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JUL-AUG 2017

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44 J U L Y / A U G U S T 2 0 1 7 G O O D P H O T O G R A P H Y I S W hen you visualize a trip, you recall the many postcard-worthy vistas. But sometimes, when you return home and upload your pho- tos, they all look dark and too small to print in your newsletter. Taking good photos can feel like the least of your concerns during a busy trip. However, pausing to frame a stunning photo of a group member looking out over the mountains can prove well worth the time. at same photo might help convince that group member or another potential traveler to join the next trip. Learn to harness the power of photography for your next group tour by thoughtfully composing pictures that make view- ers say, "I wish I was there." C O M P O S I N G T H E S H O T Rather than randomly aiming the camera at what's happen- ing during the trip, strive to capture intentional and appealing photos. For starters, most group leaders organize at least one group photo during the tour. ough it might be easier to orchestrate a group photo while everyone is together during a mealtime or on the motorcoach, avoid making an indoor shot your one group picture. Instead, look for a backdrop that represents the area. For example, on a trip to Peru, pose the group in front of Machu Picchu. If you are unfamiliar with the best group photo opportunity, ask the tour operator for some ideas. Once you have your plan, inform the group when and where you would like to take the photo, so you aren't chasing after them during the tour. But don't limit yourself to one perfect group photo. Try to take diverse types of photos during the tour for a dynamic repre- sentation of the entire trip. Look for some landscape shots with interesting elements in the foreground to provide a three-dimensional look. Also keep an eye out for opportunities to take photos of group members enjoying the trip. P H O T O G R A P H Y 1 0 1 Striving to reach National Geographic photography stan- dards might prove more of a time commitment then necessary, since it is easier than ever for amateurs to take quality photos. First, cameras with high resolutions are cheaper than they used to be, and many smartphones can capture print-worthy shots. Determine the resolution of your camera. e higher the reso- lution, the better. As a rule, resolutions over 1,000 pixels work well online and in print. For example, a 20-inch print would re- quire a resolution of at least 1,600 by 1,200 pixels. A more expensive SLR camera allows you to customize your shot with high-caliber lenses and manual settings, but if you don't have a lot of technical knowledge, a simple point-and-shoot camera can take quality photos using an automatic setting. Just keep in mind three basic things when taking photos: stability, light and the rule of thirds. A shaking camera will ruin the best photos, so try to keep your hands as still as possible. Buy a camera with an image stabilizer or a lightweight travel tripod. For light, photographers love the tones during the hour before and after sunrise and sunset. e middle of the day can produce dark shadows and harsh lighting, and should be avoided whenever possible. Unless you purchase a high-tech flash, avoid using the flash whenever pos- sible. Most photos taken with a basic flash cast ugly shadows, so it's better to choose the automatic setting to dis- able the flash, which is the symbol of a zigzag arrow with a line through it. is ensures that your flash won't automati- cally turn on when the camera detects darkness. e rule of thirds breaks images into thirds, both horizontally and vertically, and places the photo subject along the right or left side of the image rather than in the center. is creates an image that is pleasing to the eye. An easy way to keep this in mind is to turn on your camera's grid feature, which displays the grid of thirds on your screen. P H O T O G R A P H Y P R O M O T I O N After you take photos, don't leave them in your camera; send them out as BY ELIZA MYERS marketing Y O U R P R O G R A M

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