Jim Downs: Traveling Photographer

Jim has traveled a lot. Way more than the average person and probably more than your buddy who likes to call himself a “world traveler” Jim has literally been all over the globe.

There is a big difference between traveling and traveling as a photographer. As someone who was a traveler first and a traveling photographer second, Jim brings some very interesting insight into how photography fit into his travels and how he gradually became a traveling photographer.

You have traveled a lot. What path brought you to so much traveling and when did you start to carry a camera? How do photography and traveling fit together for you?

JIM: There were some seeds planted in my youth but it took a long time for them to germinate. One of my grandfathers had two brothers who, at different times in the early 1900’s, visited China. Several family members had overseas assignments in the military between the beginning of WWII and the end of the Vietnam War. Thus, at family gatherings, there were always discussions of places they had been and displays of curiosities they returned with. There were accomplished painters, actors and musicians on both sides of my family but I resisted the few modest attempts that were made to point me in these directions. I can’t remember ever thinking of photography as anything other than a tool for documenting family gatherings.

By the time I graduated from Rockhurst University in Kansas City in 1969, my travels had been confined to the diamond shaped area you would see if you drew lines on a map that connected Denver, Oklahoma City, Bloomington, IN, and Chicago. I developed a minor interest in foreign films during college but never made the leap of viewing photography as an art form. But such was life in what was then an all-male, Midwestern liberal arts school. After college I moved to Washington, DC and, within two years, I was thoroughly absorbed in a software and computer service business that I helped start. I still didn’t own a camera. In early ‘79, a colorful Aussie, a horse trader of the first order, appeared on the doorstep of our offices in Culpeper, VA. He wanted to lease our software for use in Australia and wanted me to come to Sydney to help introduce the service.

I viewed this journey as a defining event in my life and decided I needed to document it by purchasing a camera. By late May of 1979, I had secured an Olympus point and shoot and was on my way. I arrived in Sydney just as the first rays of sunlight glanced off the orange tile roofs and the white stucco walls of the homes that lay beneath our approach path. My new camera was packed away in my carry-on and the image exists only in my mind. However, I think this was the first time I had a vague awareness of how photography might be used to for something beyond documenting social gatherings. I returned to Australia annually for four years and each year stopped at places in the Pacific and the Orient on the way down and back. I used my Olympus to document what I saw. My compositions were primitive and my exposures blasphemous. However, by now, I was beginning to spend time at museums in the large cities I visited and saw several photography exhibitions. When I observed how engaging, insightful and entertaining this photography was compared to my own, my competitive and perfectionist tendencies kicked in. For the first time, I began thinking about images before I clicked the shutter.

The next step in my development as a traveler and as a photographer can be attributed to sibling rivalry. My sister, Nancy, majored in languages and worked for Pan Am after graduating. Then, she married a career Air Force pilot and they did a four year stint at a base near Saarbruken beginning in 1983 after previously spending a few years in the Orient. At some point in the mid-80’s, I realized that in addition to being prettier and smarter than me, my sister was also more well-traveled and a better photographer. Consciously or subconsciously, I vowed to correct this imbalance! During my annual visits to see her in Germany, I rented a car for three weeks and explored two or three neighboring countries each year. During these years, I developed confidence to travel independently in countries where English is a second language. I also overcame my fear of being lost. If you can’t deal with these two challenges, you shouldn’t strive to be a traveler.

Eventually I upgraded to a Minolta 5000, and then securing a 7000, and gradually acquired a collection of Minolta lenses. In 1985 the computer service business I helped start went public and within a year I cashed in my chips and began the African phase of my travels while continuing to venture further to the north and east in Europe. Between trips I read basic photography books, took a few classes and tried to learn about life in a darkroom. But, I just didn’t have the patience or aptitude for film and darkroom work. I stumbled along from 1987 until 2002. My composition skills improved but f-stops and exposure speeds still baffled me. However, I was taking so many photos during this period that the law of averages caught up with me. I accumulated a portfolio of several dozen good photos and bundles of near misses. I began giving slide shows to travel organizations in the Denver area. Though I was increasingly aware how inconsistent and sloppy most of my photography was, casual and hardened travelers who viewed my slide presentations regularly congratulated me on my work.

In 2002, miracles began to occur. I picked up my first digital camera, an Olympus point and shoot. I was astounded by the instant feedback that digital photography provides. Things that had puzzled me for years began making sense. I moved up a notch to the Minolta A200. Nonetheless, it was another two years before I began to explore post processing beyond the basic software that came with the cameras.

In 2004, my old business partner asked me to manage a project that involved cataloging and editing 17,000 photos by some of America’s best nature photographers. I was able to view and study several thousand of these images on a daily basis over 15 months. A gentleman named Murth Murthy joined our staff on a part-time basis to assist with editing these images. It turns out that he is among the top 1% of Photoshop users in terms of knowledge of its features and understanding the theories behind those features. He participated in our project mainly to stay abreast with how PS is being used in the commercial world. He continues to be my PS teacher and mentor.

During this same period I registered with Photo.net and purchased a Sony A-100. I didn’t begin participate much on PN until January of 2006. However, during the last 3 ½ years I have been a regular. Critiques, the forums and even the ratings have advanced my knowledge, understanding and practice of the art of photography. I spent 6 months abroad in 2008 with my A-100 and a new A-350. Alas, I fear that my future travels will be much more restricted. In recent years I have spent far too much time on the road and far too little time tending to financial affairs. But I’ve always heard that artists do their best work when they are starving. Thus, I am optimistic about the future of my photography.

I am first and foremost a traveler, secondly a writer and lastly a photographer. I no longer collect stamps and coins; rather, I collect countries, MLB Ballparks and USA National Parks. During my first trip to Europe in 1983, I began keeping a journal and have been journaling fairly faithfully ever since when I am on the road. I estimate I have 900,000 words in my travel journals. My two remaining objectives in life are to complete a book about my travels based on my journals and photos and to become as good a photographer as I am a writer and traveler.

There is a difference between a “travel photographer” and “photographer who travels”. Where would you say you fall between these two and what do you think the differences are?

JIM: When I hear the phrase “travel photographer” I think slick and glossy. I envision a person who thrives on capturing a handful of technically and artistically superior images as opposed to a faster paced sampling of the people, cultures and places that you experience when you stay on the move. I believe a “travel photographer” is infinitely patient, willing to spend considerable time for the right light and mood. Lastly, I think the travel photography purists tend to distance themselves from the squalor, poverty, filth, hunger and the strife of conflict that a majority of the human beings on this planet live with daily.

A “photographer who travels” sets out to see a wider swathe of the world and he is willing to accept some artistic compromises in exchange for a broader range of travel experiences. I suppose it is the old “quality verses quantity” discussion. In the long run, I think “photographers who travel” develop better skills in relating to people they encounter. These encounters, in turn, often lead to “slice of life” photo opportunities that more aesthetically minded photographers rarely experience.

Is there a thought process that you go through when traveling to another country and preparing to photograph there? Is it different for different countries?

JIM: I maintain a paper file and a URL links file for every country. For the top 25 or so countries, I break the country into regions, states or provinces. I clip articles from travel publications and bookmark websites that have information about places I want to go to or return to. At least three months in advance of visiting a place, I review my files, buy a guidebook or two and secure good maps. I read and reread info about the places I will visit. I study maps until I can mentally visualize the layout of the cities and regions I’m going to. I try to study the orientation of architectural landmarks on the maps which will often helps me determine the best time of day to visit a particular site for photography purposes. By the time I get to the place I have a preliminary plan for each day of the journey. I always end up making adjustments but I better utilize my time and do better photography if I have a plan.

You must guard against being too rigid with your plan. When special opportunities arise, you must have the wherewithal to junk the plan. Last year I was in Dhaka and went down to the river to take the standard tourist boat ride along the riverfront. A hustler pointed to a spit of land on the opposite bank that was packed with shabby buildings. He offered to take me there for a long walk and perhaps, a pre-arranged mugging. We took a narrow, leaky boat across the broad river. The two hours I spent in this unnamed neighborhood caused me to miss a couple of Dhaka’s tourist landmarks but I saw a side of Dhaka that was not mentioned in my guidebook and that you won’t see in your favorite travel magazine. As for guidebooks, I favor Lonely Planet for every place in the world except Western and Central Europe and the USA. In Europe I prefer Michelin Green Guides for the sites and Fodor’s for food and lodging suggestions. For travel in the States, I’ve come to favor Moon Handbooks. This is coming from a guy that has a library of 300 guidebooks.

You’ve probably been through more airports and customs inspections in more countries than most any other photo.net member. What tips do you have for traveling with your camera gear?

JIM: I’ve had the good fortune to have visited all seven continents and 214 countries. (We’ll save the discussion about what constitutes a country for another day). I have a Quantaray backpack and a Thinktank shoulder bag for my camera gear, computer stuff, meds and essential toiletries. Thus far, I have always been allowed to take both as carry-ons. However, on small planes with a 2×2 or 1×2 seat configuration, the Quantaray never fits under the seat or in the overhead bin. If there is an empty seat the flight attendant has always let me strap it into the seat. When the plane is full it comes down to developing a rapport with the flight attendant. After I explain that it contains fragile (say fragile, not expensive) photo gear, they’ve always managed to find a place for it but there have been some close calls.

The Quantaray has a separate compartment for my laptop and I always take it out of the bag when I pass through security. I am frequently asked to open one or both of the bags but have never had even a mild threat to confiscate anything. I have had over-the-counter AA and AAA batteries confiscated a couple of times but never proprietary camera batteries. If I am traveling with a tripod, I put it in my checked bag with the ball head in my carry-on. I occasionally have enough miles to upgrade to business class on over-the-ocean flights. When I indulge in this extravagance, I never have had a problem putting my tripod in its fabric case and taking it aboard as a third carry-on. I’ve never tried it when I am flying coach.

More problematic than airline security checks and airline carry-on regulations are land border crossings by vehicle between two third world countries. The officials and soldiers who man these crossing points are super sensitive about being photographed. As you approach a border in a vehicle, turn your camera off and put it in your bag. Leave it there until you have cleared checkpoints on both sides of the border. If you are traveling alone and want to risk violating this rule of thumb, that is your business. However, if you are traveling with others, remember that you will foul up their day as well as yours if you are detained for suspected use of your camera.

What kind of equipment do you take with you when traveling? Do your choices change for different countries? Do you bring along equipment or computers to allow you to backup your images or offload them from memory cards?

JIM: I take my two Sony bodies (A350 & A100) and a pocket point and shoot. I carry my two Sony kit zoom lenses (18-70 & 75-300) and an 11-18 Sony wide angle. I also have a 500mm Minolta mirrored reflex lens which I carry if I expect to see a lot of wildlife. I have only come to realize the limitations of kit and mirrored lenses in the last couple of years. In the months ahead, I hope to acquire a prime or two and look into Sony’s slowly growing stable of lens offerings. I haven’t carried a flash attachment for years, a subject I may revisit as I become more versed on the nuances of people photography.

I pack two batteries for each camera, two charging units, Dell’s thinnest laptop, two external hard drives, a power strip, polarizing & neutral density filters, one USA and one Euro style power cord for the chargers, a wall plug-in surge protector, an extra lens shade for each lens, a squeeze bulb to remove dust from the camera mirrors, a shutter release cord and the manuals for my cameras. If I am traveling by myself, I take a very compact Gitzo tripod with a mounting device for each camera. If I am traveling with a group, I do without the tripod.

Before I download memory cards to the laptop, I view the images on the camera screen and delete the real garbage shots. I download my memory cards to the laptop every day. Then I copy each image to both hard drives. Once this is done, I don’t hesitate to reuse memory cards. It is becoming quite affordable to backup images to remote storage services via the internet. I am exploring this now. The issue that will remain problematic is upload transmission rates in less technically evolved countries.

Your photos are a mix of scenics and people. Which do you prefer to shoot and why? Do you find one more challenging than the other?

JIM: I enjoy people/street photography the most and find it more challenging. Within a matter of seconds you must establish a rapport with your subject, evaluate your camera settings and compose the image. If you have a reluctant subject or can’t speak their language, it is difficult get them to move for the best lighting and background. Photographing women is problematic in many Islamic countries and taking pictures of those with physical or mental impairments causes you to make some fine line judgments. When I don’t speak the local language (as is the case just about every place I go), I try to establish eye contact with a potential subject. Then, holding my camera in one hand, I elevate it slightly and point it in the general direction of the subject but not right at them. In most cases, their body language, facial expression or verbal utterance tells me if it is okay to proceed. If they don’t signal yes or no but respond with indifference, I usually go ahead with the photo and have never had a negative response. Many photographers and tourists disagree with me but I don’t mind compensating a subject up to the equivalent of USD 1 in the local currency (in many places the subject will be quite pleased with a lot less). My feeling is that if a model in the States warrants a few hundred dollars per hour, interesting subjects in a third world countries also deserve compensation for allowing themselves to be photographed.

In heavily touristed areas some traditionally dressed natives have become almost usurious in the prices they charge. In Guatemala, one village woman accepted my coins and then dashed into the forest. In some places, subjects expect to be compensated for each click of the shutter. I never concede to this. I figure a posing fee entitles you from 3 to 5 shots but this can become a testy subject. In the poorer countries of Asia and Africa I always take a few hundred colorful plastic or metallic finger rings that you can buy by the gross at party supplies websites for a few cents apiece. Children and many women will pose for five minutes for the promise of a ring. When men see me giving them to children, it is not unusual for them to come up and ask me for 11 rings (one for each of their 10 children and one for their wife). When traveling with a group, it really ticks me off if I give a subject a ring or coins and other group members start clicking away on my dime, often distracting the subject from what I am trying to accomplish.

And finally, the question we ask everyone: Many of the places that you’ve traveled would be “dream trips” for some photographers. But what would your “dream project” be if you could work on anything in the world?

JIM: My dream is that someone sponsors me for a year long journey around the world. I will spend one month in each of the following countries then spend the rest of life editing the photos: Cuba, Chile, Mali, Namibia, Madagascar, Yemen, Romania, Iran, Uzbekistan, Myanmar, Thailand and Java (Indonesia). They are in the sequence you would probably visit them if traveling east to west. I like to travel in countries where English is not the primary language. It pushes you out of your comfort zone and I believe you do your best work when there is an element of discomfort and, perhaps, even fear.

Some Examples of Jim’s Work

GungaJim Downs - Denver Area	The Girl at the Jumi Mosque This photo was taken during the heat of the day at the Jumi Mosque in New Dehli with an Olympus C-765 point and shoot. When I spotted here she was sound asleep lying on her side on the steps of a portico that shaded her from the sun. I slowy composed the picture feeling no urgency as she appeared to be sound asleep. Just as I was ready to shoot, she awoke and in one motion sat up on the stair. I was 10 or 12 meters away. Our eyes locked on one another. I quickly recomposed the image and snapped the shutter. Her gaze which I take to be one of distrust, surprise, suspicion and fear, is one I will long remember. Seconds later she bolted in search of her parents. I had the camera set to the automatic mode. It recorded the image at f3.2, 1/160 s and ISO 64. The lens was at approximately the equivalent of 150mm.
GungaJim Downs - Denver Area	Motorbike Melee The streets of Taipei, Taiwan are packed with motorbikes. The only thing more orderly than the way they drive them is the way they park them. I saw this through the eyes of my Olympus C-765 which was set on Aperture Priority, f 8, ISO 64, and a Focal Length of 63mm.
GungaJim Downs - Denver Area	Welcome to Tunis This is by far the most controversial image I’ve posted on PN. After got settled into my hotel in Tunis, I took a walk around the city and paused to take a photo of the monument in the background. The boys were playing football 20 meters away. When they saw my camera they came rushing toward me with their digits extended. I somehow had the presence of mind to recompose and capture this image. I have no recollection of making adjustments to the settings as they approached but somehow the camera was in portrait mode. The image was captured at f4, iso 100 at a focal length of 43mm. The flash fired. I wasn’t offended by their gestures figuring that boys will be boys and joined in their laughter. However, a lot of viewers had strong and lengthy reactions when I posted the image here.
GungaJim Downs - Denver Area	First Light on Torres del Paine I was staying in an elevated bunkhouse at a ranch in Torres del Paine NP, Patgonia, Chile. There was only one other couple staying there that night and they were in a room at the opposite end of the bunkhouse. Something woke me up early than I intended. I peeked out the curtain to see what the weather was like and was greeted by this scene. I scrambled out from beneath the covers stark naked, quickly set up my tripod, pulled open the curtains and opened a screenless window to capture this image with my Sony A-100 dslr which I set to aperture priority. The scene was recorded at 1/40s, f11, iso 400, 40mm. It was taken with the Sony zoom kit lens, 18mm-70mm.
GungaJim Downs - Denver Area	Viewing the Promised Land Atop Mt. Nebo where Moses Stood I had just had a look at the Promised Land from the vantage point that Moses had. I began walking back to the parking lot and turned for around for a final look. These Jordanian girls had replaced me on the observation point and made me realize we all want a glimpse or two of the Promised Land. The settings were: 1/320, f5.6, iso 100, 35mm with a Sony A-100 dslr and the 18-70 kit lens.
GungaJim Downs - Denver Area	Checking His Plumbing I noticed this bird on a rock on the Isla Espanola, Galapagos. Just as I snapped the shutter he gave me his best pose. The photo was taken with a Sony A-100 set at 1/320, f6.3, iso 200, 200mm (75-300 zoom Sony kit lens)

Links

• Jim’s member page
• Jim’a’s gallery page
• Jim’s website
• Photo.net’s Travel forum

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