Overview
Travel is transformative. It lets us meet fun and interesting people, experience different cultures and explore beautiful, exotic and sometimes dangerous places. Travel increases our understanding and appreciation of the world.
Before you begin spending your hard-earned cash on a travel photography kit there are a few questions you need to ask yourself. Take a look at your destination. Is it urban? A densely populated city? Rural? Wilderness? Wildlife? Are you going to be photographing the streets? People? Buildings and their interiors? Architecture? Will you be photographing landscapes and cityscapes? High speed action? Will you have a support structure? Will you be on a tour? Are there going to be people helping you?
If you don’t have an idea on how to answer these questions, take some time and research the locations you will be visiting to get an idea about the answers. The next question to ask is what are your photographic aspirations and goals? Do you want images to share on social media only or do you want to create quality gallery ready prints? Also, how much gear are you willing to carry? Camera gear can be bulky and heavy. It’s not just the camera body and lenses, it’s all the accessories as well.
I know it’s a lot to think about but doing this little bit of homework will save you a lot of time, money and aggravation in the long-term.
A basic photographic kit used in travel typically contains a camera body, camera strap, a normal lens that lets the camera see with the same basic perspective as you do, a wide lens to get in close or for tight spaces and a telephoto lens to reach out and bring distant things closer in. Typical accessories include extra batteries, a charger, memory cards, something to clean the lenses with and a laptop or mobile device to view, edit and share with. You’ll also need something to carry everything in.
It seems pretty straightforward and for the most part it is but there are a dizzying array of choices that need to be made before hand, and that’s what we’ll dive into next.
Images Quality and Goals of Use
What do you intend to do with your images? The image quality of modern digital cameras is really great, it’s hard to go wrong with any of the major manufacturers these days. However there are some things to consider. If your goal is to have images on your devices and social media and you like taking simple videos, a smart phone may be your best choice. Smart phone photography is fun, spontaneous and stream lines the process. A lot of people have produced some amazing images on smart phones. However there are other things to consider. Building your travel kit around a dedicated camera system offers a lot more flexibility in choosing bodies, lenses, software and accessories.
Let’s take a look at camera resolution as a starting point. Resolution as expressed by megapixels gives you a good window into how large an image a camera can produce. This becomes important when you choose to crop an image or produce a physical print. Here’s a chart to help you understand. These numbers represent the full resolution of an un-cropped straight out of camera image file printed as a high quality photograph at 300 pixels per inch.
| Physical Print Size | Megapixels | Sensor Size |
| 4 inches by 6 inches | 2 megapixels | 1600 x 1200 |
| 5 inches by 7 inches | 3 megapixels | 2048 x 1536 |
| 8 inches by 10 inches | 5 megapixels | 2560 x 1920 |
| 10 inches by 8 inches | 6 megapixels | 3008 x 2000 |
| 13 inches by 9 inches | 10 megapixels | 3820 x 2592 |
| 15 inches by 10 inches | 12 megapixels | 4920 x 2800 |
| 17 inches by 11 inches | 16 megapixels | 4920 x 3264 |
| 20 inches by 13 inches | 24 megapixels | 6000 x 4000 |
| 24 inches by 16 inches | 36 megapixels | 7630 x 4912 |
| 28 inches by 18 inches | 45 megapixels | 8256 x 5504 |
These numbers give quite a bit of food for thought. I currently use a pair of Fujifim X-T3 cameras with a sensor resolution of 26 MP. Some of my images end up on social media, some are used only online and others are processed as high quality print files. With those cameras, I typically print 13 by 9 inch images on 13 by 19 inch fine art paper that are matted and framed at 16 by 20 inches and hung on a wall. Because I print at that size and I very rarely crop, a full resolution 26 MP capture is perfectly fine for my intended use and I could easily print larger. I enjoy the cameras and the superb Fujinon lenses. They work for me and serve my purpose.
The advantage of the higher megapixels is that it gives me more flexibility to crop image files while still giving me the ability to print high quality images at my preferred size of 13 x 9 inches. I hope that makes sense and I think it will become clearer as we get into lens choice later on. Even if you never intend to print your images, higher megapixels, thoughtful composition and technique will give you more freedom to tweak the image file, crop, or do whatever you’d like to do.
For most of us, 24 MP is a good place to start, it potentially offers a lot of image quality while at the same time providing flexibility of use. Notice I said “potentially” because a lot will depend on you, the photographer and that will influence the quality of those megapixels. We’ll get into that as we go further into gear and the hows and whys on setting up your system. Remember, when you decide on a camera body you are buying into a system.
Choosing Your Format
The three common interchangeable lens camera formats based on sensor size, from smaller to larger are Micro 4/3, APS-C and full frame. All three systems have matured to include features like dual memory card slots, superb lenses in commonly needed focal lengths, weather and dust sealing, video recording and lots of accessories.
If your intention is to produce large detailed images with the greatest amount of creative control and the deepest choice of lenses and accessories, a full frame system is your best choice. The down sides of a large full frame system are its cost, substantial bulk, weight and obtrusiveness. This matters especially when you are carrying your own gear on long trips. My philosophy is I only take as much gear as I can fit in a single bag that I can comfortably carry myself.
As a traveler I am often rolling my suitcase with my gear on my back, walking long distances through airports and train stations, loading and unloading all my stuff at security checkpoints and standing in line for long periods of time at any hour day or night. That is why, after years of travel, I have converted to APS-C as my primary system.
APS-C systems are considerably smaller, lighter and generally less obsrusive than full frame systems and Micro 4/3 are smaller and lighter still. The down side of the smaller formats are increased noise at higher ISO, slightly less overall dynamic range and the reduced shallow depth of field that the lenses can produce. These are trade offs that need to be weighed carefully when considering which format to buy into.
Keep in mind that technology continues to improve with every new generation of camera sensor and processor and the amount on noise produced is really very mild and you have to pixel peep at 100% magnification for it to be noticeable. I have not found noise in my APS-C system to be an issue even at 8000 ISO.
Crop Factor
| Camera Type | Sensor Dimensions in mm | Current Max MP |
| Micro 4/3 | 17 x 13 mm | 20.4 MP |
| APS-C | 24 x 16 mm | 24.2 MP |
| Full Frame | 36 x 24 mm | 50.6 MP |
If you look at the column for sensor dimensions you will notice that a micro 4/3 sensor is about half the size of a full frame sensor and this influences the way the camera sensor “sees”. So between full frame and micro 4/3, there is a 2x crop factor when comparing lens focal length.
Looking at an APS-C type camera sensor, its dimensions are half way in between full frame and micro 4/3 so it “sees” with a 1.5x crop factor to produce an equivalent angle of view.
Here is an example of a “normal” lens and it’s equivalents in the three formats. The important thing to notice is that Angle of View is about the same on all three focal lengths.
| Camera Type | Lens Focal Length | Lens Diagonal Angle of View |
| Micro 4/3 | 25 mm | 46.8 degrees |
| APS-C | 35 mm | 44.1 degrees |
| Full Frame | 50 mm | 46.8 degrees |
However, the Micro 4/3 and APS-C lenses would be smaller and lighter than the equivalent full frame version making the lens and camera easier to carry and less obtrusive. This matters when walking around the streets, photographing people, and lifting the camera to make snap shots. Less weight equals less inertia, less neck, shoulder and back strain and a less obtrusive system. A smaller system draws less attention than a larger more noticeable one.
Depth of Field
Depth of field is the zone of acceptable sharpness a lens sees from near to far at a given aperture. For instance, a full frame 50mm lens has a depth of field at f/8 of about 6 feet. Therefore if you focus on an object 10 feet away, anything 3 feet in front of and 3 feet behind that object will be in focus. Make sense? The same lens opened up to f/2 will have a depth of field of only about 16.5 inches.
Taking a photograph with an APS-C camera and lens with the same angle of view, that is 44.1 degrees and 35 mm focal length at f/8, the depth of field is 8 feet 8 inches and at f/2 it is 1 foot 10.6 inches or just under two feet.
A Micro 4/3 camera and lens with the same angle of view of 46.8 degrees and 25 mm focal length, will have a depth of field of 15 feet 4 inches at f/8 and at f/2 it will be 2 feet 9 inches.
Again we see the effects of sensor size acting in a similar fashion to the way it did when looking at crop factor. A Micro 4/3 camera has about twice the depth of field of an equivalent lens at the same aperture with the same angle of view. The APS-C camera is about half way in between. But really it’s a function of focal length, a 35 mm lens is still a 35mm lens and a 25 mm lens is still a 25mm lens. It’s the cropping in as a consequence of sensor size that gives them a similar angle of view.
Depth of field is a creative choice and it’s various styles go in and out of fashion like the wind. Unless you are portrait photographer, don’t choose a system based solely on shallow depth of field. It is doubtful to play much of a factor at all in most travel photography.
Lens Selection
You have your travel plans, you’ve evaluated the locations and figured out your basic photographic needs as well as a few emotional wants, because … well … just because.
You’re going to need at least one camera body, two bodies are preferable since there is always the risk of breakage, loss, theft and failure. A second body is also valuable for the simple reason that it allows you to have another lens at the ready of a different focal length. For instance, if I’m walking around an urban area shooting the streets, I’ll typically be using a “normal” lens, that is a lens that sees with the same angle of view as my eyes, maybe a bit wider. I’ll also have a second wide angle lens stashed in a pocket or shoulder bag. Let’s say I see a doorway with really beautiful light and shadows, maybe other interesting features. Often I’ll switch my lens to the wide angle so I can get in close and have enough coverage to make a meaningful composition. A second camera body obviates the need to switch lenses. Instead, grab the second body and take the photograph.
You are probably wondering why I wasn’t just using something like a 24-70mm zoom instead. Good question.
Zooms or Primes
Zoom lenses are fantastic. They’re versatile, convenient and keep lens changes to a minimum. Keeping lens changes to a minimum is important for a couple of reasons. It means you won’t be fumbling with equipment and you’re always ready to go. Zooms simplify the task of composing an image in the viewfinder allowing you to tweak the composition with the twist of the collar. Since there are fewer lens changes, you’ll be keeping gunk out of your camera since dust, moisture and debris won’t be entering your camera body through the lens opening. They are also large, heavy, expensive and obtrusive.
Prime lenses are also fantastic. They’re versatile, convenient, fast, light, unobtrusive and relatively less expensive than zoom lenses. They require the photographer to be nimble on their feet and compose in their head rather than in the viewfinder. They may require you to make more frequent lens changes and generally demand better technique because unlike zooms there’s probably no image stabilization. However this is changing with the newer generations of camera bodies with “in body image stabilization” or “ibis”.
The One Lens Options
If you can only afford or choose to only carry one lens, buy a “normal lens” that is 50mm in full frame, 35mm in APS-C or 25mm in micro 4/3. Unfortunately, many people underestimate the strength and versatility of a normal lens. If you want the flexibility of getting in a little closer and the ability to shoot wide and crop later, buy a 35mm equivalent in your preferred format. A faster lens allows you to photograph in lower light, indoors and opens up interesting creative options. I like f/1.4 primes in full frame for these reasons. In my opinion they also have better micro-contrast and rendering than equivalent focal length zooms. On my APS-C system I use f/2 and f/2.8 primes because they are small, light and I can fit an extra lens in my pocket.
A single zoom lens option to consider is one of the 18-200mm or similar lenses that covers wide angle and mid range telephoto. Try to buy the highest quality all in one zoom you can afford. If cost is an issue, Tamron and Tokina makes some great affordable zoom lens options.
The Two Lens Options
A wide angle zoom in the range of 16-35mm is a workhorse travel photography lens used in cityscapes, landscapes, architecture, interiors, environmental portraiture and street photography. Many of these lenses in f/4 are also image stabilized. As a complement to this lens consider a fast normal prime.
However many people opt for a two lens f/2.8 zoom option in the ranges of a 24-70mm and 70-200mm. These are superb lenses and give great coverage but are expensive, large, obtrusive and heavy. If size, weight and cost are not an issue, they are certainly something to consider.
Some photographers may opt for a more minimal approach like a set of 35mm and 85mm f1.4 primes. For me, 35mm isn’t wide enough and if I only travel with two primes, it will be 24mm and 50mm f1.4 lenses. On my APS-C system I often only take 20mm f2.8 and 50mm f2 equivalent lenses. Unless I’m photographing wildlife, it’s all I need.
The Three Lens Options
When I think three lens kit I think wide angle zoom, fast normal prime and classic tele-zoom. This is my Nikon workhorse system, the 16-35mm f/4, 50mm f/1.4 and 70-200mm f/4. Most manufacturers make similar lenses. These three lenses provide great coverage, give you a versatile kit, and the zooms are smaller and lighter than their f/2.8 counterparts. They also provide comparable image quality without breaking the bank. If you are going to be photographing wildlife consider taking along a 100-400mm or similar lens instead of a 70-200mm.
The first time I ever traveled to Europe on my own, I rode Eurail with a backpack, and stayed in pensiones. The trip was made with the express goal of seeing the cities, meeting interesting people, viewing the country side and learning as much about the local culture as I could. I took along a three lens kit. With my worldly processions on my back, I carried a small canvas shoulder bag with an SLR body, 24mm f/2.8, 50mm f1.8 and 105mm f/2.5 lenses, a pile of Kodachrome and my journal. I had the open mind and the open heart of an explorer and I needed something that was small, simple to use and wouldn’t get in the way.
My recommendations for a three lens selection of prime lenses for travel don’t differ much from what I took on that first grand adventure. Today I would take a wide angle 20mm, a normal 50mm and a 75mm or 85mm short telephoto. If you don’t need something quite so wide, a 24mm instead of the 20mm would do the trick.
Wildlife Photography
For wildlife photography a 70-200mm zoom won’t have enough reach, even with an APS-C camera and 1.5x crop factor. Look for a focal length of at least 400mm, there are superb primes in this focal length and longer but they’re very expensive. Consider one of the 80-400mm, 100-400mm, 200-400mm or 200-500m lenses. They are more affordable, capable of producing fantastic images, and are easier to handle and carry.
Game parks generally don’t allow travelers to exit their vehicles due to the risks from predators. A large predator would view you as food if you were not protected by a vehicle and try to eat you. Additionally, thousands of tourists stomping around year after year would damage the delicate habitat and change the behavior of the wildlife even more than the steady flow off road vehicles.
Jungles and forests can be dark, especially early in the morning when animals are active and the light is more interesting. If you are going to be photographing from a vehicle bring a beanbag or monopod to help stabilize your lens. If you are in a location that allows photographers to walk and explore, a monopod or tripod are invaluable for creating sharp images. You’ll need to do a little research before you go.
Landscape Photography
Any of the above lens options would be useful for landscape photography. Don’t be convinced you need a special wide angle landscape lens, you don’t. Travel photography isn’t large format landscape photography and specialized landscape lenses have become a bit of an anachronism. If you want tack sharp high resolution files, technique matters. Know your gear. Invest in a tripod and learn how to use a self timer and cable release. Consider taking along polarizing and graduated neutral density filters with adapter rings to fit all your lenses. Most importantly use your creativity and imagination or you may end up with what Ansel Adams famously called a sharp image of a fuzzy concept.
Putting it All Together
So far we’ve discussed the pros and cons of the three commonly used formats to consider for a travel photography kit. We’ve also talked about field of view and lens choices based upon your goals and how your artistic vision sees the world. I’m using my Fuji kit as an example.
This suggested list covers just about everything I think.
The Gear List
1- One or two camera bodies, your choice. We usually have two or three bodies between the two of us when we travel. Some people like to cover the camera name with black tape to draw less attention to the camera. This may work but most people will see you coming mile away. Your appearance and demeanor are much more important in putting people at ease.
2- Lenses, the number of lenses depends on your photography style, vision and needs. My selection changes depending on where I’m going and what I’m doing but generally a wide prime or zoom, fast normal prime and a short tele portrait style lens or tele-zoom, usually 70-200 mm. Longer focal lengths are only brought along for a specific purpose.
3- Filters. Polarizing filter at a minimum. Neutral density and graduated neutral density filters optional. Step down rings so you can use them on all your lenses if necessary. I like using clear UV filters on all my lenses, entirely optional. Buy the best quality you can afford.
4- Camera batteries, accessory grip and charger. Take more batteries than you think you’ll need. They may fail or be lost. A camera without a battery is a not something you’ll want to experience. Battery charger with USB and cigarette lighter adapters. I number all my camera batteries and cycle through them in order so they have equal wear.
5- Camera strap. I go back and for the between the sling style Black Rapid straps, simple leather straps and basic black cotton Domke straps. Whichever I use depends on where I’m going and what I’m doing. Either way, I use something bland because I don’t want to draw attention to myself.
6- Memory cards. Bring enough large cards of the best quality so that you won’t need to reformat or delete any images until after you get home. Back up all your images on at least two different storage devices before you delete anything.
7- Hard Drive. Bring a large enough portable hard drive that will be able to store all your images taken on your travels. Buy the best quality you can afford. The size of the files from cameras have gotten really big and eat up tons of storage. My current travel hard drive is a LaCie 4tb rugged RAID. These drives can fail for a variety of reasons, therefore don’t delete anything from your memory cards until you are home and have at least two back ups. I had my hard drive Thunderbolt connector break in India last year, disaster was avoided because I had enough memory cards to keep all my images and continue shooting until I got home. LaCie replaced the drive under warranty, no questions asked.
8- Laptop. You can get by with a tablet instead of a computer but you’ll wish you hadn’t. I took a tablet on our overland trip from Istanbul to Beijing a few years ago. I regretted not bringing my computer. Personal choice.
9- Cables and power adapters. Cables to charge all your devices and cables to connect your camera to the external hard drive, charger, laptop or however you have your stuff set up. We always bring a couple of power strips to plug all our devices into. Great in hotel rooms, airports and trains. Mine has USB ports as well. Be sure to bring outlet adapters that work in the countries you’ll be traveling to. Plug the power strip into the adapter and you’re good to go.
10- Cleaning supplies. Blower and brushes. Be careful not to transfer the dirt from the exterior of your camera and lenses to the interior more sensitive areas. Microfiber cloths for things like the viewfinder, LCD screen, lenses and filters. I also keep a Buff or cotton bandana in my bag to cover my camera and the front of my lens in really dirty, dusty environments, it helps a lot.
11- Tripod, monopod, sandbag and cable release. Completely optional depending on your photography goals. Don’t forget the camera plate or L bracket that attaches your camera or lens to the tripod head.
12- Tools. Keep it simple. I always travel with a Leatherman Juice and bit kit. During plane travel it stays in the checked luggage. Choose the tools that work best for your particular needs.
13- Camera bag. A huge topic unto itself. It’s easier to carry all your gear in a backpack than a shoulder bag but it’s easier to get to your gear in a shoulder bag or fanny pack. Generally I use my backpack while I’m transporting my gear and a nondescript shoulder bag when I’m walking around and to need to get at things quickly.
14- Flash, bounce and reflectors. Entirely optional depending on your style. Bring batteries.
15- Hand sanitizer and camp soap. Keeps your hands clean and for washing the various cloths, Buffs and bandanas.
16- Hat and sunglasses. Personal preference but you’ll be a lot more comfortable if you bring them along.
17- Bandana or Buff for wiping down your gear and yourself. Also useful for covering your neck from the cold and sun and mouth and nose from the dust. Besides, they look cool, bring a couple.
18- Head lamp and extra batteries. Useful when it’s dark and keeps your hands free. Will help you spot the tiger tracks.
19- Something to read. A guide book or field guide for educating yourself in the downtime.
20- A notebook or journal and something to write with. Keep track of your experiences while they’re fresh in your mind. Come up with new ideas. Useful for keeping a shot list if you have one. A journal is something no traveler should be without, best of all they don’t use electricity and are fun to write in over coffee. See my article on keeping a travel journal.
