boosted the blues and reds. My point: Even if a scene may not be perfect, shoot it anyway. You may find a good fix later in Photoshop.

Rick and Holy Man, Katmandu, NepalCanon EOS 1N 70-200 mm Kodak E100

Photo by Susan Sammon

I travel to take pictures. But my trips go way beyond making exposures. I enjoy making new friends and meeting new people, and learning about their culture and customs.

I made friends with this holy man by showing him his own picture on my digital camera.

Before you leave home, do a Web search on your location using www.yahoo.com or www.google.com. You’ll not only get some ideas for pictures, but you’ll know what to expect, culturally.

Holy Man, Katmandu, Nepal

Kodak DC4800

Professional photographers like to shoot during the “golden hours” of early morning and late afternoon. At these times, colors are “warmer” – that is, shades of red, yellow, and orange are deeper.

Long shadows, which add a sense of depth and dimension to a scene, are another reason to shoot in the early morning and late afternoon.

Remember, when it comes to capturing the best light of the day, “if you snooze, you lose.”

When shooting with a digital camera, shoot at the highest setting for the best results, even if it means using up lots of space on your memory card. Travel with extra memory cards or storage devices like external hard drives for your computer or a digital wallet. Take extra batteries, too.

Two Monks, Katmandu, Nepal

Kodak DC4800

Taking natural-light pictures indoors often requires a fast film or a fast ISO setting on a digital camera.

This shot was taken with my digital camera set at ISO 400.

As the light level decreases, the required film speed for a hand-held shot increases.

The basic rule for a hand-held exposure is this: Don’t use a shutter speed slower than the focal length of the lens, or else you will get a blurry picture due to camera shake. For example, if you are using a 35 mm lens, don’t use a shutter speed slower than 1/30 of a second; when shooting with a 200 mm lens, don’t use a shutter speed slower than 1/250 of a second.

Also, as the film speed (digital setting) increases, grain (digital noise) increases.

Rick and Susan Going to WorkChitwan National Park, Nepal

Photo by Chitwan Guide Kodak DC4800Services

Sure, this looks like fun. . . and it was for about the first hour. After that, our butts were sore, and we still had a full day in the field ahead of us.

In situations like this, you need to be self-contained – that is, you need everything with you to take pictures.

Photo vests and jackets are great for packing gear. Having quick access to essential accessories and film is also important.

Comfortable clothes and shoes are important, too. Therefore, when you plan your shoot, also carefully plan your wardrobe. The better you feel, the better you’ll shoot.

Village Girl, Chitwan, Nepal


The painter Rembrandt used side lighting for many of his portraits. This technique is flattering to subjects and adds a sense of dimension to a flat image.

This little girl is sitting on a bench under the eave of a small house. I asked her to come out of the bright sunlight to sit there, because I saw the potential of side lighting.

I softened the picture in Photoshop to burnish the girl’s skin. If you don’t have Photoshop, you can use a soft-focus filter to achieve a similar effect.

I shot three rolls of film during this photo session. This is my favorite shot.

Posing Woman, Chitwan, Nepal

Kodak DC4800

Here’s a snapshot that I grabbed while walking down a path in the village. I had to get the shot before this young woman changed her position.

Here’s what I don’t like about the picture:

1) The twig/branch over the subject’s head is distracting.

2) It is a harsh, direct-flash picture, so the shadow to the left of the pole makes the picture look like a snapshot.

3) The flash created a white spot on the woman’s pretty nose.

Check out the next slide to see how I fixed the picture in Photoshop.

Posing Woman, Version #2

Kodak DC4800

As you can see, this image has been improved in Photoshop. Here’s what I did.

1) I used the blur tool to soften the background and the shadow from the flash.

2) I cropped the picture tighter.

3) I used the Clone Stamp tool to remove the annoying spot from her nose.

Sometimes, if you take a direct flash picture, you will get a “hot spot” (glare) on your subject’s face.

I now travel with a cosmetic called “anti-shine” that reduces hot spots.

In this village, no one spoke English, and I do not speak Nepalese. Still, we communicated beautifully.

Monkey Temple, Katmandu, NepalCanon EOS 1N17-35 mm lensKodak E100 SW

We see the world in three dimensions: height, width, and depth. Our cameras record only two dimensions: height and width. It’s important to think about this when composing a scene. We must try to create a sense of depth in our pictures. See the next slide to see how, by moving a few feet, I got a shot that has a much greater sense of depth than this one has.

The best time to shoot the Monkey Temple is very early in the morning, when the rising sun bathes the statues with a beautiful light. Also, the temple is less crowded during those hours.

Monkey Temple, Version #2Canon EOS 1N17-35 mm lensKodak E100 SW

See what I mean? This picture has a lot more depth than the “flat” picture on the previous slide. To get everything in focus, I used a wide-angle setting and shot at a small aperture. I focused 1/3 of the way into the scene to get good depth of field. And I used a strong foreground element to draw interest to the picture. For extra color, I underexposed the scene by 1/4 stop.

Mother and Child Monkeys,Monkey Temple

Canon EOS 1N, 70-200 mm, Kodak E100 SW

When I travel, I always have two cameras on my shoulders: one with a 17-35 mm lens, another with a 70-200 mm lens.

That setup lets me shoot fast when I see a scene I want to capture – either a telephoto shot like this wildlife portrait, or a wide-angle shot like the one on the prior slide. This scene took place near a statue on which I was focusing.

My philosophy: Travel as lightly as possible so you can “shoot and scoot.” Don’t get bogged down with lots of gear.

I shoot with both eyes open; I don’t close one eye. That technique lets me see what’s going on around me. Try it. You’ll get used to it.

Stupa, Katmandu, Nepal


When I look at a scene, I look for light and dark areas, and usually select an exposure setting that preserves the highlights, so they are not washed out. I just don’t like overexposed areas of a picture. In fact, I hate them.

For this scene, I took a spot reading off the white dome in the bottom of the frame and set my exposure accordingly. If you don’t have a spot meter, take an average reading and underexpose by about one stop if there are bright areas in the scene.

Speaking about underexposing, some pros underexposure their pictures by about 1/4 of a stop. That technique increases color saturation. I often shoot E100 SW at ISO 125. Experiment at home with different ISO settings before you leave home, so you’re not doing it for the first time while on a trip.

Stupa, Version #2


An effective way to add a sense of depth – and place – to a scene is to include a foreground element or elements. The prayer flags in this picture frame the top of the stupa, making a much more interesting picture than the one on the previous page.

Also note the almost square composition. Just because your viewfinder is a rectangle, that does not mean you have to take only rectangular pictures. Sometimes, it’s good to think square!

Back Scarring, Papua New GuineaCanon EOS 1N 17-35 mm Kodachrome 64

“Don’t crop off subjects at the joints: neck, wrists, ankles, knees, or elbows” is one of the basic rules of photography. However, rules are meant to be broken. I chose not to include this boy’s head because I wanted to draw attention to his back.

In Papua New Guinea, back scarring of young boys – all young boys – is meant to give them the power of the crocodile, which tribals believe have magical powers.

Skull Cave, Papua New GuineaCanon EOS 1N17-35mm Kodachrome 64

Here’s a good tip for travel photographers: Get a good guide. He or she may be able to take you places “normal” tourists don’t get to go. These skulls are trophies of past clan wars in Papua New Guinea. Cannibalism is currently outlawed.

Due to all the white in this picture, I added +1 to my automatic exposure. Had I not, my picture would have been underexposed. Use the same technique when photographing snow scenes.

Skull Cave, Papua New Guinea, with Unintended Light

Canon EOS 1N, 17-35 mm. Kodachrome 64

I swear I have no idea what caused the streaking in this photograph. Spirits?

The picture is a combination natural-light and flash picture.

Huli Warriors, Papua New GuineaCanon EOS 1N70-200 mm Kodachrome 64

While driving from the airport to my hotel in Papua New Guinea, my car was stopped by these Huli warriors. Notice the homemade shotgun . . . and the man on the left pointing an arrow almost directly at me! Sure I was a bit scared, but I shot anyway, through the car window. See the next slide to see what happened.

Before I get off a plane, I am ready to shoot, just in case I see a scene I want to photograph. When you travel, follow the Boy Scout motto: Be Prepared.

“Only Kidding,” Papua New GuineaCanon EOS 1N70-200 mmKodachrome 64

These guys were only kidding.

Rick and Huli Warriors, Papua New GuineaCanon EOS 1N17-35 mmKodachrome 64

When I travel, I like to get involved with the local people. Getting involved is fun, interesting, and educational. It puts my subjects at ease – which helps me get good pictures.

Huli Wigman #1, Papua New Guinea

Canon EOS 1N, 17-35 mmCanon Speedlight 540 EZ Flash, Kodachrome 64

After I got to know some individual Hulis, they invited me into their village. I photographed them applying face paint and putting on their headdresses, which are meant to attract the spirits of departed loved ones.

Because this subject was in dark shade, I had to use my flash. A flash not only brightens a scene, but it adds contrast.

A flash also helps with accurate color reproduction. For example, if you photograph a subject under a tree on a sunny day in natural light, the leaves may act as a green filter, giving your subject a greenish tint. That’s great if you are photographing Martians, but not great if you are photographing people.

Huli Wigman #2, Papua New GuineaCanon EOS 1N17-35mm Kodachrome 64

I like this natural-light shot of a Huli much better than the flash shot on the previous page. However, when I travel, I think that a harsh, flash shot is better than no shot. The same applies to film grain. A grainy picture is better than no picture or than a blurry picture taken with slow film.

Because the background was brighter than the subject, I took a close-up reading off the subject’s face, locked in the exposure with my Exposure Lock, repositioned myself, and shot.

Young Women #1, South Africa


The woman on the right is holding a picture of my son. Before I asked to take a picture, I spent time with these women talking about life in their village, and my life back home.

When you want to photograph strangers, you cannot just take out your camera and start shooting. You have to gain their trust and confidence.

When photographing people, the most important thing is regarding your subject with respect.

Respect your subjects and they will respect you – and you’ll get honest pictures.

Young Women #2, South Africa


This picture is a good example of a daylight fill-in flash picture that worked perfectly. The light from the flash is perfectly balanced to the daylight, so it does not look like a flash picture.

All I did was set my camera to Program mode and took three exposures with my flash: first to -1, then to -1 1/3 and finally to -2. The -1 1/3 setting produced this result.

When I take daylight fill-in flash pictures, I always set my flash to different settings (from -1 to -2) to ensure the desired result. In other words, I bracket my daylight fill-in flash exposures.

I always use a flash diffuser to soften the light. If you don’t have a flash diffuser, hold a handkerchief or tissue over your flash.

Toucan, Costa RicaCanon EOS 1N100-400 mm IS Kodak E100 SW

Imagine a tic-tac-toe grid over this picture. You’ll see that the focus point of the picture – the animal’s eye – falls where a horizontal and vertical line intersect. This basic composition technique is called the “rule of thirds.”

When you look through the viewfinder, try to place the main subject where the lines of a tic-tac-toe grid would intersect. Also remember: Rules are meant to be broken.

Chinese Man #1 Canon A2E, 70-200 mm Kodak E100 SW

What’s wrong with this picture? The light coming through the leaves in the background is very distracting. When we look at a picture, our eyes usually go to the brightest part of the frame first. A longer lens and wider aperture would have softened the white spots, which actually are in the shape of the lens’s aperture. To fix the picture, I used Photoshop. See the next slide for the results.

Chinese Man #2 Canon A2E, 70-200 mmKodak E100 SW

This is the same picture as in the previous slide, but with a much more pleasing background. Here’s how I created it: First, I made a duplicate layer in Photoshop. Then I applied the Gaussian Blur filter to that layer. On the new layer, I used the Eraser tool to erase the blur over the subject.

The frame was created in Photoshop with Actions.

Great Wall of China Kodak DC4800

Using the “S curve” technique of composition draws the viewer into the picture. Placing an object in the foreground puts the viewer “in” the scene. I used these two techniques in this photograph. Composing an image with a foreground subject and an “s” curve works especially well for landscape photography.

Great Wall of China, Version #2 Kodak DC4800

I like my “straight” shot of the Great Wall of China in the previous slide. However, I like this version better. I created it in Photoshop using the Aged Photo effect in Actions and the Graphic Pen filter.

When you add effects like these, you take out some of the reality from the scene and make a more artistic picture.

Leslie Hotel, South Beach, Miami, #1Canon EOS 1N 17-35 mm Kodak E100 SW

This picture looks relatively flat because I photographed a flat building straight on. Check out the next slide to see how, by moving about 10 feet, I improved the picture.

My point: Walk around a subject and check it out from different angles before you shoot.

Leslie Hotel, #2Canon EOS 1N17-35 mm Kodak E100 SW

By placing the umbrella in the foreground, I placed the viewer “in” the scene.

In a scene like this – one that contains bright areas (building surface) and dark areas (underside of umbrella) – I take exposures over and under the recommended meter reading to ensure a good exposure.

If you go to South Beach, get there before sunrise. When the sun comes up, the Art Deco buildings are bathed in a beautiful warm glow. Also check out South Beach at night –good for neon-light shots.

Church, Puerto Rico

Canon EOS 1N, 17-35 mm Kodak Elite Chrome Extra Color 100

When you tilt up a wide-angle lens, subjects in the scene look like they are falling over backward.

We are used to seeing this in pictures, so it has become acceptable. I like the way the shadows add a sense of depth to this scene.

To enhance the color of the scene, I used an 81a warming filter. I also used a polarizing filter (which darkened the sky).

But see the next slide!

Church, Puerto Rico,Version #2

Canon EOS 1N, 17-35 mmKodak Elite Chrome Extra Color 100

If you have an extra $1,200 or so, you can get a perspective control (PC) lens for your 35 mm camera to make buildings photographed with wide-angle lenses look like they are standing straight up.

Or, if you have Photoshop, you can use the Transform tool to fix your photo – in about 20 seconds.

In this picture, I boosted the blues in Photoshop to make the picture look like it was taken at night. I also added the stars by selecting a small brush for the Eraser tool.

Orion’s Belt and the Little Dipper are there. Can you see them?

Old Chevy, Old Havana, CubaCanon D3017-35 mm

I went to Cuba to photograph old cars. I shot them day and night, from every angle.

When you frame a subject, try moving up and down and left and right to see what composition looks best. For this shot, I wanted to get the neon lights reflected on the car’s hood, so I put my camera on a tripod and raised it as high as I could.

I used a slow shutter speed (one second) to blur the people behind the car.

Vintage Car, Old Havana, CubaCanon D3017-35 mm

Nighttime may not be the best time to take a nighttime picture in a city. If you shoot at dusk, you’ll be able to record some of the skylight – which will illuminate the scene more evenly than just city lights.

Nighttime photography requires fast film (ISO 200 or 400) or a fast ISO setting on a digital camera, and a tripod. Try not to touch your camera during the exposure. Use your camera’s self-timer or a cable release. One more tip: Wear white at night for safety.

Man and His Car, Cuba Canon D3017-35 mm

This picture is a good example of making a picture vs. taking a picture. While I was driving from Old Havana to Trinidad, I passed this red car, which was parked on the concrete street in front of this building. As we passed the building, I noticed the blue wall facing the parking lot--a great shot in the making. We pulled over and I asked the man if he would mind helping me make a picture. He said okay and moved his car into position. I asked him to pose so that his head was framed by the wooden frame behind him. Together, we made the picture. My point: Make pictures, don’t just take pictures. Whenever possible, offer to send your subject a picture after you return home.

Dancer, St. Maarten

Canon EOS 1N, 17-35 mm Canon Speedlight 540 EZ Flash, Kodak E100

Look at the wide contrast range in this scene, from the subject’s dark skin to the highly reflective costume. This contrast range cannot be recorded on film or a digital chip without help.

Daylight fill-in flash to the rescue! The flash compresses the brightness levels in a scene, thereby evening out your exposure. When taking daylight fill-in flash photos, experiment with output settings (from -1 to -2) to get a good exposure.

I took this picture while dancing backward in the annual Carnival parade in St. Maarten. I had my flash mounted on a swivel bracket, so I could always position my flash above my camera whether holding the camera horizontally or vertically.

As a travel photographer, you need to be able to shoot in a variety of shooting situations. Even those that require dancing.

Another advantage of using a flash outdoors is that it adds a bit of “catch light” in the subject’s eyes.

Wild Bird, San Diego, California

Canon EOS 1N, 100-400 mm IS Kodak E100 S

Here’s a good example of using selective autofocus. As you can see, the animal’s head is in focus, but everything else in the frame is out of focus. That’s because I set the autofocus zone near the top of the frame. Had I not selected that zone, and kept the autofocus zone in the center of the frame, the bird’s belly would have been in focus and the head out of focus.

I used a long lens and wide aperture (f/2.8) because I wanted the bird to “pop” out of the background. Fashion photographers use the same technique to make their models “pop” from the background. About exposure: I knew that shooting on automatic would have overexposed the white area on the head, due to all the dark areas of the scene. So, using my camera’s Exposure Compensation control, I took exposures at -1 and at -1 1/2 of the recommended setting.

When you look through the viewfinder, “see the light,” and you’ll get good exposures.

Archer, Lake Placid, New YorkCanon EOS 1N70-200 mm Kodak E200

Just because you have an autofocus camera, that does not mean that all you have to do is frame your shot and shoot. Think about what you want in focus – the story you want to tell with your picture. Here, I wanted to convey the precision of the sport. Precision involved the scope and the eye. So I took two pictures, focusing on the two different points. Which one do you think conveys the feeling of precision?

Dancer, Bangkok, Thailand


Here’s a good flash tip: Take the flash off the camera. If you do, you’ll have more creative lighting options.

I photographed this girl at night in the parking lot of our hotel. She was greeting guests. The background was horrible: the wall of the hotel. Yuck.

To eliminate the background, I used my sync cord and held the flash above the subject so that the light from the flash fell directly behind her and did not illuminate the wall.

I use a flash bracket that rotates so that I can always put the flash over the lens. That way, the shadow from the flash falls behind the subject, and not to the left or right, which can be annoying.

Temple, Singapore


I don’t like to lug around tripods, especially in sweltering places like Singapore in the summer. So I pack a variety of film speeds that allow me to shoot indoors and out.

I took this shot with E200 pushed one stop to ISO 360, the one-stop setting recommended by Kodak for pushing this film. Because I was shooting at the 17 mm setting on my lens, I was able to hand-hold this shot at 1/20 of a second and still get a sharp shot.

Due to the relatively low light level and my shutter speed, I had to shoot at an aperture of f/3.5, which gave me a relatively shallow depth of field. Because the statue in the foreground is the main subject in the picture, I focused on it.

When you “push” film, write down the new ISO setting on the film canister with a Sharpie marker. That way, your processor will know how to push-process your film.

Little Girl, Indonesia


One of the first tips I learned from an early National Geographic book on photography was to include the color red in a scene.

The color red stands out in a picture, which is why climbers on Mt. Everest wear red hats and jackets. It’s also why when you see a picture of a canoe on a river, it’s often red.

If you shoot stock, look for color!

I photographed this little girl in a remote village in Indonesia. She is holding some processed sugar cane, which I bought from her.

I always promise to send pictures, which I do upon returning home. This simple gesture helps to win friends.

Little Girl, Version #2 Canon EOS 1N17-35 mm, Kodak E100

I often include “dead space” (empty areas of a scene) in a picture, just in a case a magazine editor needs space for text. Leaving “dead space” above a subject is also a good idea, just in case an editor needs a vertical shot with space for the article or magazine’s title.

Cowboy, Cody, Wyoming


I took this picture in a place called “Old Town” in Cody, Wyoming. The cowboy is a professional actor in the town.

We worked on setting up this picture together. Basically, I directed the shoot, much like a movie director directs a film. Many subjects need direction from photographers. Don’t be shy about asking subjects to pose for you.

To stop the action of his walking, I used a shutter speed of 1/500 of a second.

My aperture was set wide for a shallow depth of field.

My composition included a relatively plain background, one that let my subject stand out in the frame. However, it is sharp enough so you can still see that it is the side of an old building – one typical of an old Western town.

Cowboy, Cody, Wyoming Canon EOS 1N17-35 mm, Kodak E100

I like to use wide-angle lenses for what I call “environmental portraits” – pictures that show subjects in their environments. Using a wide-angle lens means working close to your subject. Working close means you have to establish a rapport with your subject. I was only about three feet from this cowboy when I took this picture. The sepia effect was created in Photoshop.

I positioned the subject at the corner of the building to add a sense of depth to the scene.

Fez Tannery, Morocco

Canon EOS 1N70-200 mm Kodak E200

Which picture do you like better? I like the one on the right, because the colored vats create a leading diagonal line from corner to corner. In the first picture, the vats run up and down, for a less dynamic composition. Look for leading lines in scenes, which often can be created by slightly changing your position.

By the way, this tannery was the worst-smelling place I’ve been on the planet – but the most colorful!

Slippers, Fez TanneryCanon EOS 1N

17-35 mmKodak E100 SW

When I go to a location, I try to “tell the whole story.” At the tannery, I photographed the entire tanning process from start to finish. If you try to tell the whole story, you’ll get a variety of pictures for your albums, for slide shows, or even for editors if you someday decide to go pro!

Lions at Noon, Tanzania

Canon EOS 1N300 mm

Kodak E200

The next three pictures illustrate different types of natural lighting. This shot was taken at noon, when the sun was directly over the lions. Usually, I don’t like to shoot at that time of day, especially when it comes to people, because the sun casts unflattering shadows over the subject’s eyes. But here, the lighting is okay, although I’m not thrilled with the shadow on the lioness’s neck.

Rhino at Watering Hole,South Africa

Canon EOS 1N, 300 mm, Kodak E200

Here we see an example of side lighting. In this case, the light illuminates the rhino’s face, because he is facing the light source. Had the rhino been facing me, I would have been scared! Plus, the light would have cast a shadow on the side of his face.

This picture was originally a color shot, but I like the black-and-white effect, which I created in Photoshop.

If you go on a safari in Africa, research your area on the Web and try to get a good guide. He or she can make the difference between great sightings and few sightings . . . and great shots versus snapshots. My guide in South Africa predicted that a rhino would be at this watering hole near dusk. He was right!

Resting Lion, KenyaCanon EOS 1NKodak E200

This shot illustrates soft lighting, created on an overcast day. Overcast days are nice for wildlife and people pictures, because there are no harsh shadows created by direct sunlight.

If the weather forecast predicts a sunny day, you can still get soft pictures by shooting before the sun comes up or after it sets. During these hours, you’ll need a fast film (ISO 200 or 400) if you want to hand-hold your exposures.

On overcast days, and for dawn and dusk shoots, be prepared with fast film so you can still use relatively fast shutter speeds and relatively small apertures.

Lion Kill, Botswana

Canon EOS 1N, 100-400 mm ISwith 1.4x teleconverter, Kodak E200

Our eyes can see a dynamic range of about 11 stops.

Negative film sees about 7 stops.

Digital cameras see 5-7 stops.

Slide films see only about 3 stops.

It’s important to keep dynamic range in mind when shooting, because no film or digital chip (right now anyway) can see all that our eyes can see.

When I saw this scene, I could see clearly into the shadows. But I knew my film could not. So I took a spot reading of the brightest part of the scene and set my camera accordingly. Had I not, the lion would have been overexposed.

The drama of this picture is too much for some folks to handle. Check out the next slide to see how I soften the impact of this picture.

Lion Kill, Version #2

Canon EOS 1N, 100-400mm ISwith 1.4x teleconverter, Kodak E200

In Photoshop, I applied the Grain filter and the sepia tone effect in Actions. I then used one of the fancy brushes to make a custom frame.

When I took this picture, we were shooting an episode of ESPN’s Canon Photo Safari. The producer was crying in the back of the Land Rover, sad that a baby giraffe that we had seen being born was being eaten just a few hours later.

I tried to explain to her that we were just witnessing the circle of life in Africa. Still, we all felt a bit down because the mother giraffe was looking on from about 100 feet away.

Sunset, Rajasthan, India Canon EOS 1N 70-200 mm Kodak E100 SW

My trip to India was one of my most successful photo treks, because I got a high number of keepers. Why? First, the photo opportunities were everywhere. Second, I was inspired by the location. I believe that photographers, like musicians and other artists, do their best work when they are inspired.

So get inspired! Pick a location and get immersed in the culture and the sites.

Many people ask me how they can become travel photographers and writers, and if I can recommend any books. I recommend a book called Real Magic by Wayne Dyer. In this self-help book, Dr. Dyer talks about creating the life you want to live. Sound strange? Well, it worked for me – a former suit-and-tie vice-president in a New York City advertising and public relations firm!

Taj Mahal, Agra, IndiaKodak DC4800

This is the standard “postcard” shot of the Taj Mahal. I take shots like this for stock and for fun. Check out the next slide to see what I mean.

Before I took this picture, I thought about using a polarizing filter to darken the sky. But then I realized that it would reduce the Taj’s reflection in the pool. So this is a straight shot, shot on automatic.

Taj, Version #2Kodak DC4800

I wanted to photograph the Taj at night, but that’s not allowed for security reasons. No problem. Starting with the previous slide, I used the Midnight filter in nik ColorEfex Pro! to simulate the nighttime effect. The filter darkens and softens the image.

You might be able to create a similar effect if you underexpose the scene and use a soft-focus filter.

Reflection of the Taj Kodak DC4800

I shoot a subject from every possible angle for several reasons: It’s fun, it forces me to be creative, and it gives me a variety of photographs to submit to editors – all of whom think differently.

When you travel, look for unique and creative angles. Ask yourself, “How can I take a picture of this subject that is different from the hundreds of pictures that are out there?”

This picture was taken from a small boat on the river behind the Taj – a place that few vacationers see.

Sunset at the Taj Mahal Canon EOS 1N, 70-200 mm Kodak E100 SW

I spent almost a full day – from about 10 A.M. to sunset – at the Taj, photographing the monument from every possible angle. There was not a cloud in the sky the entire time. After I took this sunset shot, I thought, “Great, I’ll come back tomorrow morning and get a beautifully clear sunrise shot to round out my documentation of the Taj.” See the next slide.

Early Morning at the TajCanon EOS 1N, 70-200 mm

Kodak E100 SW

So much for a beautifully clear sunrise shot of the Taj. At first, I was disappointed. But I shot anyway. As things turned out, this photograph was chosen by the Associated Press as the lead photo in my AP travel feature on India.

If you are going to shoot before sunrise and after sunset, you’ll need a tripod or fast film. Personally, I prefer fast film so I can hand-hold my shots. A tripod takes time to set up.

Sunrise at the Taj Mahal

Canon EOS 1N 17-35 mm, Kodak E100 SW

Well, the sun finally came up and cast a beautiful glow on the Taj. This image is a cropping of about the center one-third of my 35 mm frame, which makes the picture look as if it were taken with a panoramic camera.

Try composing for panoramas. It’s fun!

To get a good exposure, I followed the BLH rule: Bracket Like Hell. I took exposures at 1/2 stop settings well over and under the recommended setting. I knew I’d never see this scene again.

Scene Behind the Taj MahalCanon EOS 1N 17-35 mm Kodak E200 SW

Here’s another example of “making” and not just “taking” a picture. These men were just hanging out with their camels behind the Taj. I asked them if they would ride back and forth a few times – for a small payment each. They obliged and I got my shot.

In situations like this one, don’t use autofocus. If you do and your camera is set to focus on the area in the center of the frame, subjects not in the center will be out of focus. A better technique is to set your camera to manual focus and pre-focus on the area you want to be in focus, which in this case is the camels and not the Taj in the background.

Because I used a relatively small aperture and a wide-angle setting, I was able to get a good part of the scene in focus.

Palace of the Winds, Rajasthan, IndiaCanon EOS 1N 17-35 mm Kodak E100 SW

I love color in a picture. To enhance color, I use – sometimes together, sometimes separately – saturated film, an 81a warming filter, and an ISO setting of 1/4 under the stated ISO level of the film. Of course, I can also enhance the color in Photoshop.

For this shot, I used a polarizing filter and an 81a filter. I use thin filters. They are more expensive than older filters, but the thin filter rings help reduce vignetting around the perimeter of the image – a common problem when using two or more filters. If you don’t have thin filters, compose your picture so you can crop out the darkened edges when you make a print or a duplicate slide.

Temple, Khajuraho, IndiaCanon EOS 1N70-200 mm Kodak E100 SW

Here’s an okay shot of a temple in Khajuraho. It brings back a nice memory, but the picture doesn’t really do anything for me. Too much dead space in the sky. No real foreground element. But wait, see the next slide for a much-improved image. And see why I took the shot.

But first, think about this, which has nothing to do with this picture (I just needed a place to put this tip). When you are making inkjet prints, don’t always go for the sharpest picture on photo-quality, super-glossy paper. Sometimes, pictures printed on watercolor paper (cheap and available in 3 x 4-foot sheets in art supply stores) look more artistic. I printed the following picture using that technique.

Khajuraho, Version #2Canon EOS 1N 70-200 mm Kodak E100 SW

A thousand years ago (when this temple was built), on a very hazy day, the temple might have looked something like this – if photographed with an old camera on black-and-white film, and if the photographer had made a sepia tone print, and if he or she had shot into the sun, which can produce lens flare.

Click back to the previous slide for a moment. Then come back. See the improvement?

I created this image in Photoshop using a Monday Morning filter in nik ColorEfex Pro! The lens flare, which took up some of the “dead space,” is from a standard Photoshop filter.

Temple Carvings, Khajuraho, India Kodak DC4800

The temples of Khajuraho are covered with exquisite carvings. To capture their beauty, I got up early and stayed out late, so that long shadows would add depth to my scenes.

When you shoot, look for shadows and think about how they can enhance a picture.

Temple Carvings, Khajuraho, India, at an AngleKodak DC4800

You’ll notice that even though there are no dramatic shadows in this picture (because I shot it after sunset), the picture still has a tremendous amount of depth. That’s because I shot it at an angle.

Shadows and shooting at an angle can add a sense of depth to a scene. So can foreground elements.

For maximum depth of field in this picture, I used the wide-angle setting on my camera.

Cremations, Varanasi, IndiaCanon EOS 1N 70-200 mmKodak E200

This scene speaks for itself. I took the picture late at night, when simultaneous cremations take place.

Cremations are a part of everyday life in Varanasi, the holiest city in India. Hindus believe that if you die there, you are guaranteed a place in heaven.

I shot this picture from far away and enlarged only the center portion of the frame. I did not want to intrude on the privacy of the people.

I exposed my ISO 200 film at ISO 640, which gave me a hand-holdable shutter speed: 1/200 of a second at the 200 mm focal length. After the roll was finished, I marked the new ISO setting on the film canister, so my lab would “push” the processing to match the way I had “pushed” the film.

Sunrise, Varanasi, India Canon EOS 1N 17-35 mmKodak E100 SW

Long boats filled with tourists go out on the Ganges river in Varanasi before dawn, and stay out until about 9 A.M. You’ll see why in the next slide.

If you go to India, I definitely recommend spending at least a day in Varanasi. This may sound strange, but I was not happy being there, but I am very happy I went. Why? Mainly because of the poverty. My wife and I cried at some of the scenes we saw. But, as I often say, traveling is a great education.

Steps to the River, Varanasi, IndiaCanon EOS 1N 70-200 mm Kodak E100 SW

Every morning for centuries, worshipers have gone down the steps along the riverbank to get a blessing in the river. These days, some folks go just to clean up. For most, however, it is a sacred rite.

One of the things we have to do as photographers is to cut the clutter. Sure, this is a cluttered scene, but the wider scene is much more cluttered with people – and even with dead cows floating in the river. See the next slide for a much less cluttered, and more dramatic, photograph.

Woman Worshiping, Varanasi, India

Canon EOS 1N 100-400 mm ISKodak E100 SW

Early morning rays of the sun pass through the sacred water of the Ganges River as it drips from this woman’s hand. She is receiving a blessing. She is one with the moment.

I shot this photograph from a small boat. Because the boat was moving, I used an image stabilizer (IS) lens, which greatly reduces camera shake – to the point where I could hand-hold the camera at 1/125 of a second and still get a super-sharp shot.

I turned my color slide into a black-and-white image in Photoshop. I like the effect of an older-looking picture.

I took at least three rolls of film of this woman. In just about all the other exposures, people’s hands and feet were in the scene, ruining my shot.

Variations on a Portrait, Rajasthan, IndiaCanon EOS 1N70-200 mm Kodak E100

Here are just a few examples of the creative variations you can produce in Photoshop. I share these with you just to give you an idea of the endless possibilities you have in the digital darkroom. Top left: darkened background, saturated lips, whitened eyes. Top center: original. Top right: Photoshop Graphic Pen filter. Bottom left: B&W. Bottom center: sepia tone. Bottom right: nik ColorEfex Pro! Monday Morning filter. My favorite? The sepia tone image in the center of the bottom row.

Porter, Train Station,Rajasthan, India


I have talked a lot about Photoshop and digital effects in this presentation. All that stuff is well and good, but it’s important to remember that you really should try to get the best possible image in your camera – and not depend on Photoshop to fix your mistakes when you get back home.

To end this presentation, here is one of my favorite pictures. I photographed this man in a train station in Rajasthan. I love the way he is connecting with me.

The picture sums up my picture-taking philosophy:

The camera looks both ways. In picturing a subject, we are also picturing a part of ourselves.

The End…almost

I’d love to hear from you. Drop me a note at [email protected]. You can also contact

me through my Web site: www.ricksammon.com.

All images are available in 8 x 10 and 11 x 14-inch archival Inkjet prints. $100 for 8 x 10, $150 for 11 x 14.

Thanks for letting me share my pictures with you.

Photo by Marco Sammon

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