Travel Photography Essentials and Philosophy by Steve Speer

When preparing for a trip focused on travel photography, especially one like my upcoming journey to Maui, careful consideration of equipment, planning, and approach is essential. My chosen gear reflects a balance between technical capability and the practical need to travel light, while my creative philosophy guides how I engage with the environments in which I am shooting.

1. Camera, Lenses and Gear  

My Sony A7 CR, is a compact, rangefinder-style camera with a full-frame 60-megapixel sensor. This camera delivers exceptional resolution in a compact frame, providing me with the flexibility to create large prints that meet my artistic vision. My selected lenses are a 12-24mm f4 and a 24-105mm f4. These cover the focal lengths I use most frequently in my work and are well suited to the urban and rural landscape photography that will be my focus on Maui.

Determining what else to bring and what to leave behind is guided by experience. Since my main subjects are landscapes, the two lenses I carry cover the wide and standard zoom ranges adequately. I also carry a few filters, lens cleaning supplies and my tripod and that’s about it. Eliminating extra gear helps maintain mobility and reduces fatigue, which is crucial when spending extended hours in the field (especially at my age)! A tripod is critical to my process to ensure stability for long exposures and spending time refining my compositions.

2. Balancing Technical Quality and Practicality  

I emphasize pre-planning and creating a comprehensive shooting itinerary before arriving at my destination. This enables me to pre-determine the types of shots I want and ensure my chosen gear can meet most scenarios. Traveling light is a priority, but not at the expense of image quality. By streamlining my equipment and having a clear plan, I avoid carrying unnecessary weight and stay focused on my photographic goals.

3. Camera Settings and Shooting Technique  

I set my ISO to its lowest native setting to maximize image quality and reduce noise. Beyond that, most other settings are tailored on the spot depending on conditions. I shoot exclusively in manual mode and closely monitor the histogram to avoid blown highlights. Heavy shadows can be “opened up” to bring out detail but blown out highlights are unrecoverable. Employing the "expose to the right" (ETTR) technique ensures that I capture maximum image data, giving me greater control when post processing my files for printing.

4. Solo Travel Considerations  

Traveling solo allows me to dedicate entire days solely to photography. I limit myself to a couple of locations per day, ensuring enough time to thoroughly explore each setting and to wait for the ideal lighting and compositions. This slow, deliberate approach aligns with my overall philosophy and fosters deeper engagement with the location and subject matter. That said, I am always open to the unexpected and ready to adjust my schedule.

5. Location Scouting and Lighting  

Having visited Maui multiple times, I will be focused on several familiar locations but I also supplement my knowledge by pre-scouting with tools like Google Earth and the web to explore the possibilities. Early mornings are my preferred shooting time due to the quality of light and the minimal presence of people, allowing for uninterrupted creative sessions. Evening light is excellent as well but is often accompanied by crowds of people.

6. Storage and File Management  

Storage is organized using two 2-terabyte SanDisc ProBlade disks: one serves as the secure archive of all source images, while the other acts as a working drive for editing and posting images in the field. This dual-drive approach ensures redundancy and safe data management.

7. Composition and Exhibition Standards  

When composing images, I aim to create visually striking photographs that stand apart from the typical imagery seen in most galleries on the island. Most exhibitions focus on colorful, conventional scenic imagery such as sunsets, sea turtles, and beaches which are mostly produced on metal and acrylic. In contrast, my monochrome images are printed on archival papers and traditionally framed to focus on minimalism with no more than three or four visual elements. This disciplined approach is an ongoing conversation I have in my head while I am out shooting, questioning what drew me to the scene initially and how I can distill it to its strongest visual essence.

8. Slow Photo Methodology  

Travel photography for me is a process that unfolds over multiple stages. There is the anticipation and preparation leading up to the trip, the immersive experience of being and shooting in the environment, and the final rewarding phase of editing and printing when back in the studio. This methodical approach ensures that I engage deeply at every level, fostering both creative fulfillment, technical excellence and spiritual gratification.

In essence, my travel photography practice is defined by a minimalist gear philosophy and a vision that supports thoughtful and intentional creative workflow. By focusing on essential equipment, disciplined planning, and a deep understanding of my artistic goals, I am able to produce work that is not only technically excellent but also emotionally resonant and distinct within the gallery context. Photography, for me, is a layered and immersive experience that seamlessly connects preparation, execution, and reflection, creating a truly fulfilling journey from start to finish.