Top five lenses for travel photography beginners

Top five lenses for travel photography beginners

Whether you’ve decided to focus on travel photography or you just want to level up your travel photos, the right lens is crucial to getting the job done. You don’t want to miss getting the best shots, whether you want to showcase the beauty of your destination, capture interesting personalities, or document the best of local life.

However, if you’re new to the craft and are yet to get a travel lens, picking one or two from all the choices available can be confusing. There are also a lot of considerations — such as the kind of photos you want to take, the places you will travel to, and the kind of travel you’ll be doing. Finally, you don’t want to spend too much on your first travel lens. But fret not — this quick guide should hopefully help you make the best choice.

This post is sponsored by MPB

Photo by Julie Powell

What makes a good travel photography lens for beginners?

But first, you might be wondering what makes a good lens for travel photography. What qualities should you be looking for when shopping around for such lens? How do they make photography easy for you when you travel?

Since the advent of mirrorless cameras, lenses in general have become more compact. However, some of these lenses can still be a bit unwieldy for travelers. Also, there’s the temptation to bring several extra lenses along with you, just in case they come in handy during the trip. So, in a nutshell, you want an all-around lens that is light, compact, and easy to operate. Let’s break that down a bit below.

Versatility

When you’re out traveling, you’ll come across a variety of subjects and shooting situations. You want to be ready for them. A versatile zoom lens or a prime lens you’re comfortable moving around with will allow you to work through the scenes as quickly as possible.

Size and weight

You’ll be doing a lot of walking and moving around during your days out, so you don’t want to be lugging around a heavy lens. Just imagine carrying kilos of equipment during a hike! You can probably manage with two small lenses, one on your camera and another in your bag. But even just one long, heavy lens equipped on your camera will tire you out halfway through a busy day of seeing and photographing the sights.

Simplicity

As with many things, when you’re just getting into travel photography, you don’t want to make things too complicated. It may seem like a great idea to jump straight into a pro-level lens with all its bells and whistles. But when taking travel photos, you want to work with something you’ve already mastered, so you get the shots you want as quickly and accurately as possible. So, it’s best to start with a lens that is reliable and versatile enough for the field, yet simple enough for a beginner to get the hang of.

Now that we have that all sorted out, here are the top five lenses to consider if you’re new to travel photography. They’re great for the kinds of shooting conditions and scenarios that you’ll generally encounter during your adventures. If you’re still looking for your first travel lens, it’s definitely a good option to buy secondhand from a reputable platform like MPB. Not only will you have access to professionally assessed gear for less, but you’ll also get free shipping and a free six-month warranty on your gear purchase.

A quick caveat

One more thing — the list below shows focal lengths for full-frame cameras. So, if you’re shooting with a crop sensor camera, you’ll get photos with a “magnified” field of view. For example, if you’re shooting with a 35mm lens, you’ll end up with a cropped image that looks more like it was taken with a 50mm or 70mm lens (roughly) on a full-frame camera. So, when buying a lens for your crop sensor camera, you’ll want to take note of the crop factor of the camera and the full frame equivalent of your prospective lens. Full-frame cameras and lenses are also more expensive, but their crop sensor equivalents are more compact and lightweight.

Photo by Federico Di Dio photography on Unsplash

First on the list is the 24-70mm. Most professional photographers consider it as the best choice for an all-in-one lens for travel photography. It has a flexible focal length range that allows you to go wide for more sweeping scenes, or get a little bit of reach for getting close to your subjects.

If you want something as versatile as the 24-70mm but want to go a bit wider, the 18-50mm should do the job for you. This is a great option if you plan to do a lot of landscape photography or cityscape photography during your trip.

Next are some of the most popular prime lenses for travel photography. Many photographers prefer working with primes because they find it easier to work with just one focal length instead of fiddling around with the controls of the zoom lenses or switching to a different lens altogether.

The wide field of view of the 28mm is great for taking a variety of sweeping shots, whether you’re in the city or the great outdoors. Many professional photographers also prefer this lens when they need to go wider since it doesn’t distort the perspective the way wider focal lengths do. So if you’re planning to take a lot of wide indoor shots or architectural details, this lens is the best for the job.

Many travel photographers also do a lot of street photography during their trips. So if you’re visiting a city with plenty of street photography opportunities, you may want to pack a 35mm prime lens with you. Working with a single focal length will help you shoot faster and focus on the scenes happening around you, so you don’t miss a shot!

Finally, if you’re traveling with friends and family, you’ll surely want to take great travel portraits of them as well. Take advantage of the stunning locations and pack a 50mm lens with you. But of course, the so-called Nifty Fifty isn’t just great for portraits. It’s also a great all-around prime lens that you can use to capture a variety of scenes and subjects.

Depending on the kind of photos you want to take, your budget constraints, and even your baggage allowance, you may want to mix and match lenses from the list above. Some photographers prefer taking with them two compact prime lenses, while others find it more comfortable working with a versatile zoom lens. Hopefully, this quick beginner’s guide will help you make the best lens choices, and ultimately, get awesome travel photos!

P.S. Later on, when you feel like exploring more advanced options, check out these all-in-one zoom lens recommendations for travel photography!

Book of rare and previously unpublished photographs of the New York Underground of the 1970s: Bowie, Warhol, Debbie Harry and many others

Book of rare and previously unpublished photographs of the New York Underground of the 1970s: Bowie, Warhol, Debbie Harry and many others

I only just got to Nobody Waved Goodbye, a collection of unpublished photographs from New York’s countercultural underground in the 1970s, and not a moment too soon: the Kickstarter ends today. You’d better get on it now, if you fancy it, because I need this book: photos not yet seen of David Bowie, Debbie Harry, Nico, Andy Warhol, Grace Jones and many others.

Bobby Grossman’s personal selection of rare and previously unpublished photographs of the New York Underground of the 1970s through the 90s. His subjects include Debbie Harry and Chris Stein of Blondie, Jeff Buckley, Nico, Gerard Malanga, Andy Warhol, David Bowie, Grace Jones, William Burroughs, Duncan Hannah, Fab 5 Freddy, Talking Heads, Devo, Cookie Mueller, Brigid Berlin, Klaus Nomi, Jim Carroll, Ronnie Cutrone, Iggy Pop, Glenn O’Brien, Ramones, Danny Fields, Jackie Curtis, Rene Ricard, Jean-Michel Basquiat, Suicide, and Stiv Bators, with a new introduction by Carlo McCormick!

Some tasters from the campaign page:

It’s only $45 too, for the softcover.

Nobody Waved Goodbye [Kickstarter]

Texas A&M AgriLife garners awards from University Photographers’ Association of America

Texas A&M AgriLife garners awards from University Photographers’ Association of America

Sam Craft, Texas A&M AgriLife Marketing and Communications multimedia team lead, earned high honors in the annual photo competition and was recognized at the University Photographers’ Association of America, UPAA, conference in Provo, Utah.

an alligator floats with its eyes and nose just above the water level and a dragonfly with yellow wings sits on it. The image is mirror reflected in the water below
Sam Craft, Texas A&M AgriLife Marketing and Communications multimedia team lead, won first place in the University Photographers’ Association of America annual photo contest with this photo of a dragon fly landing on an alligator’s head as it moves through the water on a lake at a private hunting and fishing club in Athens. (Sam Craft/Texas A&M AgriLife)

The UPAA, an international organization of college and university photographers dedicated to applying and practicing photography in higher education, chose three multimedia creations by Craft to honor photographic excellence.

“UPAA’s recognition of Sam’s work is well deserved and a testament to how authentic visuals tell a brand story,” said Katherine Hancock, assistant vice chancellor for marketing and communications for Texas A&M AgriLife. “He is a true leader in visual media not only across Texas A&M AgriLife but all the land-grant university systems and higher education.”​​

Since joining Texas A&M AgriLife in 2020, Craft has led a team of photo and video professionals in the planning, creation and distribution of visual media, including photography, videography, audio productions and other multimedia materials to advance the Texas A&M AgriLife brand.

A compilation of photos from a pond setting that include water, people walking above and swimming in the water, crawfish, fish of various sizes, frogs, and an evening campfire.A compilation of photos from a pond setting that include water, people walking above and swimming in the water, crawfish, fish of various sizes, frogs, and an evening campfire.
A photo essay captured when the Biology of Gulf Coastal Fishes week-long class visited various locations along the Guadalupe and San Marcus rivers to study the biological complexity of Gulf Coast river systems while gaining hands-on experience in field and museum ichthyological techniques, collecting and sampling specimens; participation in lectures, museum preparation and archiving specimens. (Sam Craft/Texas A&M AgriLife)

Bringing home the accolades

“It is truly an honor to have my work recognized by my peers in UPAA,” Craft said. “I work with phenomenal people, on and off my team at Texas A&M AgriLife, and we are fortunate to be encouraged to capture and tell visually engaging, dynamic and interesting content.”

Craftbrought home:

— First place for his photo of a dragonfly on an alligator head in General Features and Illustrations.

— Second place for his Down River Essay in Photo Essay.

— Fourth place for his Department of Rangeland, Wildlife and Fisheries Management Essay in Photo Essay.

 For more examples of Craft and his team’s work, visit https://agrilife.photoshelter.com/index.

a compilation of photos showing a pond from varies views as well as people holding baby alligators at the water level and on tables where they work with them. It also shows various people completing tasksa compilation of photos showing a pond from varies views as well as people holding baby alligators at the water level and on tables where they work with them. It also shows various people completing tasks
This photo story of students and faculty from the Texas A&M Agriculture and Life Sciences Department of Rangeland, Wildlife and Fisheries Management who spent three days at a hunting and fishing club collecting various reptiles, mammals and fish for tagging and research purposes by Sam Craft placed fourth in the University Photographers’ Association of America annual photo contest. (Sam Craft/Texas A&M AgriLife)
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Randal Ford

Randal Ford

Creativity is a paradoxical pursuit: The craft of making requires vulnerability and a certain kind of tenderness or openness to the world around us. At the same time, putting our work out in the world today can take a shit ton of courage and tenacity. This is a space to shine a light on the folks who are straddling these tensions and making us all a little better with their art. —Brené

A rare black wolf named Geronimo with piercing yellow eyes stares straight into the camera, a two-toed sloth called Perry hangs upside down, hands clasped, patiently waiting for his portrait, a Bengal tiger, Shika, gracefully walks to her mark and turns towards the lens for her portrait to be taken by photographer Randal Ford. This collection of striking animal portraits became a coffee table book published by Rizzoli, called The Animal Kingdom. Ford’s large scale, limited-edition art pieces of animals also grace many personal homes and public spaces, like the powerful image of Bevo, a longhorn and the mascot of the University of Texas, that hangs proudly over Brené’s fireplace at her lake house. 

Ford, who has been honing his craft over the last 20 years, shooting major advertising campaigns for the likes of AT&T, Huggies, and Yeti, became interested in turning his camera from people to animals after a light bulb moment while capturing a dairy cow that he lit in the same style as his people portraits. He says: “The connection between photographer and subject is something I love. Just as with humans, when working with animals, I meticulously consider pose, lighting, framing, and composition. I try to create an environment of collaboration where everyone can speak up, be heard, and be part of the creation process.” 

Highland Cow photographed by Randal Ford
One of our personal favorites at BBEARG, we can’t help but love the funky hairstyle of this charming Highland Cow named Hazel; photography by Randal Ford.

Did you find this work or did it find you?

A little bit of both, I guess. In college, after taking a photography class, I began taking pictures for the school and local newspapers. I quickly became obsessed with photography, shooting everything from sports to news, and then fell in love with portraiture. I lucked out in a sense because I was already in the business school, so having a business perspective on an art career was and is still helpful. But the animal portraits really found me. 

Renowned designer DJ Stout of Pentagram commissioned me to photograph a series of dairy cow portraits in front of bright, poppy backgrounds. On a cold, rainy November day, we traveled to a small dairy farm and set up our studio lights and colored backgrounds. That day, we brought to life the personalities of those cows. And I saw the potential of translating my people’s portraiture into animal portraiture.

Randal is pictured holding Kotton the Swiss Lamb.

Randal is pictured holding Kotton the Swiss lamb; photography by Robert Amador.

Randal at work taking a portrait of a Suri alpaca

Randal at work taking a portrait of a Suri alpaca; photography by Robert Amador.

What do you enjoy the most about creating?

I know everyone always talks about enjoying the journey and appreciating the process, which sometimes I do (sorta . . . maybe . . . occasionally). But contrary to that, I really appreciate the end result much more. I love that in art, that you have a tangible end result. Whether it be a book or photographic print, there is something so satisfying about having a result that can be shown, collected, felt, and immortalized. That tangible result fuels my creative soul.

A few photographs from Randal’s collection (pictured left to right) — a hummingbird in flight, a yearling lion named Jabari, and this charming sloth, Perry; photography by Randal Ford.

Is there a part of the creative process that’s tougher for you than other parts?

Uncertainty often casts a shadow on my ability to truly appreciate the journey. My process, photographically, is very challenging and unpredictable. It’s that uncertainty that is tough for me. But photographers know that without darkness, we wouldn’t know what light is, and in the same sense, without the struggle and uncertainty, what I do wouldn’t be so fulfilling. It’s the contrast that makes the reward worthwhile. It’s experiencing the emergence from the dark that makes the light so magnificent. So I guess even though the journey is tough for me, it’s what makes it all worthwhile.

What are three words you would use to describe your creative process?

Precise, Intuitive, Uncertain

Randal reviewing a print of a pink cockatoo
Randal reviewing a print of a pink cockatoo; photography by JD Swiger.

Whether it be a book or photographic print, there is something so satisfying about having a result that can be shown, collected, felt, and immortalized. That tangible result fuels my creative soul.

Putting your work out in the world can be hard. Do you ever wrestle with perfectionism and/or get sidelined by criticism?

Maybe it’s because I have a business educational background and a natural knack for marketing, but putting my work out there has not been hard for me. I know that without commerce, art does not exist, so shifting the mindset to “done is better than perfect” is an absolute must for artists who want to thrive. Don’t get me wrong, though; I still struggle with perfectionism and criticism, but I know it’s something you have to get over in order to make a career in creativity work.

Left: Randal is pictured in a gallery display of his work at The Austin Public Library; photography courtesy of Randal Ford. Right: The cover of Randal's new book, Farm Life, along with his two previous books, Good Dog (2020) and The Animal Kingdom (2018)Left: Randal is pictured in a gallery display of his work at the Austin Public Library; photography courtesy of Randal Ford. Right: The cover of Randal’s new book Farm Life, which is out September 2024, along with his first two books, Good Dog and Animal Kingdom; photography by Dave Creaney.” data-credit>
Left: Randal is pictured in a gallery display of his work at the Austin Public Library; photography courtesy of Randal Ford. Right: The cover of Randal’s new book Farm Life, which is out September 2024, along with his first two books, Good Dog and Animal Kingdom; photography by Dave Creaney.

What’s one thing you’ve learned about leading a creative team? 

I think being enthusiastic about whatever you’re doing can be magnetic and really create a positive working process. If a team leader is positive and enthusiastic, there’s a trickle-down effect that I believe lends itself to a better final result.

Favorite bumper sticker? It can exist or you can make it up!

Simplicity is the ultimate sophistication.

The Ayam Cemani Rooster, Krishna, a rare breed of chicken from Indonesia photographed by Randal
This Ayam Cemani rooster, Krishna, is a rare breed of chicken from Indonesia; photography by Randal Ford.

It’s experiencing the emergence from the dark that makes the light so magnificent.

At This Photography Festival, the Camera Points Below the Surface

At This Photography Festival, the Camera Points Below the Surface
image

There’s always more to a photo than what we see, as shown by standout exhibitions at this year’s Rencontres d’Arles in southern France.

Deep beneath the town hall in Arles, France, past some unassuming service counters and down several flights of narrow steps, the artist Sophie Calle has buried some things that she can’t bear to part with.

Her show, called “Neither Give Nor Throw Away,” is a standout exhibition at this year’s Rencontres d’Arles, an annual summer photography festival founded in 1970 that presents group and solo shows of new and old photographic works in museums, churches, repurposed storefronts and parks across this Provençal city of 52,000 residents.

This year’s edition of the Rencontres, which runs through Sept. 29, is titled “Beneath the Surface,” and Calle’s contribution takes place in a labyrinthine series of underground caverns bisected by long arched balustrades. The shadowy walkways and damp, moldy atmosphere are ideal for her project, in which she displays works from her storeroom that were damaged in a storm. Advised by restorers to destroy them, she decided instead to give them a subterranean afterlife. And so, the works are now “buried” in Arles, where they continue to decompose, but have not, at least, been forsaken.

Sophie Calle’s exhibition “Neither Give Nor Throw Away” is in a series of underground caverns beneath Arles’s town hall.Teresa Suarez/EPA, via Shutterstock

Calle — a photographer, writer and conceptual artist — is one of France’s most lauded and prolific contemporary art makers. Family, absence, death, romance and archives are themes that recur in her work, which often pairs images and text. In Arles, water-damaged photographs show a charred and discarded bed, formerly Calle’s own, in which a man who was renting a room from Calle’s mother burned to death, and a series of modest grave plots with stark markers: Mother, Sister, Child.

Others come from a series titled “The Blind,” which matches modest black-and-white portraits that Calle took of blind people with her photographic interpretations of their responses, also present as framed texts, when she asked them what they imagine to be beautiful. (Answers include the sea, the color blue and Alan Delon.)

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Never has automotive photography looked so clean!

Never has automotive photography looked so clean!

For over two decades, photographer Benedict Redgrove has captured some of the most exciting, exotic, and rare cars in the world, and lucky for us they have all been showcased in a new book now live on Kickstarter.

Car photography is a genre that fascinates me, but the genre is often flooded with images that look similar. Enter Benedict Redgrove. A photographer who has forged a unique style of car photography that elevates the genre into a clean and crisp minimalist art form.

• See our guide to the best camera for car photography

(Image credit: Benedict Redgrove)

Auto Photo Manual by Benedict Redgrove is a book comprised of over 250 captivating images, that not only highlight the beauty in each car’s form but take the viewer on a journey through the process of their creation.

Through insightful writing and photography, Redgrove captures the inception of the advertising campaign, through the shoot, and out the other side into post-production – precious inspiration for any budding commercial photographer!

Speaking on the book Redgrove says, “I wanted to make a book that shows the work and projects in their entirety. Often, I create a large body of work, but due to space or budget, only a few images are shown in magazines or campaigns. This way, I can release the full sets and talk about the how, why, when, and where of the images, which I often get asked about”.

(Image credit: Benedict Redgrove)

The book is filled with stories and images of some of the most beautiful cars on earth, from classic concept cars to cutting-edge autonomous vehicles. The cars are highlighted by Redgrove’s graphic and architecture style, resulting in a stunning book that will appeal to not just photographers and car enthusiasts, but lovers of all things design.

The Kickstarter is now live and is well on its way to reaching its goal. The campaign has multiple tiered rewards for early backers including prints, postcards, and signed editions. I can’t wait to get my hands on a copy!

I am a huge fan of photography books that show the behind-the-scenes processes. I find gleaning valuable information from industry-leading professionals in books can elevate my photography and way of working (and you don’t always need to use a Phase One camera like Benedict Redgrove to do it!)

(Image credit: Benedict Redgrove)

Jamie Hawkesworth’s Dream-Like Portrait of 21st Century Britain

Jamie Hawkesworth’s Dream-Like Portrait of 21st Century Britain

July 11, 2024

Lead ImageUntitled, from the series The British Isles, 2007-2020Image courtesy of Huxley-Parlour, London. Copyright Jamie Hawkesworth

One of Jamie Hawkesworth’s most well-known photographs was taken on Unst, Britain’s extreme northernmost point. The landscape – which happens to be the inspiration behind Robert Louis Stevenson’s Treasure Island – is known for being jagged and treacherous, pummeled by centuries of thrashing waves and sharp winds. “I took a train, and then a ferry, and then a bus, and then another bus, and then another ferry, to get there,” Hawkesworth remembers. As usual, the Ipswich-born photographer had “absolutely no plan” for his trip: the goal was to reach the island’s tip, spend the night in a converted RAF base, and see what images he could capture. As the rain grew increasingly violent, he thought about turning back – until he came across a farmer’s fete at a weather-beaten Community Centre. “I saw this girl who had come last in the local pony competition. She had this amazing face, so I asked her parents to take her picture.” The resulting shot, one of the leads in his new British Isles show, stands out amongst the surrounding sun-drenched images: a young girl in a pink tracksuit with sodden, windswept hair and a dejected gaze.

It’s fitting that, the day I speak to Hawkesworth, sheets of rain are smashing against my window. It’s a summer afternoon in London, the day after a general election, and Britain – its uncertain future and restless, metamorphic identity – has been the national focal point for the last few weeks. Hawkesworth’s project The British Isles – a collection of images taken all around the country, from 2007 to 2020 – is set to open at London’s Huxley-Parlour, presenting a dream-like carousel of the moments that led us to this point. Often, these are portraits of people caught in the mundane reverie of their day-to-day lives, from paint-flecked decorators and phone-scrolling students to Covid’s frontline workers. “I was never like, ‘Right, I’m going to try and talk about what it’s like to be in Britain now’,” Hawkesworth admits. “I just picked places I’d never been before and went there just to see what they looked like.” Having discovered photography “late” at 21, after a brief spell studying forensic science at Preston University, he felt compelled to make up for lost time. “I truly felt guilty if I wasn’t out taking pictures. I’d found something I loved to do, I was just going to do it,” he says. “Truly, at the heart of it, it’s just a sense of wandering.”

This sense of instinct-driven wandering has come to define Hawkesworth’s work. He admits to doing the “most minimal amount of research you could ever do” while travelling for personal projects, relying instead on gut feelings and overheard conversations to dictate his next move. His general rules are not to get too in his own head, to keep things simple, and to surrender control. In his fashion photography, this translates to scrapping elaborate studio set-ups and relying exclusively on natural light (“when you’re at the mercy of daylight, you can shape it a little bit, but it tends to be what it is”). It also means rejecting digital photography entirely. “If analogue photography disappears, I would actually just stop taking pictures,” he says. “With analogue photography, it’s just so pure because you can’t see anything. You can’t overanalyze, and you can make lots of mistakes because you just can’t see.” This “looseness” leaves room for surprises, as well as honesty. “Even on commercial work, no one sees anything because I don’t shoot Polaroid either. So everybody’s truly just looking at what’s happening in front of them.” 

There are obviously challenges that come with this kind of approach. While shooting The British Isles, Hawkesworth would often find himself going on long trips with nothing to show for it – the photos that came out of his London dark room would be uninspiring or not quite right. He also had to battle with his own intense shyness to take them in the first place. “I used to do this thing where, if I had to make a phone call, I was so shy that I would have to practice before making the call, which is so much worse,” he says, laughing. “But every single time, going up to a stranger is still incredibly nerve-wracking, and you never know what they’re going to say. It’s extremely awkward. But I learned very quickly, if you just enjoy the awkwardness and don’t try and change anything, you’re going to get some sense of honesty come through somewhere.”

The British Isles ‘project’ officially ended in 2020, and Hawkesworth admits that – for now – his urge to travel the UK has been satiated (in “20 years”, once he’s forgotten what Hartlepool is like, the desire might return). These days, his attention is further afield. When we speak, he’s just returned from Cape Cod, where he went on a whim to see where Joel Meyerowitz made his Cape Light series. He’s also experimenting with directing, having just wrapped a short film about his grandad’s stint as a messenger boy in the Blitz. “I was spending so much time alone in my darkroom, I thought it’d be nice to start collaborating with people a little more on longer projects.”

Growing older, he adds, has been a key to changing his relationship with his work. Many images in The British Isles were left to gather dust, becoming more enchanted as the years flickered past. “I think, ultimately, you change,” he says. “Things become more romantic somehow. The idea that I got a train and had a Snickers bar and a cup of tea and walked around for two months, and now I’ve got to pay an electric bill.” There’s also the eternal nature of his subjects, and the fleeting intimacy of each lost connection. With portraits, “You’re never going to see that person ever again probably, so it’s quite amazing: that human being existed, and now you don’t know where they are.”

The magic, he adds, comes down to “just the simple nature of leaving your house to take a picture, and the sheer simplicity and openness of that. You’re not bringing anything to anything.” He pauses, handling his words carefully. “You’re kind of just … I hate to say blowing around in the wind, because that would be cheesy as hell. But it’s probably not a million hours away from that idea.”

The British Isles by Jamie Hawkesworth is on show at Huxley-Parlour in London until 10 August 2024.

Leyden native shines light on dementia, abandoned mills with pair of photography exhibits

Leyden native shines light on dementia, abandoned mills with pair of photography exhibits

Greenfield Recorder – Leyden native shines light on dementia, abandoned mills with pair of photography exhibits

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Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,” showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room. STAFF PHOTO/PAUL FRANZ

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,”  showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room.

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,” showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room. STAFF PHOTO/PAUL FRANZ

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,”  showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room.

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,” showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room. STAFF PHOTO/PAUL FRANZ

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,”  showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room.

Leyden native Joe Wallace’s portrait series called “The Day After Yesterday,” showcasing Massachusetts residents living with dementia, is on display in the Greenfield Public Library meeting room. STAFF PHOTO/PAUL FRANZ

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls.

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls. STAFF PHOTO/PAUL FRANZ

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls.

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls. STAFF PHOTO/PAUL FRANZ

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls.

Photographs of old mill buildings by Leyden native Joe Wallace are on display in the Great Hall at the Great Falls Discovery Center in Turners Falls. STAFF PHOTO/PAUL FRANZ



Years after seeing his grandparents struggle with different forms of dementia, Leyden native Joe Wallace decided to use photography to help him process the experience.

The result, a portrait series called “The Day After Yesterday,” showcases Massachusetts residents living with dementia. The photography exhibit is on display at the Greenfield Public Library through September, with a reception planned for Monday, Sept. 16, at 6:30 p.m.

Wallace started working on the series in 2017.

“I started working on the project many years after, I think as a way of metabolizing, or processing, my own experience with different forms of dementia and its impact on me, my family, my community,” Wallace said. “And my desire to try to take my own experience and try to make something positive out of it.”

The exhibit’s title came to Wallace while he was interviewing one of his photography subjects, who accidentally referred to today as “the day after yesterday” before his child corrected him.

“I thought it was a funny and loving anecdote,” Wallace said. “But it was also a nice metaphor for some of the subjects that came up over and over again, which is: nothing matters beyond what is happening right now.”

Dementia forces those struggling with the disease to live in the present, but staying present is also required of those caring for people with dementia, Wallace explained.

“I thought a way to express how hard it can be to be present is the verbal complexity of … the day after yesterday, which is today,” he said.

It was important to Wallace to establish trust with his subjects before photographing them, so he conducted extensive interviews beforehand.

“Trust is hard to come by when you talk about such a sensitive subject, so I spent many hours with most people before I ever took a picture,” he recounted. “And that bond, and that trust, helped me get an authentic gesture, expression from my subjects. So I carefully photographed everyone to show their vulnerability, but also their dignity, their pride, their courage.”

Wallace started by photographing people he knew with dementia, beginning at Charlene Manor Extended Care in Greenfield, where his grandmother lived before her death. Because of the familial connection, the residents were already familiar with him, Wallace said, and thus more inclined to trust him.

Branching out from there, he photographed residents at South Cove Manor in Quincy where his mother-in-law was living. The nursing home has a large Chinese population, and Wallace said capturing the diversity of those living with dementia was crucial to his project. He also worked with public agencies, such as La Alianza Hispana in Boston.

“I wanted someone to come in the room at the exhibit, or open the book, and see somebody who either looked like them or had a story that they had a relation to so people would stay, so people would say, ‘This is for me, I wanna read more, I wanna look at more pictures, I wanna dig in.’ Because if people don’t see themselves represented, then they’ll just walk away.”

Wallace added that it was important to him to capture a diversity of ages, too. He emphasized that dementia is not just a disease suffered by older adults — his youngest subject is 29 years old and has a rare genetic mutation.

‘Remnants’

With a second local photography exhibit, Wallace transitioned from focusing on people to places. “Remnants,” on display in the Great Hall at the Great Falls Discovery Center in Turners Falls through July 28, highlights abandoned mill buildings in the village.

Having grown up in Franklin County, Wallace, who now lives in Boston, was drawn to historic mill buildings as a child.

“I remember … being fascinated by the buildings along the canal … with general 19th-century industrial architecture and history,” he said.

Wallace said he was particularly drawn to the buildings in Turners Falls because the town had not been able to convert them into other uses, as has been done in other Massachusetts municipalities.

“The empty ones always seem to have more intrigue to me,” he explained, “to tell a story that sort of left something to the viewer.”

There will be a reception for “Remnants” on Sunday, July 14, from 1 to 3 p.m. at the Great Falls Discovery Center. Starting at 1:30 p.m., Wallace will discuss his photography and Montague Town Administrator Walter Ramsey will talk about the history and future of the mill buildings.

“The stories I imagined taking place there, both in its heyday when they were working mills, but also when they were mixed use, when they closed … that was really the genesis of the title, ‘Remnants,’” Wallace noted. “What are the stories told by what’s left behind?”


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Elevate Your Mobile Photography Game

Elevate Your Mobile Photography Game

Unleash your creativity with the latest smartphone offering that redefines mobile photography.

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Say goodbye to dark, blurry photos with the flagship-level light sensitivity and optical image stabilization of the main camera. The Autofocus Ultra Wide-Angle Camera allows you to capture vast landscapes with ease, while the AF Group Selfie Camera ensures that no one gets left out in your group photos.

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Master Mobile Photography: Uncover More About Enhancing Your Shots

So you’ve got your hands on the latest smartphone model with cutting-edge camera technology. What’s next? Let’s delve deeper into how you can truly elevate your mobile photography game with additional insights and tips.

Key Questions to Consider

1. How can I make the most of the triple 50MP camera setup?
Utilize the different lenses – wide-angle, ultra-wide, and telephoto – for varied perspectives in your shots. Experiment with different settings to understand their impact on the final image.

2. What are some techniques for capturing stunning low-light portraits?
Explore the benefits of Night Mode for clearer, well-lit photos in low-light conditions. Experiment with manual settings to control exposure and achieve captivating results.

Challenges and Controversies

One common challenge faced by mobile photographers is the debate over the authenticity of heavily edited or filtered images. While editing can enhance photos, it’s essential to strike a balance between enhancing reality and distorting it.

Advantages and Disadvantages

Advantages:
– Convenience: Always having a capable camera in your pocket.
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Disadvantages:
– Limitations in low-light conditions compared to DSLR cameras.
– Lack of manual controls and settings found in professional cameras.
– Over-reliance on post-processing software for corrections.

When aiming to enhance your mobile photography skills, remember that practice, experimentation, and continuous learning are key. Keep exploring new techniques, editing tools, and subject matters to refine your craft.

Photography.com is a valuable resource for in-depth guides and tutorials on mobile photography techniques and trends. Explore inspiring galleries, tips from experts, and stay updated on the latest advancements in smartphone camera technology.

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Step up your photography game by incorporating these additional insights and recommendations into your mobile photography workflow. Visit your nearest store to explore accessories, apps, and additional tools that can further enhance your creative vision. Elevate your shots and capture moments like never before!

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