Scarred by the memory of her disappointing safari photos, Helen Raine spoke to snapper Martin Bonnici to get the low-down on how to capture breathtaking moments forever.

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I clearly remember getting back the photos from my first trip to Zambia. This was in the days when a roll of film was carefully eked out and then dropped at the pharmacy for developing. I had seen some of the finest wildlife spectacles in the world and captured it in technicolour glory on my little point and press.

And what I got back was two dozen photos of small specks that may or may not have had trunks and tusks, miniaturised on a giant African plain; or a yawningly empty shot of vegetation with the blurred tail of a cheetah running off the edge of the scene; plus a series of glowing red eyes on a inky black canvas.

One visit to the camera store later and I was getting slightly improved results with my film single-lens reflex, although these days, the average iPhone 5s can probably do a better job. But even with the advent of astonishing phone camera technology, excellent travel photography takes more than just pointing the lens in the right direction.

Professional photographer Martin Bonnici knows all about that. He has 21 years of worldwide photography experience and also runs a company called www.Maltaphototour.com to help people improve the photos that they take. He shares with us a few of his favourite pro tips.

Tribesman in Papua New Guinea.Tribesman in Papua New Guinea.

Safe travels

One should always consider safety as a starting point. Don’t place your subject in danger or create hazards for others. Avoid shooting random acts of stupidity that could encourage others to cause injury.

Culture vulture

When we travel, we are often dealing with different cultural sensitivities. Think of a time when you have been doing something and a photographer has blocked your view or popped a camera in your face. Now, with these things in mind, rethink how you shoot.

The eyes have it

When you are composing your photo, try not to put the main part of your subject in the middle of your frame. Think of the eyes for a moment. When we see the face of a human or animal, we connect with the eyes first. This is how we communicate. Knowing this, don’t put the eyes directly in the middle of your frame. You will find great examples of this if you look at ‘good’ advertising photos.

Stop them in their tracks

To compose a travel shot, I look for just what it was that stopped me. I would say one of the biggest mistakes people make is to try to fit everything in the shot. Do the opposite. Try to zoom in or move closer. Fill the frame with what is important. If you find yourself explaining to the viewer what the main subject is, chances are you need to move ‘right up close’.

Martin BonniciMartin Bonnici

Get candid

I often ask people if I can take their photo. I say, ‘just keep doing what you were doing’ and I work around them very quickly. Do not hold a person standing in front of you for longer than about four or five seconds. Communicate with them, offer to e-mail them a copy and thank them at the end. Remember, if they let you take a shot, that is a privilege.

What’s the story, morning glory?

I think of the photo or image as visual communication. So instead of taking a quick snap, I tend to look for something more. Look for colour or lines that may lead the eye to the subject. Time of day can play a huge part too, as it affects the colour of light. Early morning or late afternoon light is generally warm with rich honey yellows and gentle reds. These colours will make you feel at ease and comfortable.

Fumbling the shot

Know where your equipment is, how to get to it and how to use it. When you fumble around, it advertises that you have good things worth stealing, plus you could miss the photo opportunity or get a useless shot.

Everything and the kitchen sink?

I tend to have a pragmatic approach to equipment. If you do not like changing lenses and carrying heavy equipment, a DSLR may not be for you.

I only take three zoom lenses with me; a wide angle lens, from 17 to 35mm, a 35 to 70mm and a telezoom 120 to 300mm. Buy the best, most up-to-date technology you can afford. You can expect to get about five or six years out of your digital camera.

I also use a tripod but that means I have to carry it. I mostly use my tripod when I have extra time or in poor light. I also carry an external flash which I use more in the middle of the day.

If you will be walking around a lot, beware of strap camera bags, they can give you a very sore back as the weight is not distributed properly. Carry a few plastic bags in case you experience very wet weather.

Out of kilter filters

I would suggest UV or skylight filters; think of them as safety glasses for your lens. A lot of people get polarising filters but you should be aware that they will increase contrast, which may not be ideal in very bright sun and cut through reflections.

Brash flash

When photographing people, use your flash during the day to fill in harsh shadows (it is called fill flash).

Look up and smile

Don’t spend your whole time with your eyes behind the lens or you will miss most of your travel experience. Let yourself be affected by life and then shoot what unfolds.

Have a photography staycation first

Be inspired by your own backyard. Remember that is a travel destination to someone else.

Know your ISO

100 to 200: Sunny outdoor conditions. (This ISO has the lowest noise and will make the best enlargements).

200 to 400: Outdoors in overcast conditions, bright interiors.

400 to 800: Dusk, lower light interiors, sport.

800 to 1600: Evening, high action (this is when the digital noise starts to come in).

1600 to 3200: Darker interiors, night.

3200 to 6400: Night shooting, extremely dark interiors (the highest noise, for Nikon h1,h2, h3).

Martin Bonnici Photography: www.martinbonniciphotography.com

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