Writing and Driving: Notes from 1000 RPMs

29 Apr 2010 in Notes From Road by David Page

Considering the desert (and other things) at under two miles per hour.

THE NEEDLE ON THE TEMP GAUGE pushed into the red. And then it kept going, like the needle on an old record player when the song ends. We were at the foot of the wash, just out of cell range, still 3500 vertical feet and ten long miles from the crest of the Inyos.

I wasn’t terribly concerned. We had eleven gallons of water, a twelve-pack of Mexican beer, ice, food, shade, propane, firewood, bicycles, sleeping bags, good shoes and hats, pens, notebooks, a new letter-stamp kit with red ink, and a library ranging from Babar to Blood Meridian.

Jasper was in the back, strapped to his booster seat, aged 4.99 and counting. The dog was curled up at his side. I’m gonna have to pull over, I said.

Jasper looked out the window, out across the sun-cracked arroyos of the planet Tatooine — deep Jawa country. He nodded and went back to his drawing.

From Jasper’s notebook.

To let the engine cool, he said.

We were on our way to his fifth birthday convocation out at the Eureka Dunes, on the northwestern fringe of Death Valley National Park. We’d had a pleasant morning, rolling down the Owens against the northward exodus of fishermen and boats bound for opening day — Fishmas, they call it. (Good for business, said the woman at the gas station in Big Pine.)

We’d picked up a hitchhiker on the way out of Mammoth. He was wearing a dark suit, a pressed white shirt and tie, and a porkpie hat. He held a document folder on which he’d written:

INDEPENDENCE (THE TOWN)

Independence is the county seat of Inyo, second largest and second least populated county in California, where in 1969 Charles Manson was arraigned and jailed for possession of stolen vehicles after a CHP officer found him hiding in a cupboard up in the Panamints. Aside from the Greek Revival courthouse (its fourth incarnation since the 1860’s, due to earthquake and fire), this roadside hamlet is also home to a terrific little historical museum, a charmingly weathered 1920’s motor hotel (for sale again), and an authentic Franco-Algerian bistro (open sometimes).

What, I asked, half-jokingly, you got a court appearance?

At 10, he said.

I looked at my watch. It was nearly 8:30. I think we might even get you there on time, I said.

He introduced himself as Robert. But most people call me Beto, he said. He slipped on a pair of Spy shades, settled in and told us the story of how he and his buddy’d been busted building a bike jump out at the far end of Sherwin meadow, at the base of Mammoth Rock, on public land.

We didn’t even get to building the thing, he said. A hiker had tipped off the Forest Service and for two days the rangers had watched and taken pics from above as Beto and partner worked to divert a stream so they’d have water to wet down the jump when it got too dusty.

He said he hadn’t known how things worked in these parts, that such a thing was illegal and so forth. But he didn’t harbor illusions his former ignorance would stand for shit in court. With a certain amount of pride — pride I could understand and appreciate — he showed me the official document:

United States of America v. Robert M_____

He’d been to court before; the reason he wasn’t driving himself on this particular morning was the DUI he’d garnered not long ago. He wondered what this judge would be like, and if he’d ever get his shovels back. Jasper, for his part, kept silent all the way to Independence.

On the Mojave, not traveling light.

We dropped the accused across the street from the courthouse. He thumbed my email address into his Blackberry so he could let us know how it went.*

We skirted Owens Dry Lake, the poisonous surface of which, courtesy of a century’s industrial-scale water diversion by the City of Los Angeles, was again in the process of blowing away to Nevada.

We retrieved the old aluminum fuselage from its winter pasture in Olancha, turned around, and began the slow crawl back upriver to Big Pine and our road into the Inyos. Coming back through Independence there was no sign of Robert M_____.

THE CAP ON THE FLUID RESERVOIR popped before I could find a reasonable place to pull the whole circus off the road. Steam blew out from under the hood. I poured a couple of gallons of good drinking water over the radiator, plus another gallon or so into the reservoir.

We sat for a while, enjoying a breeze like midsummer at the shore — and the silence. Eventually, the gauge crept back to normal. A local woman from the valley came by in a late-model Jeep and insisted on refilling my jerry can with water. I locked the hubs, shifted into 4-wheel low, and pressed on.

The worst that could happen, I figured, was that we’d have to abandon the rig a little ways up the road, there to consolidate our shit and hitch a ride with one of the truckloads of friends due out that way later in the afternoon. I could deal with all this steel and aluminum later, I thought.

But then I found that if I kept the heat blasting and the engine’s revolutions down around 1000 per minute — the speedometer flickering above zero like a cheap tealight in the wind, the truck barely ratcheting itself and its load uphill at about the pace a man might stroll beside a pair of oxen bearing his family and other worldly goods across a strange continent — I could keep the temp close to normal.

I was reminded of the time I drove from Tijuana all the way to Los Angeles in low gear, having shorn off my rear drive shaft in a late-night collision with an open manhole. And a certain long night’s gear-grinding bus ascent of Morocco’s Haut Atlas. And a slow climb from Batopilas to Creel with a French Canadian gambler, two Swedish girls, and a sick Tarahumara gentleman writhing atop the gear in the back.

There was time now, finally, to contemplate the whole great history of the wheel, the evolution from trail to road and beyond, the extraordinary technological leap in the newfound ability to ferry stones from here to there without necessarily resorting to slavery.

It was a fine way to travel, especially out here where there was no traffic. I came to appreciate the sear of engine-air on my toes. Jasper gathered his books and stamp kit and drawing implements and climbed up into the front seat (United States of America v. David Page). We saw a total of four vehicles on the road that afternoon. In about as many hours. I had to look at the road occasionally, in case we had to work around some topographic feature, but otherwise we got a lot done.

We took turns reading to each other and looking out at the world as it crept not at all inexorably by. By the time the spry little Volkswagen camper containing my wife happened upon us (we’d drifted enough to one side that they were able to sneak around us), still a long grind from the top, we’d done three rounds of The Tortoise and the Jackrabbit, had studied hundreds of what we took to be swallows’ nests in the roadcuts, had stamped out a thank-you note in red ink, had marveled at the Indian Paintbrush, the tufty grass poking from dry sand, the crazy chandeliers of pink and white flowers exploding from thornbushes, the cries of seagulls on their way to Mono Lake, the spun-silk cocoons in the mesquite, the lizards, the all-but-erased mining roads cut in switchbacks against great ribs of slate running upwise and canted like the backbone of some scoliotic dinosaur.

We’d seen rusted-tin pop-tab beer cans in the bushes, a sun-bleached squeeze-bottle of Parkay margarine, a refrigerator, and an ancient coil of barbless fence wire. We’d seen Jawa caves from various tribes, and a witch’s castle, flying monkeys bearing messages like passenger pigeons, and a herd of T-Rexes grazing in the Joshua trees. We’d relived the hunter shooting Babar’s mother four times over and every goddamned time felt the emptiness of it.

Do you want to go with those guys? I said to Jasper (meaning with his mother et. al in the Volkswagen). They’ll get to the dunes hours before we do.

Nah, he said. The birthday boy should always get there last.


* It went like this: the judge found him guilty on all three counts: (1) construction without a permit; (2) making false statements (he’d tried to give a fake name — it’d worked on another occasion); and (3) threatening, intimidating or interfering with a Forest Service officer. The prosecutor wanted $900 and 3 years probation. The judge settled on a $450 fine and 50 hours of community service.

Notes on Temporary Homelessness in Italy

29 Apr 2010 in Notes From Road by Joshywashington
JoshyWashington recalls nights spent homeless while traveling in Italy.

Image: Tattooed JJ

IT’S LATE. The lucky fuckers settling into sleep in the hostel lobby won’t meet your eyes as the desk girl tells you she can’t let anybody else crash in the foyer.

She has to draw the line somewhere; right between you and a warm, dry, safe place to sleep.

Sure, you could check into a hotel and spend 4 days’ budget on a single night of satin sheets. You could also trade in your back pack for one of those wobble-wheeled luggage bags. You could also pull out your eyeballs and serve them speared in a martini. You could.

The good news is there’s a campground a mere 12 km away, and if you get walking you might just make it there before dawn.

Past the piazza and the fountain and the church and all the other things you come to Catania to do, past all these things, a little clearing overlooks the sea.

And this is where you reluctantly settle, under some scratchy old shrub, on a punctured water toy, in Sicily.

You gather all your shit: your backpack, camera bag, snorkel gear, anything you want to wake up with the next morning and hold on tight. You fitfully wake every 12 minutes, starting up and out of the nightmare that you lie concealed under a shrub.

You approach your temporary homelessness with the resignation that the sun also rises, and when it does you’re on your way.

Sometimes your homelessness is not due to lack of foresight. Sometimes, temporary homelessness is handed down by the Big Traveler in the Sky.

A crazy-curly mop of hair is sitting there in stained linen rolling a doobie. A big lumpy doobie. You clear your throat and smile and that’s how you meet Luigi. Only he says, “call me Uncle Luigi.” Whatever, maybe a little pervy but he’s holding the joint like an Olympic torch coming home to Athens, so what the hell.

On the back of Luigi’s bike the night is a cat nuzzling your face. You ride down hills and back up, along the ocean and among the sloping cliffs that edge the Amalfi Coast. “Tonight is a very special night!” he yells over his shoulder.

Italian youth careen on scooters around you. You realize you’re all heading towards some common location, that everyone on the coast seems to be converging on millions of mopeds in Amalfi Town.

You look down on the little town lit from above fireworks celebrating the Assumption of Mary. You ditch the bike and swarm down to Amalfi Town. Drink and clap some happy cops on the back. Drink and you can’t find Luigi. Drink until you try to hitchhike back to…what was that town?

If you are stranded in Amalfi town after a massive public holiday with nothing but your t-shirt and flip flops, your only choice is to join the circle singing ‘Last Dance with Mary Jane’ and wait for the sun to rise.

So that’s what you do.

COMMUNITY CONNECTION


Has necessity ever forced you to sleep on the street while traveling? Share your tales of temporary homelessness in the comments.

For more on Italy, please check our Italy focus guide.

Notes on my Rickshaw Driver

28 Apr 2010 in Notes From Road by Robert Hirschfield
Robert Hirschfield finds “some holy men carry long staffs, others carry rickshaws.”

Image: ideowl

I DON’T THINK he ever had a rider. Maybe he didn’t want one.

He treated his rickshaw like it was his living room. He lounged on the high seat, took tea inside the pull bars, threw me his weird, sexy smile when he saw me coming, his black mustache puckering in the heat.

“Rickshaw?” he’d say as a kind of afterthought.

“Nah.”

He’d seem relieved. He was fat with swollen feet. Content, in middle age, to just be. An improbable round still point that everything moved around.

The other rickshaw guys were like broomsticks. They would bore into the rumps of the racked up traffic on Free School Street, maintaining their dignity as a Calcutta transport institution.

I imagined them flying over rooftops like those shtetl figures Chagall used to paint, made of air and pain, in need of release from the earth.

Their colleague was a plump root who had colonized his spot on Sudder Street without lifting a finger. I sometimes had the feeling his vehicle was just a prop. Some holy men carry long staffs, others carry rickshaws. His outrageous smile was always there for me, migrating from his polluted spot to my polluted spot. It was never refused.

Travel Photographer Interviews: Larry Louie

27 Apr 2010 in Travel Photographers by Lola Akinmade
Larry Louie

All photographs courtesy of Larry Louie

In a new series on Notebook, we interview professional photographers, and discuss their different perspectives on travel photography as well as tips for taking better pictures.

Larry Louie is an award-winning photographer whose work has appeared in National Geographic, Conde Nast Traveler, Photo District News (PDN), Black and White Photography Magazine, and many more.

He has racked up many prestigious awards and won numerous photography contests – from the International Photography Awards (IPA) and various National Geographic contests to the World Photography Gala Awards and Travel Photographer of the Year (TPOTY) category wins.

Matador Editor Lola Akinmade caught up with Larry to talk about his black and white documentary photography.

How long have you been a professional photographer?

I have been photographing since my teenage years but did not get into it as a serious hobby until university 20 years ago. It was only about five years ago that I took the serious step of presenting my work to the public: magazines, competitions, and galleries. I still don’t consider myself a pro because I do not shoot on a frequent basis – I am more in the category of semi-pro.

You do a lot of black and white travel photography. Why this particular style?

Color sometimes is very distracting. With black and white, it’s all about texture and lighting. There is a timeless feel to the photo.

Larry Louie
You consider yourself a humanitarian documentary photographer. What three tips would you share for amateur photographers who are interested in pursuing this style of photography?

I don’t think as a photographer you should label or limit yourself to a type of photographer. Many fine art photographers do commercial photography and many documentary photographers do fine art. A lot of time, it depends of the project you are shooting and the purpose of the project. I might be more well known for my documentary work .

Tips:

a. You should be open to all types of photography – don’t box yourself into just one type. Look and study all types of photography.

b. If you are shooting a documentary project, the first thing is to research the topic. The research and planning are just as important as the shooting. How would you approach the topic and what are you looking to shoot? There should be a plan of action. Even when things do not turn out as expected, the research should back it up.

c. The most important thing is to get out there and practice: shoot, shoot, and shoot.

I think most documentary photographers want to make a difference in the issue that they cover. Compassionate heart and impassionate eye. Compassionate to the subjects, but impassionate to the topic.

Larry Louie
What are the three essential pieces of photography gear you never travel without?

When traveling, my philosophy is the less, the better. But with the digital age, when you give up film, the batteries, flashcards and backup media take their place.

I always travel with a wide angle lens 24mm, mid-telephoto lens 85mm, and my Epson P7000 (for back up) – not to mention 16 gig flash cards and tons of batteries all charged up. A sturdy tripod is less useful when shooting people because it makes you too slow and cumbersome but is good if you are taking in a street scene.

Larry Louie
You also work as an optometrist. Do you see yourself becoming a full-time photographer anytime soon?

I can’t see myself giving up my profession as an optometrist to become a full-time photographer anytime soon. My bread and butter right now is my work as an optometrist. It allows me to shoot what I want to shoot and emphasize topics I am concerned with.

With the economic downturn and so many newspapers and magazines and stock agencies tightening their belts, many professional photographers are scrambling to re-invent themselves in the digital age.I am fortunate in that sense that I am still able to shoot what I want because I do not depend on photography to make my living.

Where are you heading next? Any new projects in the works?

I am still working with SEVA Canada to document their eye care projects around the world. I have a continuing series on the Underbelly of Kathmandu about the new slums in the area and also I have a continuing project on Tibetan culture. In 2010, I am looking to be putting out my first photo book. I have a solo exhibition at the Charleston Center for Photography in March and an exhibition in Madrid in conjunction with receiving the humanitarian photo-documentary award.

Larry Louie

Community Connection

Please read our other recent interviews with Travel Photographers.

MatadorU Travel Photography Program

MatadorU’s Travel Photography Program gives you direct feedback on your work, and lifetime access to the most supportive, dynamic, and fun community of Travel Writers, Travel Photographers, and New Media Professionals on the web.

Monday Mashup: How Writing is “Supposed to Sound” vs. Writing Your Perceptions

This week David Miller mashes up a few thoughts on how writing is supposed to sound versus writing from one’s perceptions.

Image: sasha w

HAPPY MONDAY. This week I wanted to mash up a few different thoughts on narrative nonfiction and travel writing. This has been an ongoing discussion among our team, and something we’re continually examining at MatadorU.

I feel like for some reason–perhaps the way writing has been taught in school over the last several decades, or the fact that it’s part of our everyday communication (as opposed to say, drawing or playing music)–most nonfiction, even “creative” nonfiction writing seems much less stylistically diverse than other forms of artistic expression. I’m not talking about content but more the style through which it’s delivered–sentence structure, expressions, usage.

This may just be the inherent limitations of the form, of  textual vs. visual or auditory media, but I believe it also has to do with people’s perceptions of how writing is supposed to “sound.”

Here’s an example. Some writers continue to use anthropomorphism in their writing, saying things like “The hawks ‘braved’ the ‘menacing’ wind,” even though there is no cultural, philosophical, religious, or any other frame of reference expressed in their writing that shows they actually see the world (nature as having human characteristics) this way.

Other examples include using cliches or expressions that suggest things the writer may not necessarily believe, but uses anyway as they “sound right.” For a brilliant study of this, read David Foster Wallace’s essay on usage, “Present Tense.

Writing from the way you perceive events

A response to this, one that we commonly tell writers at Matador, is to “write from the way you perceive.” Doing this is a kind of discipline, I think. You have to go back and look at everything you write, questioning–”do I really think this, or does it just ’sound good’. . .or is it just a way of  explaining something as I’ve had it explained to me or read elsewhere, as opposed to the way I understand it?”

In a way it’s the opposite of (or perhaps a good follow-up to) writing in the “ecstatic” tradition, the Kerouac-style of just letting the words flow and trusting the “act of creation” itself.

I think it helps sometimes to create new structures as guidelines for shaping the way you narrate. I tried this at my blog last week. I don’t know if it’s helped my writing yet, but it was edifying in the sense that it made me look differently at various elements of nonfiction writing, particularly at providing information about cultural references (ex: “He was wearing a boina, ‘a kind of South American newsboy cap.’”) within the body of an article.

(Note on this: It seems we’re at a point in time whereby, via Google (and soon, augmented reality), references are no longer needed within the text, but may simply be linked or assumed as knowledge shared by the reader.)

Echo-chamber

Ironically, creating a new framework for expressing your perceptions is just another way of writing according to how things “sound.” There is definitely a kind of “danger” in this, as you can reach a point (something each writer must find for him/herself) where you’re no longer writing with the reader in mind but only for yourself.  Some people argue that when this happens (an “audience of one”), there is no longer a point of entry for the reader.

But I believe that if your thought and writing process is guided by, driven by honesty–a sense of truth-seeking–then it doesn’t matter: your writing will, by default, have meaning for others, and a readership beyond yourself.

Community Connection

How do you reconcile gaps between how you perceive place / culture / people, and how you express it in writing? Please share with us in the comments.

Notes on Getting Sick in an Equatorial-Region Hostel Dorm

Brandon recalls the experience of getting terribly sick in an equatorial-region hostel dorm room and having no way out.

Photo: s2art

YOUR THROAT SORE at first, and within an hour your eyelids hot, your eyes burning, and feelings of dizziness, followed by worry about getting sick.

The people behind you, their footsteps, and the reoccurring curiosity, awe, or horror about whether or not you’re actually going to be sick, on this street, with someone that keeps talking to you, that won’t shut up, and then at the market, where they’ve laid out on wooden tables whole raw chickens with flies and skinned cow heads, bladders, livers.

Walking briskly to your hostel with a worried facial expression and going straight to the bathroom, realizing that something is wrong, and the remembrance that pain is a real thing—that ‘suffering’ is really, actually suffering—and not having enough cash to get a single room.

Putting a trash can by your bunk in a room filled with 5 sleeping men, the air conditioner in the top corner of the dorm room, but not on, and unable to be turned on, because the person sleeping under it just complained it was too loud, and refused to turn it on, so you tell him, now, because you can’t imagine not having the air conditioner on, that you’ll sleep under the air conditioner—that you’ll switch bunks with him, that it won’t be loud for him that way.

You tell him that the sound won’t bother you, and he agrees to switch bunks with you, a facial expression like you’re being irrational, and you switch bunks with him, and turn the air conditioner on, and it feels incredible, and the sound isn’t anything compared to the relief you’re feeling, and you think that maybe you won’t get sick, and the person you just switched bunks with looks at you with an exasperated facial expression and throws up his hands and says “Ah, hace frio.”

He turns the air conditioning off, and you could swim in the foul air, and you’re worried that you’re going to be sick, then simply asking yourself “Am I going to be sick?” in a completely out of control manner . . .

But he’s in the furthest bunk away from the air conditioner, and you’re in a fucking tropical country—it’s sticky humid and mosquitoes and little crawling insects are everywhere, the bathroom attached to the dorm smells like shit, and you haven’t been this sick in a long time, and you say, “Oh, jesus, ok. Entonces queires cambio? Quires cambio? Dame veinte minutos. Veinte minutos,” and you’re too proud, or not wanting to seem like a pussy, to say “Please, but I’m sick, I need it,” and he actually does want to change bunks again, he actually takes you up on your political offer, but he’ll do the favor of giving you 20 minutes of air conditioning—he’s nice enough for that, the guy is nice enough to give you 20 minutes of air conditioning in a country about two hundred miles north of the equator, and you’re angry, because you’ve been traveling with this fuckface and three other assholes for a week, and you guys were supposed to take care of each other, in some way—you were supposed to carry someone’s bag a kilometer from the beach to the town, or miss a bus if someone didn’t make it on time, or sit, uncomplaining, in a crowded, hot minibus with their guitar on your lap and no leg room for 6 hours, and that kept things in balance, that was how you became close to them, because you all knew how it was, and how exactly that kind of comfort felt, and how that system could be relied upon—and you go back to your original bunk and feel fine because the cold air is great, the air conditioner is on, and you can focus on something other than your body again, and you start hoping that he’ll just fall asleep before the twenty minutes is over, so you can have all night with the wonderful air conditioner, muting the all the snoring and disgusting sounds emanating from the bodies of the humans around you, but, shortly, he says “Amigo,” and “Horrible fucking sound,” and you say “Okay,” and you both know that you are fucking pissed at each other.

He turns the air conditioning off, and you could swim in the foul air, and you’re worried that you’re going to be sick, then simply asking yourself “Am I going to be sick?” in a completely out of control manner, and you lose it into the trash can next to your bunk, and the sheer mass of vomit that comes from your face surprises you and quickly strikes you as funny, and you keep on retching, and you suddenly realize there’s a sound coming through the wall, and you release all the embarrassment you felt about getting sick in front of five other people, you give up trying to be quiet about it, and keep heaving—making demon-like noises now—concurrently realizing that you’re listening to a girl next door getting the shit fucked out of her, and this is where you become really detached, grinning—internally—about the harmony of the situation.

How to Read Your Writing Out Loud

23 Apr 2010 in writing support by Joshywashington
JoshyWashington says: stop dreading reading your writing out loud and start shouting your story from the rooftops.

MOST OF THE TIME your writing will be digested silently, by an internal narrator sitting in the easy chair of your readers brain.

When that reader is you, the soundless inflections and pacing you give the text will match the remembered event you have written about.

But when you open your mouth to read your story out loud your nervous voice can stall and cripple the text into a pile of tangled paragraphs.

I’ve found many advantages to being comfortable reading your writing out loud. It can bring awareness to the tone, pacing and word choice of your story. Pause at commas and paragraphs, intone the dialog and build tension with your delivery; there are many techniques to employ when reading aloud that actually strengthen and give depth to your story.

Also, when reading out loud you are likely to catch dropped words, grammatical errors and stilted, awkward word choices. You may discover a certain poetry can be finely tuned by reading out loud. Reading, and being read to out loud can imbues the text with the music of the human voice, creating an ancient communion between storyteller and listener.

In many writing groups participants often read their writing aloud. Being comfortable doing this can let you focus on your story and not the terror of public speaking .

TIPS FOR READING YOUR WRITING OUT LOUD

Record yourself reading with a mic or web cam then listen/watch yourself. This can be painful. I hate my voice over the phone, and often wonder at the spastic faces I make on camera. But confronting the reality of your voice and appearance are vital to cultivating a good speaking presence.

Listen for ways your reading can strengthened, noting dropped words, mumbling, poor breath support and weak diction.

If you find yourself reading to quickly try reading your story like you are reading to a circle of children, slowly with over dramatic pronunciation and pauses. Practicing this way can help you slow down and speak more clearly.

Understand that your audience wants to hear you read. Don’t apologize, don’t shrink back or rush forward to hasten the end. Instead take control and steer the story with your measured reading like a captain at sea. You have the benefit of knowing how the story resolves itself, use that knowledge to build suspense and punctuate certain moments.

Stand up straight. Plant your feet and take a deep breath.

LISTEN TO AUTHOR SAPPHIRE READ FROM HER NOVEL “PUSH” AND TAKE NOTE ON HER CAPTIVATING DELIVERY

There is something enthralling about the feeling of being led confidently through a story, of trusting the reader to bring you with them. What did you notice about Sapphire’s delivery that worked or didn’t work for you?

SOLID PUBLIC SPEAKING ADVICE FROM TOASTMASTERS INTERNATIONAL

from toastmasters.org

Know your material. Pick a topic you are interested in. Know more about it than you include in your speech. Use humor, personal stories and conversational language – that way you won’t easily forget what to say.

Practice. Rehearse out loud with all equipment you plan on using. Revise as necessary. Work to control filler words; Practice, pause and breathe. Practice with a timer and allow time for the unexpected.

Know the audience. Greet some of the audience members as they arrive. It’s easier to speak to a group of friends than to strangers.

Know the room. Arrive early, walk around the speaking area and practice using the microphone and any visual aids.

Relax. Begin by addressing the audience. It buys you time and calms your nerves. Pause, smile and count to three before saying anything. (“One one-thousand, two one-thousand, three one-thousand. Pause. Begin.) Transform nervous energy into enthusiasm.

Visualize yourself giving your speech. Imagine yourself speaking, your voice loud, clear and confident. Visualize the audience clapping – it will boost your confidence.

Realize that people want you to succeed. Audiences want you to be interesting, stimulating, informative and entertaining. They’re rooting for you.

Don’t apologize for any nervousness or problem – the audience probably never noticed it.
Concentrate on the message – not the medium. Focus your attention away from your own anxieties and concentrate on your message and your audience.

Gain experience. Mainly, your speech should represent you — as an authority and as a person. Experience builds confidence, which is the key to effective speaking.

COMMUNITY CONNECTION

Are you comfortable reading your writing in front of others?

What’s the one skill every travel photographer needs to develop?

Iceland. Photo by Paul Sullivan

We recently posed a question on our Facebook Fan Page: What’s the one skill every travel photographer needs to develop?

IT’S A DECEPTIVELY difficult question, since so many skills can be applied to so many situations. For example, the opportunity to take the image above, snapped during a recent trip to Iceland, came up very suddenly. I was driving with friends from the Westfjords region back to Reykjavik when the aurora borealis appeared in the sky – boom!

We were driving on a highway and had to find a place to pull over. At first I didn’t think I would be able to get a good shot since the lights were shimmering away beautifully on the other side of the road – the foreground would have been lots of nasty highway.

Then they began to appear above the farmhouse in front of us. I also thought this wasn’t such a great angle either, especially with the trucks and telegraph wires seemingly in the way. It was freezing cold outside (as it normally is when the lights appear) and I was tired after driving for several hours. We had also nearly crashed earlier on the drive after hitting some ice on the road, and a big part of me wanted to stay warm in the car and watch through the window!

But I dragged my camera and tripod out of the car and began sizing up the scene. As I did so, the lights formed a kind of halo around the truck, which suddenly seemed to create a quite nice thematic counterpoint – heavy and industrial compared to the celestial majesty of the lights – and the naked trees and farmhouse all looked suddenly quite interesting.

The main skills required for this particular shot? Overcoming laziness, fatigue or cold when an opportunity arises; making sure you always have the right equipment with you (no tripod would have meant no photo in this case); being patient, i.e. waiting for a better angle to emerge even when you don’t think there is one.

Some of these skills were already mentioned among the interesting array of replies we received on the post. We’ve listed some of our favorites below. Feel free to join in the discussion over at the page, or leave your opinion in the comments section at the bottom of the page.

*Alkis EnEspaña: “Fantasy!”

*Stephanie Diehl: “Composition”

*Isabel Clift: “No sunset shots!”

*JoAnna Haugen: “Creativity and the ability to see things in a way that tell a story in a single moment.”

*Kyle Anderson: “How to capture and convey the emotion of their environment they find themselves traveling within.”

*David Shults: “Open eyes, you just never know what you might spot.”

*Lola Akinmade: “Sharpened instincts”

*Jill Hamiltonbergowitz: “Angles!”

*Cary Dean: “Empathy”

*Alex Blackwelder” “It’s more of a characteristic, but I’d say respect.”

*Tasha Gurly: “The ability to immerse yourself in whatever you’re doing, wherever you are, without fear.”

Community Connection

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For more resources, please visit our Travel Photography Focus Page.

MatadorU Travel Photography Program

MatadorU’s Travel Photography Program gives you direct feedback on your work, and lifetime access to the most supportive, dynamic, and fun community of Travel Writers, Travel Photographers, and New Media Professionals on the web.

Secret Google Dreams Of A Potential Travel Writer

What would a potential travel writer search for in Google? Watch the story to find out…

Want to actually be a travel writer (or photographer)? Check out MatadorU’s New Media School.

Notes on The Jewish Cemetery in Calcutta

21 Apr 2010 in Notes From Road by Robert Hirschfield
Robert Hirschfield visits the Jewish Cemetery in Calcutta, thinking of the last Jews left in India, and of last places.

Photo by author.

WE ARE driving up and down Narkeldanga Main Road looking for tombstones.

All I see are storefronts. The heat is roasting the car windows and my stubby pencil.

The driver is throwing up his hands, which I take as a good sign. In another minute, he will be heading back to Park Street in search of lunch.

But a man is waving to us in front of a locked gate. We have arrived at the Jewish Cemetery of Calcutta. I blink in disbelief when the gate opens. I am not expecting to see this thriving density of tombstones, many elongated, some upright, others tiny, the graves of little children.

Above ground, there are only about thirty-five Jews left, and most of them are in their seventies and eighties. I identify strongly with last places and last things and the last souls of dying communities. I may not be an observant Jew, but my spirit naturally gloms on to that which is scattered, to that which hangs on by fingernails over an abyss.

Finding myself in the physical manifestation of the abyss, I begin by looking for the grave of Shalom Cohen, Calcutta’s first Jew, the late eighteenth century court jeweler of the Nawab of Oudh, who will soon be greeting (in whatever way the dead greet the dead) Calcutta’s last Jew.

I can’t find where he is buried, but I visit with others who followed him, who were buried with him, who inevitably, I suppose, belong to him. I see where Jocelyn Raymond Leveroy, born on January 16, 1913, died on October 17, 1946. Why such a short life? What delighted her? Who loved her? At least she didn’t die in the heat of Calcutta’s wicked summer.

I think of another grave at the other end of the world. A grave that has seen every season, but only once. The grave of my brother, Reb Aryeh Hirschfield in Portland, Oregon.

He drowned in Mexico a year ago, but I still talk to him. Now even more than before. “What do you make of all these Jews dead behind a gate,” I say. “How does this pan out mystically?”

Back to Sender

20 Apr 2010 in Notes From Road by Lola Akinmade
Lagos Traffic

All photos by author.

Lola Akinmade is confronted with the energetic survivalist frenzy of Lagos, one that was sheltered away when growing up.

Through loudspeakers connected to a van, a heavily synthesized voice belts out “Back to Sender, O! Back to Sender!”

These are the only English lyrics in the Muslim worship song he sings in Yoruba, a West African language. The once white rusty van is parked along the side of a one-way street yet traffic travels in both directions.

A poster of a deceased local engineer and “mentor” hangs next to a “Good Luck” sign, both pasted on the front part of a small bus designed for 12 passengers, but clearly holding about forty. Faces are pressed against its windows waiting patiently for the extra passenger the bus conductor is certain can fit in comfortably with the rest.

More buses roll past, emerging from a steamy bus park across from the music-blasting van. Stickers of “Adam’s Desire”, a sexual enhancer, are fixed to the bumpers and rear windows of some. Others have biblical quotes and references to God’s absolute might and protection. Patrons choose buses guided by how they spiritually feel on any particular day.

Okadas – motorcycle taxis – race up and down the street, buzzing and narrowly dodging cars as well as vendors selling oranges, phone cards, snacks, and other random items sitting close to the edge of the street with their toes within inches of rolling tires. The okada drivers don helmets, not because they want to but because of a newly instated law. Many helmets remain unbuckled or perched atop caps and geles — head-ties worn by women.

Okadas

There is a constant sense of mortality. Pedestrians and vendors dart through oncoming traffic with mandatory cat-like reflexes. All senses are heightened.The sweltering heat so violates the mind that one retaliates with aggression to stay alive.

Not quite ready to jump into the maddening flow quite yet, I temporarily slip into the Nigerian daze to survive. A semi-conscious state where one stares with no facial expression at everything, not fully observing yet subconsciously aware of one’s surroundings.

Hours can be spent waiting, sitting, wandering, and relaxing within the daze. I had slipped into this daze to conserve my sanity only to be jolted back when a tanker-trailer sideswipes us violently. An intentional act which left me perplexed.

“You need just the right amount of madness in this town. Give them the illusion that you’re ready to snap any second.”

He’d cut us off and our frustrated driver had given him the “Waka!” sign – right palm open, fingers arched, and a quick flick at the elbow in the direction of the recipient.

This means “God punish your mother!”

The trailer driver had been ready to kill us for insulting him, and had rammed into our small car, shoving us off the road. Minutes earlier, a dilapidated tow truck had already cut us off and given us the “Waka!” sign at the sound of our frustrated horn. Personal insult is feigned as a way of bullying to get ahead. Just a few days earlier, another tanker-trailer had run over a woman who’d probably wandered into its path, crushing her until her entrails burst loose from her body along the side of the road in full view of everyone.

In the midst of it all, air-conditioned sedans, borderline airtight seem to glide through the frenzy. Uniformed schoolkids, their cargo, stare out windows, their noses pressed against chilled glass, observing the sweltering world outside. Wondering what it sounded like, as people, cars, buses all seemed to move by in slow motion to them.

Early afternoon meant they were probably on their way to after-school lessons. I watch them drive by with a sense of familiarity.

I could easily recount their day, hour by hour. They probably woke up this morning to either Christian or Muslim prayers, took a bath from a warm pail of water, scarfed down breakfast of bread and tomato-onion omelets, and got carted off to school.

They’d scream the national anthem at the top of their lungs as competitive juices begin to bubble to the surface. They’d compete to be first to ask questions in class, arms shooting up like referee flags on offside calls.

Compete to be heard and seen.

Life is lived day to day here. Most meals are cooked and completely consumed the same day as refrigerators are at the mercy of the local electric company and small generators. So open markets thrive. Sole proprietorships thrive. Daily routine pulsates at feverish pitches here and it needs to be. Nigerians are alive today and this fact is celebrated with noise, organized chaos, aggression, and a sharpened sense of “now”.

Okadas

People exist vibrantly here and they need to. For any minute, they could very well be returned to their sender.

“You need just the right amount of madness in this town,” my little sister jokes as she skillfully steers a large SUV through thick Lagos go-slow traffic. “Give them the illusion that you’re ready to snap any second.”

One only spews from experience in this city and okada drivers remain the main traffic burn, whizzing by and squeezing between vehicles like mosquitoes oblivious to merging buses and cars switching lanes.

“Madam, wetin dey do you?!” one biker yells in Pidgin English after almost crashing head-on into her jeep in an attempt to squeeze by as she made a perfectly legal right-hand turn.

She quickly rolls down her window and lets out a crazed laugh.

“You want to die?! You want to die?!” she yells back vehemently. “ I go send you back to your maker!” She ends with a cackle.

The driver gives her the “Waka!” sign and speeds off.

As her maniacal laughter dies down, I turn to her. She’d been one of those little schoolkids wearing blue and white checkered gingham uniforms with large blue collars, taking in the world from the backseat, with her little snub nose pressed against a chilled glass window.

We’d both been.

Travel Photographer Interviews – Mathieu Young

19 Apr 2010 in Travel Photographers by Paul Sullivan

Photo By:Mathieu Young

Matador Editor at Large Paul Sullivan talks with Mathieu Young about lighting, equipment, portraits, and how he gained his voice as photographer.

LA BASED PHOTOGRAPER MATHIEU YOUNG was born in Northern California and educated at UCLA. After graduating in 2003 he spent four years working as a photo assistant to top commercial photographers (Von Unwerth, Testino, Mert & Marcus, Streiber) before setting out on his own.

His recent clients include Turner Broadcasting, Dreamworks Animation, Ubisoft, FOX, The CW, The WB and Paramount Pictures. When he’s not obsessing over photography, film, politics, and journalism, he likes riding dirtbikes, traveling to places that everyone tells him not to go, sleeping outside, urban farming and powertools…you can check out his website at Mathieu Young.

What – or who – got your initial interest going in terms of photography?

I got my first camera late, I was 19 and inherited an old Pentax k1000 from my grandfather. I was studying at UCLA, wanting to be a film director. After graduation I began to shoot portraits and assist commercial photographers in order to support myself. It beat the job I had, working the late shift at a restaurant.

Photo By:Mathieu Young


Your bio says you spent four years working as an assistant in commercial studios. Can you elaborate as to what kind of work you were doing?

I got a job painting the floors and checking in equipment at a photo studio in Los Angeles. I worked hard and met a lot of people, and managed to transition quickly to photo assisting full time. It was an incredible learning experience getting to work with a wide range of incredible photographers, mostly on advertising and fashion shoots. I made sure to ask a lot of questions and to take notes.

At the same time I would create reportage projects for myself. For instance, I traveled to East Africa and spent time living on LA’s ‘Skid Row’. These projects helped me find my voice even while I was working for other photographers.

How would you describe the work you do now…obviously there’s a strong reportage / photojournalistic element, but are you still involved in the commercial world also?

I am really interested in the intersection of reportage and commercial work. These days my main income comes from shooting stills on sets of movies, TV shows and commercials, and I have begun to shoot some advertising as well. At the same time, I still create reportage projects for myself, and try to add commercial elements into these journalism projects. Because I am really fascinated by both photojournalism and commercial photography, I am hoping to find a path that will allow me to combine them as opposed to switching back and forth between the two.

Which other photographers – old or contemporary – inspire you most?

Philip Lorca diCorcia is one of my all time favorites, and Sam Jones is someone whose path and work I admire greatly. Whenever I am lacking for insiration I find myself going back to the Getty Reportage and VII websites. John Moore and James Natchway are hugely inspiring, for their courage, intelligence and compassion.

Looking at your site you seem to have a lot of interest in social concerns…especially the dispossessed or economically downtrodden etc.

I believe in the power of visual arts to not only entertain and inform, but also influence. I am very interested in projects that encourage social progress and foster understanding.

When you are approaching subjects to shoot, how do you set about it? Do you chat and explain what you’re doing? Or shoot first, ask questions later?

I always try to get permission for a portrait before I take it. A lot of people say no. Sometimes they change their mind. Sometimes they don’t. I try to avoid my photography having a predatory element, I prefer my photographs to be more of an agreement between the subject, the viewer, and myself. That said, there are times when that is not possible, or when I deliberately have a perspective that doesn’t include the complicity from the subject. In those situations you just need to shoot first and answer questions later.

I have only regretted the photographs that I missed.

Photo By:Mathieu Young

Your use of lighting is one of the distinguishing features of your work. The daylight flashing of your subjects gives them a fashion/studio feel. Is this something picked up from your commercial days?

That’s exactly right. I am trying to bring some of the commercial lighting techniques that I learned as a photo assistant to my photojournalism projects. It is a tricky balance, sometimes the lighting can get in the way of the storytelling, but other times it can really heighten a situation. I am still trying to navigate the intersection.

What equipment do you take with you to get this wonderful lighting? I’m guessing you try to keep it light as you can when traveling…is it just strobes and reflectors or more?

My kit is generally a Canon 5D and one ProFoto 7B with a p50 dish on the head. That’s it. I am trying to experiment with lighter, more versatile kits now, but haven’t found anything that works as well as the 7B. I have also begun shooting videos on the 5DMKII and am really enamored with the technology.

Has any of your work had any positive effects in terms of helping promote or support welfare programs, bringing the plight of various people to official attention etc?

The proceeds from the sales of my photographs from East Africa went towards paying some school tuitions for orphans, and I hope that I will be able to find more direct ways to give back with future projects.

Is that a concern of yours or are you more concerned in general with aesthetics / art than the moral / social angle?

My goal is to make beautiful pictures about subjects that matter. I’m not very interested in fashion photography because to me it lacks an element of reality. At the same time, some spot news photography lacks the kind of artistic integrity that you can find in more commercial settings. I certainly can appreciate art for art’s sake, but for myself I will continue to look for this intersection between art and commerce and social progress.

Finally, what else are you working on right now and what are your ambitions for the future in terms of your photography work or anything else?

This coming year I hope to find some international service organizations that I can donate time and talent to. I want to travel, I want to shoot, and I want to give back. Hopefully I can find a way to do all three at once.

Community Connection

Check out some of Mathieu’s recent photoessay of Mexico’s “happy” coast.

Please read our other recent interviews with Travel Photographers.

MatadorU Travel Photography Program

MatadorU’s Travel Photography Program gives you direct feedback on your work, and lifetime access to the most supportive, dynamic, and fun community of Travel Writers, Travel Photographers, and New Media Professionals on the web.

Inventory of Things Sold, Given Away, Lost, or Stolen due to Travel

16 Apr 2010 in Notes From Road by David Miller

The “Autumn Special,” a 6′8″ squash-tail, later given away.

David Miller takes “inventory” of various things lost / sold / given away in the process of being a traveler.

ON THIS LAST MOVE to Patagonia we reduced our “worldly possessions” to 3 large suitcases, a duffel bag, a backpack, a snowboard bag, and carseat (for our daughter). This was after being married for 6 years.

I don’t feel proud of this necessarily; it’s just the reality of (a) not having enough money / motivation to ship other things we had–art / books / toys / furniture–down here via container, (b) having a natural aversion to accumulating things, and (c) effecting a transcontinental move via airplane.

But damn, now that we’re down here I’m missing a lot of our shit.

Or not really. Some of it I miss, I guess. Some of it I need. Either way, I’ve been thinking about it lately, all of this different stuff that I’ve spent time with as a traveler, stuff that in some cases got named.

Here are some of them:

1. The Autumn Special

A 6′8″ squash-tail bought for $75 in Pismo Beach, California. Later stored in friend’s garage in San Francisco, then taken down to Mexico, where it was surfed for 4 months, then given to Argentine surfer in Pascuales.

2. “The Land Speeder” aka the “Santa Cruz”

2. 156 cm Santa Cruz snowboard bought for $125 at a surf shop in San Francisco. Used for a season in Tahoe (Heavenly Valley), then mailed to Andy Vernor for usage at local ski-hill in Wisconsin, then later mailed back to me with Land Speeder sticker applied. Was later stolen out of back of jeep in Nederland, Colorado.

Me paddling Big Gun, Encampment, Wyoming.

3. The Big Gun

A creek boat produced by Riot around 2003.

Purchased from a paddler in Glenwood Springs Colorado for $250.

Never fit right, but was used during 2005-2007 paddle seasons in Colorado / Wyoming. “Sold” to dude in Nederland, Colorado who was supposed to send me a check but never did.

4.The “Music Collection”

CD + cassette library maintained from middle school through college (Athens, Georgia) containing, among other artists, Air, Agent Orange, Augustus Pablo, B52s, Billie Holliday, Bob Dylan, Coltrane, Dead Kennedys, Digable Planets, Digweed, DJ Spooky, Django Rheinhardt, Ernest Rangling, Gregorian Monks, James Brown, the JB’s, King Oliver’s Dixieland Jazz Band, Led Zeppelin, Lee Perry, Miles Davis, Neutral Milk Hotel, Nirvana, Outkast, Plastikman, the Porchhonkys, Quincy Jones, r.e.m., Suicidal Tendencies, Talking Heads, Velvet Underground + a whole bunch of 4-track recordings of early guitar / bass / drum played with friends. .

Sold at various music stores and / or given away / lost. [Notes: none of this feels like a "loss" now that we're in post-cd "world," except for a particular collection of tapes that I kept in a Vietnam-era ammo case given to me by my Dad that seemed to have disappeared in between graduating from College and heading off to the Appalachian Trail. ]

The Stealth Fighter

The Stealth Fighter

A squirt boat given to me in Seattle by a crew of squirtboaters from Pennsylvania.

Used in exploratory runs on Skykomish and Snoqualmie rivers. Later washed down the Clark’s Fork of the Yellowstone River after I got worked in seam / subduction zone at Purple Cliffs and had to swim.

Special notes: This craft was unique in all possession-experiences in that (a) it was something handmade, and (b) never sold but given from one person to the next, as well as (c) “given” back to the river, which (d) came close to turning into a near death experience as I kept fighting to save it as we started washing into the next rapid, but then gave up and (e) as I sat up on the bank afterward it felt like the whole thing was actually kind of hilarious and I was only sorry there was nobody there to see it happen, which (f) gave me this strange energy that I used to (instead of camping there as originally intended) drive 13 more hours straight across to Colorado to meet up with my friends.

6. The “Library”

Book / magazine collection maintained from middle school and in several houses and states after college, with titles by Alexie, Borges, Bukowski, Carver, Camus, Cather, DeFoe, Dostoyevsky, Emerson, Faulkner, Fitzgerald, Frank, Ginsberg, Golding, Hamsun, Harrison, Hemingway, Herbert, Hesse, Huxley, James, Jewett, Kafka, Kerouac, Kingslover, Lawrence, Lee, Lewis, London, Lorca, MacLean, Mann, Marquez, Melville, Miller (Arthur + Henry), O’Connor, Ovid, Proulx, Roth, Salinger, Sartre, Shakespeare, Snyder, Steinbeck, Storm, Thoreau, Tolkien,Twain, Walker, Williams (William Carlos + Tennessee), Wiesel.

Sold at (a) garage sale in Marietta, GA, (b) various bookstores in Athens, Georgia, Boulder, Colorado, and Seattle, Washington, and left in various places (1) Appalachian Trail Shelters, (2) the Dharma Shack, (3) parents’ house in Florida.

Note: like the music, there is no real “sense of loss” as far as not being able to maintain these possessions.

7. The “Wonder Bucket” and “Belt”

Tool-belt + paint bucket “organizer” used in construction work from mid 90s to 2009 including assorted tools: a worm-drive skillsaw, framing hammer, speed-square, chisels, cordless drill / impact, sawzall, chalkline, plumb bob, level. Given away to people (a) semi-unintentionally in Seattle, and (b) deliberately (as they had work going on and could use them) in Colorado.

8. The Egg

A 1992 Toyota Previa Van with standard transmission and all wheel drive. “Sold” to friends in Colorado, but then later gifted as it was discovered that years of using the Egg as offroad vehicle / Boulder Canyon commuting-machine had led to a “terminal diagnosis” vis a vis Colorado emissions standards vs engine repair costs.

Community Connection

What gear / things have you named in your travels / life experience and what is your relationship to it? Do you hold on to things or just give them away? Please let us know in the comments below.

20 Ideal Day or Seasonal Jobs for Travel Writers

In response to the post-tax season freelancer blues, we’ve been brainstorming jobs and careers that work well with travel writing. After scoping the Matador community, we’ve rounded up 20 examples of how travel writers can pay the bills without resorting to living in your car or working as a chicken sexer.

Photo by Jenschapter3

1. Cook / Chef / Restauranteur

Cooking is a universally-needed skill.

Some of our community members have worked as traveling private chefs like Matador writer Francisco Collazo. A chef with a vision for business ideas could also travel to different countries pitching ideas for new restaurants, developing menus and training restaurant staff.

2. Masseur / Masseuse

In the U.S., you can become a trained and licensed masseur or massage therapist without a Bachelor’s degree. Many community colleges offer low-cost training programs. Specialize in Swedish massage, Thai massage (like Matador member vitaminebeadaily) or therapeutic massage and you’ll be able to apply for jobs worldwide at resorts, five-star hotels or even on cruise ships.

3. Diplomat

Working as a foreign diplomat can give you the chance to travel, learn languages and live in different countries – all on the government’s dime. Matador member Andris includes state diplomat on his resumé. Learn more about the life of a diplomat here.

4. Marine Biologist

Matador member Beth Basinski airs marine biology with dive instruction as she travels. To get started in the field you’ll need at least a Bachelor’s degree in Biology, although a graduate degree and research experience would up your chances of getting a stable job.

5. Wildland Firefighter

Matadorian Eric Warren wrote a great guide to becoming a Wildland Firefighter. There are a lot of misconceptions about the “job,” but for those who qualify, it’s still a seasonal employment option that allows you access into places and communities you’d probably never get to know otherwise.

6. International Teacher

After spending two years teaching in Pakistan, I found international teaching went well with part-time travel writing. Putting in the effort to become a licensed teacher is worth it; many salary packages include housing, round-trip flights, free school for children, paid utilities and professional development trips.

7. Trekking Guide

If you’re into hiking, trekking and adventure travel, think about basing yourself somewhere at a trekking guide like Matador member Dinesh in Nepal.

8. Tour Guide

Working as a tour guide provides a way for you to earn some cash and share your local knowledge. Matador intern Matt Scott lives in Paris and works for an active travel company, and Matador U student Mary Richardson is an expat tour guide in Japan.

9. Wildlife Biologist

In order to find work as a wildlife biologist you will generally need a graduate degree and relevant field experience. Matador writer Ellen Wilson breaks it down here: How to Become a Wildlife Biologist.

10. Yacht Crew Member

Matadorian Ben Keys wrote a guide on how to travel the world by crewing on yachts. We’ve also published an article on how to become a yacht captain.

11. ESL instructor

Anne Merritt’s blog tag explains it best: Travel, Teach, Repeat. ESL jobs vary widely around the world, with some offering sweet packages and some not offering enough to live in a local hovel. In case you end up with the latter, read Anne’s advice on how to quit your ESL job.

12. Photographer

Matador editors Lola Akinmade and Paul Sullivan combine professional photography with travel writing. If you want to learn directly from them, check out the MatadorU travel photography course launched this month.

13. Translator

Matador community ambassador Eileen Smith works as a translator in Chile. Having a degree in translation studies helps you get work, although perhaps even more important is your ability to network.

14. Academic Editor

Matador’s Managing Editor Julie Schwietert also works as an editor of academic dissertations and book-length manuscripts. Read her insights on the life of a freelancer writer and editor on her blog Cuaderno Inedito.

15. Cruise Ship Musician

An experienced musician, singer or entertainer could land gigs on cruise ships like Matador member Andrew .

16. Bush Pilot

Matador writer Cedric Pieterse wrote an excellent guide on how to become a bush pilot.

17. Geologist

While geologists are often tied to one particular locale as a home base, work with government agencies, universities, natural resource companies and non-profit organizations sends them out for field work at least part of the time. Several Matadorians are geologists, including lissie . We’ve also published a guide on how to become a geologist.

18. NGO Worker

NGO workers and humanitarian aid workers are active the world over. Not only does a career in this type of work facilitate travel, but it also serves as a way for you to give back to the communities you travel and live in. Read more from Matador writer Ryan Libre about How to Start a Successful NGO in 10 Steps .

19. Ethnomusicologist

While ethnomusicology may not be the most lucrative career, it combines travel with writing and experiencing new cultures. Matador member Aaron Appleton shares about how he travels the world through music.

20. Professional Dancer

Matador writer Meagan Kelly wrote about how she learned Turkish while training with Fire of Anatalio, a professional dance group in Turkey. Meagan also works as a videographer, so there’s one more day job idea as a bonus.

Community Connection

Know any more careers that work well with travel writing? Let us know in the comment section!

For more ideas, check out 10 Travel Jobs Within Your Reach.

Travel Photographer Interviews: Cameron Karsten

14 Apr 2010 in Travel Photographers by Lola Akinmade
Cameron Karsten

All photos courtesy of Cameron Karsten

In a new series on Notebook, we interview professional photographers, and discuss their different perspectives on travel photography as well as tips for taking better pictures.

Photographer Cameron Karsten is currently traveling around East Africa, documenting the work of various communities and nonprofit organizations. With a unique eye for composition and lighting, Cameron is capturing particularly soulful images. According to him, “he yearns for expansive adventure of the deepest value in order to express the tales of humanity.”

Cameron Karsten has also written a series of spiritual and health travel articles for Brave New Traveler. He left his formal classroom studies to indulge in dreams of travel at 19 years old, and has been wandering ever since.

Over the past few months, Cameron has also contributed to MatadorU’s Travel Photography Program. Matador Goods Editor Lola Akinmade and Matador contributing editor Paul Sullivan took some time out to ask Cameron a few questions:

How long have you been a professional photographer?

I’ve been practicing photography for six years. It was only two years ago I decided to convert the hobby into a passionate career.

What – or who – got your initial interest going in terms of photography?

Travel. At the age of 19 I left my comfort zone with backpack, journal and pen, and my camera. I began writing and photographing in order to share my experiences and inspire other individuals to follow their passions. Today, with diligent practice and belief, I continue to develop and evolve my skills to create the life I desire.

Cameron Karsten

What were your first photographic experiments or experiences?

The first time I mindfully began photographing was on the first day I landed in Bangkok, Thailand at 19. The new culture, architecture, environment and faces sent my eyes spinning along every street. I was enthralled with the new surroundings and found every detail, from an old shirtless man to the spires of a golden temple, worth photographing.

My family and friends had to see what I was witnessing. It became a way to transport my followers into my traveling adventures and become a part of the journey.

How would you describe the work you do now? Are you involved in the commercial world also? Any stock photography?

I am continuously building and expanding my photographic styles. Currently, I work as a professional portrait, wedding, and event photographer. However, my drive is to develop into a full-time commercial, travel and editorial photographer with fingers in lifestyle and fashion. The possibilities in the industry are limitless, and these options keep me inspired as I move forward.

Which other photographers – old or contemporary – inspire you most?

Ansel Adams with his patient lighting. Ricard Avedon with his brilliant creativity and stylistic eye. Annie Leibovitz through her skill of caricatures and personalities. And Steve McCurry for his wanderlust.

You seem to have an eye for shapes and working with patterns. Is this a fair assessment?

Shapes and patterns are where my eyes are drawn to. Within my surroundings, through my lens and into my brain, I see the world as shapes creating patterns. Everywhere, there are arrangements of order built within a format of forward-movement. From whatever cause, whether my practice in meditation to my careful observations abroad or at home, I have adapted this technique as my first and foremost.

Like jumping into a stream and letting the current take you, I pick up my camera only when the moment feels right, only when that inner fuel burns and that surge of inspiration sears.

Cameron Karsten

When you are approaching subjects to shoot, how do you set about it? Do you chat and explain what you’re doing? Or shoot first, ask questions later?

As mentioned above, when there’s inspiration, I shoot. When there’s none, I leave it alone and keep truckin’. Often, I leave my house, hotel, or camp without my camera.

There are many scenes, subjects and settings that are so captivating, there’s no reason to try and capture it. Then and there, I soak it in and use that moment for my inner fires.

Pick and choose selectively. Don’t shoot everything. Beauty is everywhere, all the time.

When approaching a human subject I wish to photograph, the situation varies. Sometimes I sit down and create a conversation before photographing; therefore, the image will have a deeper story in my memory and in print. Other times, I make eye contact, smile and politely ask/gesture for a photograph.

Other times, when in the zone and feeling the comfort of the atmosphere, I shoot and shoot and keep shooting, moving my feet while snapping the shutter. I go with my instincts photographing, writing, traveling, and daily living.

Cameron Karsten

What’s the craziest or most inspiring encounter you’ve had in general?

Most inspiring moments are when I find myself in nature. I spent four weeks backpacking from Giri to Everest Base Camp alone, without a guide or porter. That time by myself was intense during the off-season. I met locals. I sat alone atop granite spires overlooking the Khumbu Valley. I walked through sun, wind, rain and snow. I sat with locals and heard their tales of The Yeti.

I bumped into Maoist rebels and experienced the tension of a violin string coarse thru my veins. And I drank chai with Royal Nepalese soldiers over conversation about the region’s struggles.

Those memories will live on forever.

What kit do you use / carry with you / can’t do without (camera make, lenses, flashguns etc.)?

Nikon for life. I used to carry two lenses, a 55-200mm Nikkor and a 28mm. Yet, I’ve liked the challenge of cutting out the zoom and forcing myself to get into the scene, closer and more intimate. Therefore, I’ve sold the 55-200mm and dove into the photograph with my 28mm.

Finally, what else are you working on right now and what are your ambitions for the future in terms of your photography work or anything else?

Currently, I’m finalizing a new photography website that will enable me to sell and distribute my work online to a wider audience, which can be found on PhotoShelter. This site is combined with new websites for my writing and multimedia projects. I’m off to East Africa in January 2010 for six months to document the visions and progress of various communities and nonprofit organizations through these mediums.

My ambitions are to continue creating a lifestyle of travel with photography, writing, and multimedia as an outlet to educate and bring awareness to the world about different cultures, their current issues, and how we can preserve their environments for sustainable well-being.

To see more of Cameron’s work visit his site, www.cameronkarsten.com

Cameron Karsten

Community Connection

Check out more interviews in the series:

Travel Photographer Interviews: Ryan Libre

MatadorU Travel Photography Program

MatadorU’s upcoming Travel Photography Program gives you direct feedback on your work, and lifetime access to the most supportive, dynamic, and fun community of Travel Writers, Travel Photographers, and New Media Professionals on the web.

Notes on Longing at the Kali Temple

13 Apr 2010 in Notes From Road by Robert Hirschfield
Robert Hirschfield finds: “In disordered Calcutta, I feel a vulnerability that could lead me anywhere. Every morning, it leads me to the Kali Temple.”

Photo by author.

SOMETIMES, in the day’s white heat, you see them lined up a block long outside the Kali Temple.

They are faithful and meek before the Black Goddess, before the terrible Kali Ma of skulls.

I see Her by the scarlet shrine tree down the street, an unforgiving ebony statuette. She squishes the devotional impulse in me. Or what’s left of it. I am not, I admit, the devotional type. Not since being mugged in my youth by the God of Israel.

But being flung across oceans jeopardizes our fixed points. A Jewish agnostic from Detroit will rest his head against the Wailing Wall in Jerusalem and find he has let his beard grow down past his heart, and is beginning to chant Kabbalistic formulas like the Holy Ari of Safed.

In disordered Calcutta, I feel a vulnerability that could lead me anywhere. Every morning, it leads me to the Kali Temple. I run the gauntlet of trinkets and pundits and pilgrims with blood red flowers, and the curious row of men with bindis and dhotis looking out into the deep distance like whaler wives while hundreds pass right before their eyes.

If I let myself be carried along by them, what then?

If I let myself be carried along by them, what then? What would await me at the end? A shiny new layer of spiritual skin? (What of the old layer? What is its color, texture? I keep trying to find out.) Kali Ma, Goddess of Attitude?

I long to be part of the spirit swell of Hindus. I imagine them entering an ancient river through a mysterious door. My mother’s shul didn’t do it for me. Even though our God was kind of like Kali’s paternal buddy, skulls and all.

It may turn out I have an allergy to Gods, but I definitely have a devotion to mysterious doors.

Community Connection

For more on India, please reference Matador’s Focus Guide to India.

After the Quake: Images of a Catastrophe

12 Apr 2010 in Notes From Road by Sergio Missana

Walter Mooney, U.S. Geological Survey

How quickly do we forget the feeling of instability? When do we learn to trust the earth again? Acclaimed Chilean novelist Sergio Missana considers the short- and long-term effects of the latest earthquake in his country.

ONE COULD ARGUE that there is no experience more kinetic, more purely experienced with the body, than the earth suddenly becoming unsteady. I have a vivid recollection of the 1985 Santiago earthquake. Yet my memories – after 25 years – are almost entirely visual.

I remember being able to see the oscillation of the ground I was standing on, water coming out of a swimming pool in waves and tall poplar trees swaying violently and bending in the windless evening.

Soon enough, all eyes will focus on the Chilean soccer team that will play in the World Cup in South Africa.

This past February 27th the quake hit in the middle of the night. The power went out. It was like reliving that old experience in absolute blindness.

I live in a canyon in the mountains overlooking Santiago, in an area called El Arrayán. Power did not return for five days. The whole communications system – land phones, cell phones, Internet – collapsed, so I spent the hours after the quake trying to contact my wife and kids – who were in California – and also my family in Chile, friends and colleagues, and listening to the radio in my car.

But I did not have a sense of the devastation in the South of Chile until I actually saw it on TV a couple of days after the quake. Once power returned at home, I kept watching.

Natural disasters tend to become human catastrophes, hitting the poor the hardest, and this was no exception. The earthquake and tsunami had shaken a sense of security, exposing the gross inequalities that underlie Chile’s macroeconomic success story. It became apparent that, in Santiago and other cities, several construction companies had creatively interpreted regulation codes in order to save a buck.

The official response provided a catalogue of ineptitude: the Chilean Navy did not issue a tsunami alert; the government hesitated before declaring a State of Emergency in Concepción and the port of Talcahuano, as looting escalated; rescue teams were not dispatched on time to areas where people were trapped under rubble; etc.

As I watched image after image of apocalyptic desolation, I became progressively horrified by the coverage itself, by the relentless drive of the media to raise the emotional pitch at whatever cost. The emotional manipulation and amplification ends up becoming its own corrective: it produces saturation, habituation and, ultimately, a measure of detachment.

A month after the earthquake and tsunami, things are getting back to normal. Chileans are focusing on other things, including the political transition: to the new conservative administration that has given the military a key role in keeping public safety, stirring old anxieties. And soon enough, all eyes will focus on the Chilean soccer team that will play in the World Cup in South Africa.

And yet, anxiety lingers. The demand for real estate — houses and apartments close to the ground — has multiplied exponentially. In the Maule Region, the hardest hit by the earthquake and tsunami, it is estimated that 20 percent of the population will have permanent psychological scars. In many coastal towns, people are still camping in the hills, their lives paralyzed by fear of the ocean.

After the initial shock and disbelief, there remains a vague but pervasive uncertainty, a mistrust in the stability of the earth, and a sense that the transitory works of reconstruction will become, as they always do, permanent. And that uneasiness, too, will pass.

By the time the Chilean footballers make it to South Africa, people in camps in the most devastated area will be enduring a very tough winter. While there has been a steady stream of donations since the earthquake, locals are still waiting for emergency housing and in need of basic supplies.

I’ll have some time off from teaching then and I plan to travel south to help out however I can and see things with my own eyes.

Community Connection

Have you experienced an earthquake? Please share with us in the comments below how it affected you.

Travel Video Tips : Be Light on your Feet

Being a creative opportunist means being light on your feet.
Colemen Wilson Photography

WITH A POCKET full of notes and a fully charged battery I stepped out to shoot a segment for the upcoming MatadorTV vlog.

Three blocks from the rally I heard the garbled, triumphant chants banging from building to building and the beating of drums.

My morning video plans did not involve a massive immigration reformation rally that has drawn thousands downtown to demand equality and justice for Washington’s sizable immigrant population.

But as I rounded the corner to see the crowd cheering I knew that my plans had to change.

Being a creative opportunist means being light on your feet and ready to react to the unfolding situation at the drop of a hat. Abandoning my intention of interviewing travelers at Pike Place Market I wade into the crowd to begin covering the rally.

Being prepared can only go so far. A willingness to respond critically and creatively to circumstances sets the casual travel vlogger apart from the creative opportunist.

Here is my challenge to you

Grab your camera / laptop / notebook and step out into the world with the intention to discover what it is you are suppose to interact with and be inspired by.

Look and listen, ready for anything.

Travel Photographer Interviews: Ryan Libre

9 Apr 2010 in Travel Photographers by Lola Akinmade
Ryan Libre

All photos courtesy of Ryan Libre

In a new series on Notebook, we interview professional photographers, and discuss their different perspectives on travel photography as well as tips for taking better pictures.

MATADOR’S EXPERT ON HOKKAIDO, Ryan Libre is a freelance photographer based out of Japan and Thailand. He has taken photos for 11 books and held solo exhibitions at the Fuji Film Salon, The Foreign Correspondents’ Club of Thailand, and the Nikon Salons in Tokyo and Osaka.

Ryan was recently awarded a grant from the Pulitzer Center on Crisis Reporting, along with Matador contributing editor Tim Patterson, to document the Kachin Independence Army in Myanmar.

Over the past few months, Ryan has also contributed to MatadorU’s upcoming Travel Photography Program. Matador Goods Editor Lola Akinmade and Matador contributing editor Paul Sullivan took some time out to ask Ryan a few questions:

How long have you been a professional photographer?

I would say five years, but the first year I didn’t make any money and the second year I needed a part time job, but by the third year I was pretty much supporting myself.

That is quite fast; give yourself several years of long days and late nights to make a full transition. As long as I do photography I’ll think of myself as an amateur. Amateur comes from the Latin for love, like Amor. 100 years ago, to call a photographer an amateur was a compliment. With our modern material world view, this wonderful word has been turned on its head.

What – or who – got your initial interest going in terms of photography?

Travel and wanting to show what I thought was “right & wrong”. Those interests evolved into what I now think of as making “a portrait of place” and photojournalism.

What were your first photographic experiments or experiences?

I lied about my experience to get into the intermediate photography class at my university, because I knew the basic class mostly taught about cameras and I wanted to learn about photography. My first projects were of the local homeless, who I was quite close with. My first major project was of Japan’s largest national park, Daisetsuzan.

I worked on it for two years before I showed it at the Fuji Film Gallery in Sapporo, Japan. I was the first person to shoot digital for a show there, the first foreigner to show there, and the first person under 30 to have a solo exhibition there.

Ryan Libre

How would you describe the work you do now…obviously there’s a strong reportage / photojournalistic element, but are you involved in the commercial world also? Any stock photography?

Editorial photography, for galleries, books, magazines, newspapers, and online. My “stock” photos are represented by On Asia; they sell to editorial outlets. When the opportunity to use my skills to help a business that I personally like arises, I usually do it. My commercial work has ranged from fashion photography and boutique hotels to a Thai cookbook and yoga photos. All of them I found interesting and rewarding, largely because I had total artistic freedom.

What three tips would you share for amateur photographers who are interested in pursuing your documentary style of photography?

1. Get close to your subjects, physically and emotionally.
2. Give your projects plenty of time.
3. Research.

You’ve been documenting the Kachin Independence Army for a while now. Can you tell us more? How you became interested in this project?

I wanted to do photojournalism in Burma for years, but without good contacts it is impossible. Two years ago I met a junior member of the KIO/KIA and he invited me to the rebel controlled capital of the Kachin State. I jumped at the chance. The Kachins are a Christian ethnic group in Burma who are poor and oppressed even by Burmese standards. This is a project I plan to keep working on for years to come – www.ryanlibre.com/KIA/

Which other photographers – old or contemporary – inspire you most?

Reza – contemporary and W.Eugene Smith – already passed away. I get endless inspiration from their photos and their life stories. I have all my students at my Photo workshops listen to an interview National Geographic did with Reza.

When you are approaching subjects to shoot, how do you set about it? Do you chat and explain what you’re doing? Or shoot first, ask questions later?

I spend a great deal of time developing relationships with nearly everyone in my photos. I use no telephoto lens and I’m often just a few feet from the people I take photos of for an extended period of time.

What’s the craziest or most inspiring encounter you’ve had in general?

My time with the Kachin Independence Army. Sometimes crazy, always inspiring.

Ryan Libre

What kit do you use / carry with you / can’t do without (camera make, lenses, flashguns etc.)?

I’m currently using the Nikon D-300s with three prime lenses: 35mm F 1.8, 50mm F1.4, 85mm 1.8, and a 10-20 wide zoom and a SB-600 strobe. I really hope that in a few years I can switch to a point and shoot or a 4/3rds format. The flexibility and quality are still not quite there, but getting close.
I like cameras like a wine connoisseur likes a glass.

It is just a means to an end.

Editor’s Note: Check out what’s in Ryan’s backpack.

Finally, what else are you working on right now and what are your ambitions for the future in terms of your photography work or anything else?

I just got out of Burma after five weeks with the KIA. I’ll be going back inside Burma soon. I’m looking forward to my solo shows at the Nikon Galleries in Tokyo and Osaka in 2010. I’d love to show my work from Kachin at the Visa pour l’image photojournalism festival in France. I’m also working on a project about Japan’s native Ainu people that I hope National Geographic will be interested in. I’ll be working on it for six more months in 2010.

Long term goals are to get a W. Eugene Smith Grant and join the Magnum photographers CO-OP.

Ryan Libre

Community Connection

Ryan has contributed various articles and podcasts on travel photography here:

Studies in Travel Photography: Perspective, Timing, and Themes
Studies in Travel Photography: A podcast by Ryan Libre
Studies in Travel Photography 2: A podcast by Ryan Libre

To see more of Ryan’s work visit his site, www.ryanlibre.com and consider joining him for a photo workshop.

MatadorU Travel Photography Program

MatadorU’s upcoming Travel Photography Program gives you direct feedback on your work, and lifetime access to the most supportive, dynamic, and fun community of Travel Writers, Travel Photographers, and New Media Professionals on the web.

A Brief Thought on Composition

Photo By: David Bowen – freelance photography

Paul Sullivan looks at composition in travel photography.

I WAS CHECKING OUT my friend David Bowen’s website earlier today, admiring his travel and music work, and got to thinking about composition. Composition is strong in his work, and reminded me that it’s one of the most important aspects of photography in general.

It’s certainly one that, as a budding or even experienced photographer, you find yourself thinking about and experimenting with a lot. A technically “perfect” photo can easily be ruined by bad composition; conversely, it can be dramatically improved with a little more compositional technique.

Composition is really about balance. The choice of lens, the angle you take the photo from, what you include, and what you exclude…all these are decisions are made along the way and influence the end result – your final image.

There are a lot of tips for improving composition, ranging from working the angles (changing your viewpoint), the golden Rule Of Thirds, effective cropping, making use of leading lines, foreground and depth of field, adopting a sense of scale, using frames, filling the frame and more. Some of these skills come naturally – others require practice.

All of them can help transform an average photo into a kickass one.

Community Connection

For tips on composition and other elements of travel photography, please check out Focus Guide to Travel Photography.

What tricks have you learned to get better composition? Please share with us in the comments below.

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