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THE ELEMENT OF SURPRISE:
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 Modern cameras make it easy to get good exposures; Belle Mar Beach, Mauritius.
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Taking travel shots is easy. When we're far from home, the subject matter of our photos is often so fascinating that it seems we can't fail by simply releasing the shutter. Modern cameras have also made life much easier. By switching on to automatic, a photographer can be reasonably confident, under most lighting conditions, that a good exposure will result.
But becoming a top travel photographer takes more than that. It involves using a psychological ploy - the element of surprise, both our own as visitors and the local people's - to produce pictures that will be admired time and again.
 A graduated filter can save backlit shots from burning out; Mai Chau, Vietnam.
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Knowledge of technique is also important; it certainly helps to know when to over/underexpose, or add a warming, polarising or graduated filter in order to enhance the image. In fact, when setting out on a journey, photographers who know their equipment well are already a few steps ahead. Thus the time to try out a new camera, lenses or filters is not on a trip abroad full of unrepeatable moments - try it out in your back yard instead.
Being taken by surprise is one of the greatest pleasures of travel, and the astute photographer can put this surprise to good use. Somehow, encountering the unexpected raises our level of consciousness, so when confronted by an unusual scene, we can experience an intense wonder of our world which might be reflected in our images if we work sensitively.
Finding the core of the wonder, whether it be a cone of bright umbrellas or a cobbled street at dawn, we should give our full attention to it and rely on instinct to decide when to shoot. A meditative approach to photography, 'seeing the world anew each moment', can lead to exciting images, both abroad and at home.
 Simple patterns and bright colours make for great shots; Chiang Mai, Thailand.
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 A pond at dawn provides a dramatic reflection; Angkor Wat, Cambodia.
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The 'fresh perspective' that usually comes with travel to faraway places can be used to create striking images of familiar places. Find yourself standing in front of a world-famous monument like Angkor Wat in Cambodia or the Corcovado in Rio? There's no point taking a typical postcard shot, you could buy that on the corner. So why not try something different?
 Showing a part of the whole creates intrigue; the hand of Christ, Corcovado, Rio de Janeiro, Brazil.  Symbols have a powerful effect on the viewer; statue of Mao Zedong, Lijiang, Yunnan, China.
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Walk around the place, noticing how drastically different are the effects of back and front lighting. While side or front lighting is more practical for most images, others can benefit from the dramatic depth added by backlighting. Look for a second subject to interact with the one we know well, or close in drastically, show just a little of the famous sight and leave the viewer guessing.
Being aware of the symbolism of the subject can help us to get the greatest effect from the shot. Picking out symbols heightens the emotional impact of an image, which is the primary test in attracting a viewer's interest. Everything is symbolic in some way; for example, planes symbolize travel and escape, statues of famous figures symbolize historic events and deep shadows symbolize mystery. The photographer's challenge is to recognize and communicate this symbolism.
Careful framing is essential to any successful image, and this involves a string of choices. Firstly, horizontal, vertical or a dynamic diagonal? The subject matter often determines the most appropriate format, but sheer laziness leads many people to shoot too many horizontals.
We then come to the most creative decisions in the photography process - what to include and exclude from the frame, where the subject lies within it, how secondary subjects contribute towards the impact and how to handle the lighting.
 A vertical composition and use of wide-angle lens emphasizes the strong pattern in the sky; Mauritius.
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When composing, a good photographer's eye will check instinctively for any distraction - a person walking in or out of frame, a clashing colour, a bright light. Perhaps the most useful advice in composing is 'keep it tight'. This can often be achieved by zooming in a little more or taking two steps closer than originally planned.
It's ok to talk about 'careful framing', but much travel photography requires a split-second response before a magical moment passes. People cycling along the street, scenes in a parade, highlights of a show - all present opportunities to catch that shot in a million.
 Photographing festivals can lead to unexpected results; Kandy Perahera, Sri Lanka.
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Only practice makes perfect when it comes to speed, but anticipation can be a great help - finding a viewing position which maximizes the lighting effect and shooting several frames at key moments. The ability to react to our surprise and take action instantly is a golden asset to getting good travel pix.
 Blurred backgrounds make the subject stronger; old woman with large basket; near Pokhara, Nepal.
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One problem of such speedy work is that the background is often forgotten. Many of these 'grab shots' will be destined for the bin due to distracting backgrounds - power cables, reflections off chrome or glass, or too-deep shadows. When not reduced to the role of sharpshooter, a photographer should think as carefully as possible about background, which ultimately determines the impact of the foreground.
As the use of symbols strengthen an image, so does an uncluttered background, particularly a monochromatic colour complementary to the main subject. Such even backgrounds are sometimes difficult to find, but do exist - in painted walls, stands of trees and clear blue skies.
Apart from his or her own surprise, an aware photographer can harness the surprise of the locals, who are invariably curious about foreigners. An adventurous type who wanders into a part of a city unfrequented by tourists is likely to draw sly glances, if not jaw-hanging stares. An even more adventurous type who tries to communicate with the locals, through sign language if necessary, is likely to come away with enviable shots of smiling strangers, brought together briefly by a head-on amazement at the diversity of our species.
 Braving the backstreets brings rewards; kids at sunset, Antananarivo, Madagascar.
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A really good trip is topped off by yet another element of surprise. This comes when the slides arrive from the lab and we go to work with the loupe - classifying, organizing and throwing out. At the end of an evening reliving our days away, if we're lucky we'll be gazing at a handful of images that surprise us even though we took them. These are the rich rewards of a travel photographer's quest.
[Originally written for Photo Asia, 1994]