One of the most iconic towers in the world has to be the Eiffel tower in Paris. Rising up from next to the Seine, (Paris’ main river), it can be viewed from most parts of the city. Most photographers who come to Paris will be drawn to its mysterious beauty.

So, armed with cameras, like everyone else, we rushed up it to create interesting travel photographs from the Eiffel Tower and ……. STOP …. NO!

Another BOORING view from the Eiffel Tower

What do you mean NO?!

Let me explain. We did our homework and scoped out the tower on the day before we were due to go, and found that the best times would be sunset as that would give us both daylight, sunset and night photography opportunities. We chose our equipment for ultra-light travel so we wouldn’t get tired walking around. All good so far.

Well, once you get up the tower, (we went to the 2nd floor as it is supposed to have the best views of Paris), and have finished oohing and aahing at the view of the river you soon realise that you’re  looking at a city from a 40-storey building. Yes this is romantic Paris and yes the river is beautiful, but photographs from the Eiffel Tower are still photographs from a 40-storey building. Most sunsets looks better from the ground with something in the foreground for perspective. See our post for tips on sunsets and creating dramatic skies.

So how do you create unique photographs from the Eiffel tower?

Be different

Like with our Paris graveyard post, we look for images that are different to the norm.

Start to look around for unique features that you can put in the foreground. We spotted the telescopes dotted around the viewing platform and used them as foreground details. This helped us with our images’ ‘story’. The telescopes are shiny metal, so are perfect for reflecting the sunset and sky. They are all about the view (which is why we came) and finally, despite being modern, they have a bit of a victorian mystery about them … a sort of Philip Pullman spyglass feel.

A different perspective with the reflected sunset

Photographing the Eiffel Tower itself

Look for interesting details in the Tower that everyone else takes for granted. Use all your skills with shape, symmetry and contrasting colours to create beautiful images. Ally was fascinated by the pulley wheels and created some extraordinary images with the symmetry of the 2 wheels using the yellow and blue colour to complement the image.

Walk down the stairs

The stairs between the 2nd and 1st floor are not as daunting a trek as it might first seem. Had we walked ‘up’ them, then we might not be as forgiving! Unfortunately the sides of the staircase have a thick grill around them so you can’t take photographs through it. The trick is to look in the corners. There are small gaps between the mesh that are just big enough for an average size lens. At certain levels you can look up and get extraordinary views of the Tower’s workings.

Look up inside the tower

On the first level there are interesting views to be had looking up inside the tower from the leg areas. Once again symmetry is your friend.

On the ground

When on the ground, find the centre of the tower and look up. The symmetrical view up the inside of the tower is quite spectacular. Nobody will look at you funny if you lie on your back to photograph this view!

Ally photographing up the tower

Enjoy the experience

When you go up the Tower start off by forgetting the photography side. Enjoy the experience, look at the magnificent views of the Seine and marvel at the incredible structure itself. After that start to think about your photography. Look for the lesser-photographed areas but above all enjoy your time.

Footnote

It wouldn’t be right to write a blog article on photographing the Eiffel tower without mentioning the odd night photography law. In most of Europe there is a ‘freedom of panorama’ law that exists so one can photograph historic copyright protected artwork and buildings without any issues. There are a few exceptions, the Eiffel Tower’s light show being one of them. Now thousands of tourists photograph the tower every night and the SETE website says that for private use you do not need to contact them but beware if you are photographing for commercial reasons. You will need permission from them (and pay copyright fees).

https://www.toureiffel.paris/en/business/use-image-of-eiffel-tower

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Have you ever seen a scene that is so expansive and beautiful and thought to yourself something like “A single image with my wide angle lens just can’t do this beautiful vista justice”? On the other hand, maybe when you’re out creating images, you just don’t have a lens that is wide enough. Whatever the problem we would like to show you how to photograph a panorama and get pro results.

Our scene

We were is Sharm El Sheikh in Egypt and had spent the afternoon on camels, riding to an area of the Sinai desert. As this trip was to go stargazing through the large telescopes they set up in the desert and we were on camels (not the most comfortable experience!), we were travelling very light.

Just before sunset we got to the amazing scene you can see in our Panoramic images. Obviously it was too wide for our widest lenses we were carrying but this was where the multi image stitched panorama came into play.

How it was done – The Photography

The video we took – the vista was incredible however far too wide and also very “flat” contrast-wise.

We photographed the scene using the standard focal length on our cameras so as not to get any distortion on the images. The standard focal length is about 45mm to 55mm on a full frame camera and 28mm to 34mm on an APS-C camera. (This is known as standard focal length as it gives the similar field of view as the human eye).

When you photograph a panorama, ideally you should have your camera on a tripod so that when you take each image the horizon stays in the same place. We didn’t have that luxury so we just did the best we could by putting the horizon at about the top third of the image.  When you photograph a panorama scene make sure you overlap each image or you will end up with gaps in your final image. It’s really easy to miss a bit out so do be careful at the photography stage. We always do 2 or 3 sets just in case.

As you can see from the un-retouched raw images below we underexposed the images to get a bit of sky detail. We always prefer this method as it’s easier to lighten dark shadow areas than it is to get back blown-out highlights in Raw. We expose digital like we used to expose transparency film. For more ideas on how to make the sky dark in a photo, see our post. You can also use filters to help darken down the sky.

Un-retouched Raw images  

How it was done – Preparing the original images

The next stage is to correct all your images in Raw. We do them all at once in the Raw file converter from Adobe bridge but you can do the same in Lightroom. The most important thing is consistency.

Images in Raw ready for processing for panorama

Contact sheet of images once processed in Raw

How it was done – Creating the Panorama

Using Adobe Bridge in Creative Cloud, we  went to the tools menu and found Photoshop and chose Photomerge.

This can also be done from the File menu in Photoshop (any version) and choose automate and then Photomerge.

We used the Auto setting as it seems to give a good stitch result for most scenes.

The stitched Panorama photograph is made up of masked layers. Each original image is a separate layer. Once I have checked the image for any issues, I flatten it down by merging the layers.

Pro Tip: You can create your Panaroma as a raw file, so the original Raw images are editable within the pan. When you open the Raw files in Camera Raw, select them all and then choose Merge to Panorama in the drop down menu by the film strip.

Initial stitched image in Photoshop

Next stage is to crop the image to size. We still do some more editing at this stage. In our scene there were some temporary dwellings created by the nomadic Bedouin people. We removed them from the scene as they are not permanent features of the landscape. We do the same with rubbish as it’s not part of the scene and might not be there on a different visit a few weeks later. Removing permanent structures is changing the scene totally and requires a totally different conversation for another time, about how far your own manipulation can go.

This is the un-retouched final Panorama

Here are the temporary structures that we removed

We used the Spot Healing tool to very quickly remove the unwanted details.

Initial images after removing temporary dwellings

The final resulting Panorama

An alternative version of the same scene

There are some great textures in this scene which could also be incorporated into other images.

To sum up the workflow:

• Photograph with a standard lens or lens setting on your zoom
• Overlap the images
• Watch your horizon line
• Let Adobe Photoshop do all the hard work for you. (See our favourite shortcuts)
• Print it large and wait for the flood of compliments!

So there you have it. Never worry about not having a wide enough lens ever again.

The post How to photograph a panorama – a tutorial appeared first on ImageExplorers.

So, you’ve bought your beautiful film camera and are ready to take a trip to give it a jolly good work out. Now you need to feed it with Kodak, Ilford or Fujifilm’s finest offering. So what are the best black and white films for travel photography? Going online to Amazon or one of the many photographic stores that sell film can leave you bewildered. So many brands to choose from? What ISO do I need? How many rolls should I buy? If I buy too many will they keep for next year’s trip? Still need to find a camera? Check out our guide.

Fear not. We will lead you out of the quagmire of all these issues. We will also address the questions of what hot weather does to film and even whether x-rays affect it.

Decide on an ISO

Let us start our film buying journey by deciding on what ISO to get.

This is where you need to ask yourself some searching questions. What will the weather be like – sunny, bright, dark, overcast or maybe you’ll even be doing night-photography? Will the subject be moving or stationary – candid, landscape, cityscape people, animals etc?

All these questions will help you decide what speed ISO you require the bulk of your film to be.

If you are from a digital background then you’ll find black and white films don’t have the same ISO range you might be used to. The majority of films come in 50, 125 and 400 ISO with a few at 3200. We can always adjust the ISO with development techniques (‘push’ or ‘pull’ the film) but that is a story for another post.

If in doubt take a range of film. Remember that unless you have 2 film camera bodies you will have to change film when you need to change ISO so it is sometimes wise to buy rolls in 24 exposures rather than 36.

Black and white film for travel photography in Venice on contact sheet

So how many rolls?

In many countries, it’s exceptionally difficult to buy Black and White film now, so take more than you think you will need. Remember it’s not digital, so take your time to compose each image before pressing the shutter button. You will be surprised how few images you actually take compared to digital but you will be even more surprised at the high number of amazing photographs you create. Still not sure about Black & White? Check out what we suggest makes a good black and white photo.

Brands

This is where we come to personal preference. Different brands have different characteristics (looks) so experiment before you go. Completely new to all this? See our guide on how to load film into a camera.

For example Kodak Tri-X has a candid photojournalism and grainy look while Ilford Pan F 50 ISO is excellent for fine grain landscapes. Ilford FP4 125 ISO is a good all rounder.

Of course while the film has a ‘look’, its character changes with different developer chemicals (as well as printing paper and toning chemistry, if you’re not going to go hybrid and scan the negs to your computer).

Here are some more of the more popular black and white films for travel photography

Kentmere –   Kentmere is produced by Harman who also produce Ilford. It was always seen as the budget option.

Rollei RPX – the new Agfa APX fine grain film. They bought the Agfa technology when Agfa went bankrupt.

Rollei Retro 400s – high contrast fine art film – has an IR layer so cuts through haze well. Also ex Agfa technology.

Agfa APX – Lupus, who now sells Agfa, bought trademark but not technology. It’s not the original Agfa and not as good as the original either.

Kodak Tri-X 400 – unique grain characteristics with a good tonal range.

Kodak T-MAX 100 and 400 – T grain structure rather than classic or cuboid grain structure – for people who don’t like grain.

Kodak T-MAX P3200 – low light grainy film

Ilford XP2 super – process with a colour processing called C41. Any D&P lab can do it.

Ilford Delta 100 and 400 – not T grain but similar results.

Ilford Delta 3200 – low light grainy film.

Fujifilm Neopan  Acros 100 – High quality traditional Black and white films.

Fujifilm Neopan 400CN – Processed in C41 chemistry like Ilford XP2. (Unfortunately it is no longer produced)

For something totally different try out Ilford SFX 200. This film has an extended red sensitivity which by using a deep red filter can make the sky go almost black, and green vegetation almost white. For more effects you can get with filters, see our 5 essential filters for black and white photography.

Where to buy these films.

In the UK we use AG-Photographic or Amazon. For the rest of the world we suggest Amazon or a local traditional photographic specialist.

Do we have a preference for the best black and white films for our travel photography? Well, we are rather partial to Ilford FP4 for 125 ISO all round photography. For lower light situations, we tend to use HP5 by Ilford 400 ISO. We are also very fond of Kodak Tri-X as it is 400 ISO and very flexible (forgiving for under and over exposure) It also has a beautiful film grain so loved by old school photojournalists the world over.

Will the weather affect my film?

The answer is yes. Hot weather will slowly change the ISO of your film.

The geeky explanation: When film is manufactured it is done at a specific ISO. This is usually different to the stated ISO on the box as the manufacturers know that the film will receive heat before it gets loaded into your camera. This could be from the shipping in a hot container to the country for sale, or could be from sitting in a hot shop or warehouse. To compensate, the manufacturers make the film at a different ISO to stated. They just guess (albeit an educated one) what it will be when it reaches the camera after “cooking” in the heat of normal shipping.

If you are traveling to a very hot climate with a lot of film it is recommended that you keep your film in a cooler bag to stop the ISO increase. When I used to shoot film professionally we used to buy film marked pro. This wasn’t just a marketing ploy. The pro film was made and shipped at its stated ISO and then kept in a fridge (or frozen) to make sure the ISO did not change.

The only way around the ISO problem if you are being very accurate (read picky) is to develop one roll to see if the film is under or over exposed due to ISO ageing. Then you can adjust the development time of all the rest to compensate. Just make sure all the films are from the same batch.

Should this keep you up at night worrying about your films exposures? No. Most people won’t even notice the ISO difference.

Will X-rays affect my film?

Yes. Every time your film is x-rayed it is exposed a tiny amount. One or 2 x-rays won’t really make too much difference. If you are country hopping through multiple x-rays you could always ask the airport security to hand check the film. Remember that some security personnel are nicer than others and it always helps to smile and ask politely as they don’t have to do it. The higher ISO films will be more affected than the lower ones.

Once again don’t worry too much about this. Most people probably won’t notice the difference.

Let us sum this up now

What are the best black and white films for travel photography? They all are. It just depends on your own requirements but these are a few suggestions to get you going.

Experiment with a few brands and types before you go, to see what your personal preference for the film characteristics are.

Before you start putting tons of film into your Amazon basket take a moment to decide the percentage of high, normal or low light situations you might encounter.

Take more film than you think you need. Keep it cool in a fridge or mini bar at the hotel and the excess should last you till your next trip. You can always keep it in the fridge at home.

Most importantly – just enjoy the whole photographic creation process.

And if you’re not ready for the move over to film yet, check out our guide on converting colour to black and white digitally!

The post Best Black and White films for travel photography appeared first on ImageExplorers.

Very often people will ask us, “what’s the best camera for travel photography?” So, we’ve decided to write a post to cover a few of those questions.

Whilst it has been quoted, “The best camera, is the one that you have with you” there are a variety of points to bear in mind which we will look at.

It is the photographer’s vision

The possible options we have for the best camera for travel photography, range from using the camera on your phone, through to seriously expensive pro-gear. All these devices can be used to create beautiful photos. Also, remember that a camera is just a tool for taking photographs. No more, no less. So, there are several different issues we need to address! It is the photographer’s vision, not the equipment, that creates the stunning image. That said, some tools make photographing easier, and give better results than others.

Ally with her best camera for travel photography

Things you need to consider when buying a camera

How are you going to use your camera when travelling?

• What do you want to photograph? Landscapes / portraits / architecture …
• Do you want a good zoom facility?
• Do you want to be able to get great depth of field?
• Will you want to do selfies?
• Will you have low light situations?
• Will there be high contrast situations?
• Do you want to carry it on you always?
• Do you need to quickly upload to Social Media?
• Do you need to be able to photograph moving subjects easily?
• Will you want an adjustable back so you can hand-hold above your head?

Cost

Think about your budget, not just for the body of the camera (assuming you’re wanting to buy a camera with interchangeable lenses), but for all the things that go with it, like various lenses, filters, hand-grips, straps, memory cards, flash, tripods … Suddenly that reasonably price camera body takes on a whole new expense.

Weight

As gorgeous as that new pro Nikon or Canon feels in your hand in the shop, will it still feel so lovely when you’re halfway up a mountain and need to stop because your back aches from the weight? At that point, you won’t be thinking it’s the best camera for travel photography! On some flights, you are very limited with hand luggage weight and this could cause a problem.

Portability

Are you going to want to be able to move freely without lots of kit?
Would you like to be able to pop your camera in your bag? You can feel like you’ve missed so many photographic opportunities to shoot because your camera didn’t give you enough freedom to get to the scene.

Durability

Will there be times when you are out in the rain with your camera? You may need to consider one that is weather proof, or even waterproof. Does it need to be shock-proof?

Some for and against comparisons:

Smartphone

Mid-range fixed lens cameras

DSLR or Mirrorless Full Frame

So which one should you use?

There’s no hard and fast rule for this. Use whichever camera suits your style of photography. I (Ally) travel with a full frame Nikon DSLR and Tim with a full frame mirrorless Sony, but we try to have our cake and eat it by limiting the kit to a body with a zoom lens and a travel tripod.  We also take a small underwater point and shoot Nikon with us for when we’re in the water.

Tim can often be found laying on the floor to get a great shot!

This was the image he was going for

In summary – when looking for the best camera for travel photography, list the main and most important things you want it for. Then find a camera (and lens/lenses) that fits that bill as well as your budget when you consider all the extras. One that isn’t going to weigh you down and stop you from photographic opportunities.

For technical specifications of cameras, impartial reviews and comparisons, check out DPReview.com. This is our ‘go to’ website whenever we’re looking into cameras or equipment. Enjoy your travel photography!

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