As the gig economy continues to colonize an increasing share of the real economy, many more Airbnb hosts are popping up in cities around the world. Many people, myself included, have mixed feelings about Airbnb and similar types of business models. While it creates the opportunity for some people to increase their revenue streams and even make a living off of hosting, it has a social cost that is invariably borne by those less-well off people who still need affordable places to live. Sure they too can benefit from becoming hosts, but not everyone has the flexibility and means to share their space with travellers. And while city regulations and condo building by-laws can also control the spread of room shares, in the end it is a trend that is likely here to stay. So how can the wealth it generates for some help create opportunities for others?
Candids, or photos taken of people who are unaware they are being photographed, often result in the most interesting and emotive images a photographer can produce. These images are valued primarily for the emotions they convey and the stories they tell. However, by definition such images are an invasion of privacy and require an intimacy with the subjects that is essentially taken without consent.But if you first ask someone if it is okay to take a photo, the essence of the moment you are observing is fundamentally altered and many photographers would argue, gone forever. What to do?
Though there are two scenarios where candid photography is essential – event photography and street photography – the challenge of whether to ask or not is one mainly faced by street photographers.
Taking candids in event photography vs street photography
In event photography, the photographer is a professional hired by their clients who often explicitly request a selection of good candids of attendees interacting with one another. Attendees are aware that they are going to be photographed – often through the placement of a sign at the entrance to the event or through explicit consent forms signed ahead of time – so the event photographer generally faces no dilemma and in fact, is encouraged to take as many strong candids as possible as these are the kinds of photos both clients, and subjects alike prefer when reviewing the final set of deliverables post-event.
In street photography, a passtime widely enjoyed by both professionals and amateurs alike, the question of whether to ask or not to ask is more acutely relevant. With some very clear exceptions, my feeling is that the best images come from patient observation and that asking for them in advance can, and often does, ruin them. I believe if you always operate with a respect for other people and you abide by the photographer’s version of the Hippocratic oath physicians take, “to do no harm”, you are in the clear:
Don’t take photographs that could in any way embarrass, endanger or otherwise inflict any kind of harm on your subjects.
Don’t take any photographs of people in cultures where taking photographs is feared or frowned upon, for whatever reason without getting clear consent first.
Photographs of other people’s children is also off the list unless the parents or guardians expressly allow it – and then I make a point of sharing those images with them
No paparazzi photos of any kind
There is something inherently opportunistic with taking photos surreptitiously. The very word “snap-shot” implies a quick, reflexive response to something noticed that will quickly disappear. That precise combination ofcomposition, lighting, and subject matter that makes for a perfect photograph is often ephemeral.
This is both the thrill and the challenge of taking candid images, of course. Getting it all right in just an instant is where the skill lies. A photographer whose aims are to capture meaningful candid images must practice almost daily to develop the reflexes and familiarity with his or her equipment in order to be there when things are happening, and be able to get the shot when they do.
For the same reason, it makes it very difficult, if not impossible, to ask for consent to take a photograph in the same moment that the image presents itself to your eye.
Tips for taking better street photos
You get the best results in street photography when you are discreet both in your manner and the gear you are using. Whether you are at home or travelling your street photography can benefit from taking an anthropological approach.Having knowledge of an area (often gained by having walked around it extensively), understanding they kinds of people who frequent it, what they are doing there and how the lighting and ambience of the place will change over the course of a day and into night, all contribute towards your ability to capture stunning street portraits and capture powerful images that tell stories and convey a sense of place.
Embed yourself in an a “target rich” environment until you effectively meld into the background, then wait before taking any photographs. Anyone who’s ever enjoyed the practice of street photography will develop a sense of where good photos are likely to come from. Even though the moments that occur are randomly generated by the multifactorial interactions of strangers, time, the position of the sun in the sky and countless other factors, a photographer with a good eye will sense a place rich in potential and spend more time there.
There is no question, from an aesthetic point of view, that candid images are generally more appealing and more potent than posed images of the same subjects, or images in which the subjects know they are being observed.
The act of observing something inherently changes that which is being observed. This is one of the mind-bending results of a thought experiment known asSchrödinger’s cat by Austrian physicist Erwin Schrödinger in trying to describe the way two different quantum states can co-exist, or be in “superposition” until observed in which instant the superposition collapses into one or another of possible definite states.
While I don’t suggest taking photographs of two strangers kissing on a park bench in Paris is the equivalent of conducting one’s own quantum physics experiment, it is true that the kiss would be changed or possibly not transpire at all if the photographer gently nudged into their embrace and asked if it would be okay to snap a shot of them.
Ultimately, as is the case I hope every time you press the button on a camera, use your judgement. Take only photos you would be proud to share and show the world, and that enhance or elevate your street photography subjects, or that expose a story or place that brings a higher level of awareness and sensitivity to a wider audience for a subject you actually care about and are trying to make a difference in. In the end, there are no strangers in photography. Under the gaze of your lens, everyone is a somebody if you accord each individual with the respect – and compassion – each and every one of us deserves.
Candid photography lies at the very heart of why people love photographs in the first place. By all means you should pursue it as an art, a hobby or a professional practice. I believe the best photos are the ones where the photographer has gained an implicit trust from his or her subjects. This is gained through the sheer force of personality, the proof of the work you have already undertaken, and the evidence you demonstrate of having integrity whenever and whereever you and your camera are.
If you enjoy photographing the sights you see and the moments you experience while travelling, you have probably done some research into what gear to bring along with you on your summer vacation. As airlines get increasingly cheap with the amount of space they allocate to “cattle class” economy seats – the ones most people use – each piece of additional gear means added weight, and size, to your bag. With space at a premium, how do you choose the optimal travel kit to ensure you get the full enjoyment of your hard-earned vacation and bring home your trophy images that let you relive the experience over and over again when you are back home?
Now if you are one of those people for whom a phone is going to be all you need, feel free to stop reading here. While the phone is often a great addition to the kit (and some new types of gear like the DJI Osmo+ Sports Kit, DJI Mavic Pro or the Ricoh Theta S require a phone interface), it doesn’t match up to any kind of pro lens. I know many would disagree, but the real photographers out there know exactly what I mean.
Whether you are a professional photographer or an enthusiastic beginner, or just someone for whom photography is a part of the travel experience, your first and most essential piece of kit has to be the primary camera you are most likely to use and carry around with you. For me it has to be the Fujifilm X100T. (You may prefer the newer version, The Fuji XT2 but since I haven’t used it yet I can’t recommend it though I suspect it is as good or better than the one I use).
This versatile and compact little beauty of a camera is my favourite travel camera. It hangs around your neck discreetly, looking as good in its case as out, and takes beautiful snapshots wherever you are. Great in low light, and with a few little tweaks you can make to adjust the shooting style to match your own, nothing compares to it in its price range. I would highly recommend it, or one of the similar cameras Fuji puts out for someone looking for a professional quality camera at a reasonable price that they can use in a wide range of settings. Whether you are visiting bars, taking family portraits or artfully composed images of the girl/boy you are trying hard to impress, in cathedrals, on beaches, traversing jungles or all of the above, this camera does the trick and if you only bring one piece of gear this should be it.
For a bit of extra weight it is worth considering a small GorillaPod tripod (useful for attaching camera to trees or rocks of you want to be in any of your own photos).
If you love drone photography (which once you’ve tried it is hard not to) than nothing beats the compact, travel-friendly DJI Mavic Pro. It is the smallest most portable professional drone on the market today and performs admirably in a wide variety of conditions. While I use it sparingly, I love being able to capture broad vistas, shorelines and other natural landscapes with its high definition 4k camera. Just the sheer thrill of flying it is worth bringing it onboard.
As I like to have options when I travel, I am willing to put up with the extra hassle of committing one bag of carry-on purely to camera equipment. Here’s what mine looks like for a two week tour of three European countries (the DJO Osmo+ kit not shown).
This is excessive I know but as I plan to attend a wedding in London, tour Hamburg and then spend a week touring around Portugal with my family and some friends I wanted to have the fullest possible range of options for shooting the many varied settings I will find myself in, both urban and rural. With this kit I can shoot handheld video, panoramic photos, time-lapse videos, aerial photography and videos, landscapes, portraits and family sized groups of people. I’ll be equipped for virtually any type of lighting, and can be guaranteed to bring home a set of images and video clips that will satisfy my appetite for complete coverage.
When traveling by air, remember to keep all your batteries (at 50% charge or less) inside your carry-on as you are not allowed to pack batteries in your checked luggage. Given the way most checked luggage gets treated I keep all my gear with me at all times. The Thinktank Airport International V2.0 (though pricey) has a truly solid, well-made bag that theoretically fits inside most carry-on spaces. On smaller regional jets (the ones you are most likely to find yourself on if you are flying between cities in North America), as the overhead bins are designed for fitting a child’s lunch pail and perhaps a rolled up newspaper, you will have trouble with this bag. However, I always manage to bring it in and get it under the seat in front of me, even though a portion does overlap into your seat mate’s leg room. With a little understanding and friendly banter this can usually be smoothed over.Do not, under any circumstances, allow the airline to gate-check your bag which is airline speak for handing over your precious cargo to unhappy workers who treat passenger luggage with the contempt and disdain of cruel prison wardens for prisoners. I suffered through one agonizing flight from Washington to Montreal watching my bag full of $20k worth of equipment be first picked up and tossed down the slide from the bridge to the ground, then get slammed onto a baggage rack, tottering on the edge, half falling off, as the cart was manhandled out of my site to the baggage loading area. Were it not for the sturdiness of the Thinktank Airport V2.0 construction I am sure my gear would have suffered. Nonetheless, I vowed to never let that happen again.
What to shoot?
Everyone has their own fun choosing what to focus on when travelling, so what follows is nothing more than a view into my own idiosyncratic way of interpreting my travels through my lens. Aside from the obligatory (and still treasured) shots of family and friends, I love shooting the kinds of things you see but quickly stop thinking about when travelling for a few days in a foreign country:
shots in the airport/train station on arrival/departure
book covers in stores
postcards / souvenirs
art and displays in museums
market stalls of produce
street posters for upcoming shows
bus, train or plane ticket stubs
the different kinds of foliage you find in gardens
doors, store fronts, building façades
products on display in grocery stores
and random, quick snapshots of parks, skylines, views and anything else that tells the story of the place you are in without worrying all that much about compositions, lighting or even focus sometimes (a blurry shot through a train window moving at high speed sometimes is exactly the right expression of that moment in time).
When I get back home I love looking through the images and putting together a mosaic of my time away.
I also love shooting a video (with my phone), of me speeding through all the images on my Fuji X100T to give a high speed tour of my travels. Stay tuned for June (coming soon)
My particular gear and shooting preferences aside, in the end, the best camera for travelling is the one you have with you at the time and the best things to shoot are what you see that strikes you as new, interesting, unusual or representative of the place/season/mood/experience you are in at the moment you experience it. Rather than make a production out of hauling out your big gear, use the simplest, most versatile camera you can reach readily when something – anything – twigs your curiosity. Whether that’s just your phone, or something as lightweight but also a full-fledged camera, having a camera in your hand when you see something that excites you matters more than having the absolute perfect camera and lens for the shot that’s packed away in your bag.When you travel, you are ultimately a visitor – a tourist. You can dress and act however you want to to fit in, but ultimately, your time is limited in your destination of choice so if you care about taking home visual souvenirs, do yourself a favour and keep your camera around your neck or in your pocket, with a spare, fully charged battery and a card with ample space to hold your images in RAW or the highest JPEG you can shoot in so that you have the option to do prints or make a photobook when you get home and don’t have to deal with the frustration of having a great shot in resolution too low to do anything with but post online,
If you notice what sounds like a swarm of bees flying overhead this summer, think twice before you reach for your Epipen and look up. It may well be a drone passing. I know as I am now a full convert to playing/filming/using drones in my work to enhance events I cover, and just for the sheer thrilling fun of having a flying camera.
As it’s summer time here in Montreal, and many people are on or about to go on vacation to visit one of the thousands of lakes Canada is so lucky to have, I’ve put together a little video on lake swimming (music credit: Patrick Watson, “Swimming Pools”).
I’ve just come back from a week in Iceland with a feeling of unfinished business and hundreds of photographs untaken, or that could have been taken better. It is a bit of a photographer’s curse to be so drawn to a landscape that it is hard to peel away from it and I never feel like I’ve really captured the image I was after. It is also what makes me love photography.
Taking photos while travelling is something that brings me far more pleasure than merely travelling without my camera. There are people that say that you are not in the moment, that your lens separates you from the experience and that you are never fully present because you are preoccupied with image taking. I couldn’t disagree more.
My camera (and it doesn’t matter what you are using – your phone, a small handheld or a full bag of gear), is a tool for connection, not the opposite. Because of it, I am always looking at things, taking in sights and paying attention to details I would not otherwise even notice. I am watching for light and how it changes and how it plays across the surface of a landscape. How the shadows of clouds slowly glide down a mountainside, like caresses. How the wind ruffles the mane of a horse grazing in a green field….
The bliss of travel is to experience a place as a newborn but with the mind of an adult so that you can appreciate all that you are taking in. You see, smell, taste, feel a new place in a way that is difficult to do when you are at home in familiar environments. Your senses become more acute.
Iceland is perhaps one of the best places I’ve experienced yet in my travels for awakening the senses. The sweep of the landscape will often force you to simply stop and stare. (It is so magnetic that one of the leading causes of road accidents in Iceland is people driving off the road, the drivers transfixed on some feature of the landscape they are driving through).
I would be wasting my breath trying to put into words the impression the countryside leaves on the observer. It is a landscape made for poetry. And, happily, photography. There was not another traveller we encountered who was not holding some form of camera in their hands at all times, and though this may bother some people I completely understood the sentiment being one of the worst offenders. I usually had two cameras around my neck, in addition to my phone, as well as periodic stops to fly my Phantom DJI4 over landscapes that were impossible to resist.
There is such an abundance of raw natural beauty wherever you look in Iceland that I can only feel regret for the few hours each night I had to close my eyes to sleep. Luckily, I was there during a period of complete, all-encompassing sunshine, so “night” was but an idea as there was never any darkness.A more perfect experience for a photographer I cannot imagine and I am only sorry I could not linger longer than the brief week I had to explore.
There are some places we travel to that leave us feeling opened up and reconfigured. As if the land itself leaves an emotional impression inside of you. Iceland is one of those places. And I know that I will return.
A word to the wise: bring a wide-angle lens and plan to stay as long as you possibly can.
Below is a link to my Iceland Highlights (with a video to follow):
Taking pictures on the beach is a great way to extend the pleasure of a vacation. Long after the waves have receded into the ocean and your week in the sun is a distant memory, photos and videos from your lazy days on the beach can cast a warm afterglow on the experience.
But it’s also a pain having anything electronic on the beach because of all the things that make a beach, well, a beach: salty air, salt water, intense heat, sand, sand, and more sand.
I can’t do much about the sand except to recommend keeping your gear (which includes your phone) in a ziplock bag before stuffing it into the sandy catch-all beach bag, but here are a few recommendations for making the experience less technically frustrating and for maximizing the images you take home along with the seashells you gather up from the shore:
1) Shoot early or late: depending on where you are in the world, there are optimal times to go to the beach, and unsurprisingly, these also present the best lighting opportunities for photos. Everyone has probably heard the term “the golden hour” that photographers love to gush on about. It’s actually a bit of a misnomer as it pertains to two distinct periods during the day – shortly after sunrise and shortly before sunset, and may not even last a full hour, but the idea is simply that these times are when the sun’s light is warmer, characterized by a golden, reddish tone which bathes people in a very flattering light. If you’re looking to get a great family portrait on the beach, grab a few glasses for the bubbly, gather up the kids and get to the beach about an hour before the sunset. Then position yourselves facing the sun, so the light is on your faces, and fire away (you’ll need a tripod-see #2)
2) Bring a tripod: there are myriad tripods on the market and I’m not going to recommend any specific brand, though I think the GorillaPod style (the original is by JOBY but there are now lots of copycat brands) is best suited for a beach as you can use the flexible grips to wrap around a piece of driftwood, or balance on your bag or even a bottle of water. The only disadvantage is height as the pod legs aren’t extendible nor very long. For that you can go for any number of travel tripods that are lightweight (no heavy SLRs here) but ideal for packing, carrying and using a lightweight camera or your phone beachside.
3) Watch out for overexposure: beaches are some of the brightest light saturated environments your camera will ever deal with. There is light bearing down on you from above, bouncing off the sands below and refracting off the water before you. Be careful when you set up your shot to expose for the faces in your image, and not have them turn into blackened silhouettes by letting the camera choose randomly.
4. Use a flash: given the excess of light on a beach you may wonder why I’d recommend using flash. If you want really great shots of people standing in front of a gorgeous sunset, a flash is the only way you can get it right. If you don’t either you’ll expose for the sunset behind them and their faces will be too dark, or you’ll expose for the faces and the sunset will disappear.Use a flash to highlight everyone in the shot and you’ll get the best of both worlds.
With these few tips you’re guaranteed to take better pictures on the beach, and come away with more than just tan lines.
I read an article this morning by Adam Karnacz in Vantage (on Medium), called Removing People with Long Exposure, in which he described the technique he uses to disappear people from photos at sites where it is impossible to otherwise get a clear shot. Places like St. Peters in Rome, Stonehenge or any major tourist attraction. It’s a simple trick which I also discovered myself recently while visiting Berlin. I was at the East Side Gallery, a 1.7 km long section of the Berlin Wall left standing and completely painted over by artists after the wall came down on November 9, 1989. I had wanted to visit it the first time I was in Berlin two years ago, but ran out of time. Even this visit was rushed, arriving by cab at the end of the day just as the sun was setting. In addition to the dim lighting, there was a metal fence up in front of a large portion of the east-facing wall, erected by the city of Berlin just that day for temporary cleaning of the site. But even at this later time of day there were crowds of people milling by, congregating around the most recognizable sections of the gallery.
I did not have a tripod, as I rarely travel with one since the time I almost missed a flight leaving the Canary Islands because my tripod needed to be checked by security. It is cumbersome to travel with one anyway, but I’ve found a makeshift one can be found by using what you find in your surroundings. A pole to lean the body of the camera on one side works well, or the top of a car or nearby mailbox. A garbage can will work in a pinch, depending on how recently it was emptied out.
I set my camera to shoot high dynamic range (HDR) (which means the camera takes three shots in succession at three different exposures, one under, one correct, and one over-exposure, then merges the three images into one). Shooting HDR requires very static subjects, otherwise the merged images don’t match up and you get strange, electric looking outlines. However, an unexpected advantage I discovered was that if you shoot HDR where something is moving in front of your static subject, i.e., people walking, you get a beautiful shot of your subject and the people either blur right out of the picture or add a surreal, ghostlike effect, showing the traces of humans but nothing recognizable. (See some of my photos of Berlin’s East Side Gallery here)
I thought the effect worked particularly well in some of the shots of got of the East Side Gallery.
As darkness fell, I switched over to using longer exposures, but this time pointed my lens to take in a bit of the road to capture oncoming traffic to create some random light paintings with headlights next to the wall imagery. I liked the effect in these shots as well.
And then there was this final image, which had nothing to do with the wall but was in one of the cars parked right in front of it that I was using as my makeshift tripod. Somehow seems to perfectly capture the quirky, captivating, energy that Berlin emanates and is maybe one of my favourite photos I’ve ever taken.
As a Montrealer, I am always grateful for any chance I get to walk around in March wearing shorts, so when a friend offered to give me and my family a tour of the old Tampa Theatre, I accepted immediately without thinking. I knew nothing of the theatre’s history or what to expect when I walked inside, which made the experience all the more exciting. To call it a “gem” aside from being a clichéd worn out description, really doesn’t do it justice. It feels to me like a time machine that transports you almost immediately into another era, before people had a million different ways to connect online and consume entertainment, wherever and however they want to.
The Tampa Theatre was designed in 1926 by architect John Eberson. He was one of the leading architects of his day known for the “atmospheric” style of design. A kind of all-embracing style that immerses you in an architectural experience with attention paid to every detail, all attuned to providing a singular experience of place that effectively absorbs you into itself so that you forget almost immediately the world you leave behind upon crossing its threshold. The tiled floors, stucco walls, carved and painted columns all conspire in the effect, culminated by an incredibly realistic “night sky” ceiling.
Theatres like the Tampa Theatre were cropping up all over America through the 20s and 30s and were the places where people gathered to watch the first motion pictures, newsreels and experience opulence at every day prices. They were roaringly popular well into the 60s when attendance began declining as families began moving to the suburbs and watching television instead of going out to the theatre. Sadly many theatres like this one were demolished to free up the value of the land on which they stood. The Tampa Theatre itself only narrowly avoided the wrecking ball by a motion passed to preserved with a majority of one vote. (They are still in need of donations to maintain and develop the theatre so if you fall in love with the space as I did you can donate here)
It was a pleasure to walk through the space and we were lucky to have a personal guide leading us through and sharing the stories and history of the spaces we passed through. As a photographer I was unable to get more than a few feet without snapping shots of the décor and I couldn’t stop myself from thinking what an amazing venue the space would make for hosting an event. But words won’t do the space justice so take a look at some of my shots from today and if you are in or plan to travel to Tampa, make time to visit the Tampa Theatre. The tour takes less than an hour and is well worth the time.
If you are like me you get feedback requests from nearly every online service you use. I get texts from my cell phone company asking me to fill in surveys after every call I make to them, emails from news sites I subscribe to asking for my opinion, and then there are all those annoying little slidey-up, pop-up windows that appear when you’ve visited a site asking for your opinion. Not to mention apps that periodically request a review – even ones you’ve already paid for. I get it – businesses large and small (especially small) often thrive on positive reviews and sink on negative ones. Word of mouth marketing can be the Midas Touch or the Kiss of Death, depending on how well you perform as a business in satisfying your customer needs. For an independent freelance photographer, providing superior client service is just table stakes. Nonetheless, I’ve always believed that if a client is really happy with your work, they will make the time to say so. If you’ve really done a great job, telling their friends and network about you will reflect well on them as you can then provide the same great service to their social circles. Everybody wins.
But I respect my clients and people’s time above everything and since I find requests for feedback increasingly annoying, I assume others do as well.
Which is my round-about way of saying, that I’ve created a separate page on a the pretty popular recommendations service, Yelp, where reviews from my past, present and perhaps future clients are welcome. Good or not, your honest, real feelings and thoughts on the work I’ve done for and with you are welcome and if you feel so inclined, and have the time, please stop by and let me – and the world – know what you think.
I recently visited Berlin for the first time and immediately fell in love with the city, now my second favourite place in Europe after Barcelona. I was attending a trade show (ITB, the world’s largest travel and trade show) but managed to get a few days around the busy show to wander around a little bit of Berlin and take a few snapshots I’m happy to share here (click on the image below to visit my gallery):
Three weeks ago I was going through my photo portfolio and slowly working my way through years of events, portraits and weddings preparing for a new Facebook photo page I’ll be populating with albums over the next few months. It is the kind of herculean task easily avoided and often set aside. It is particularly uninspiring on sullen hot days working out of my small home office. It was in just these circumstances that I received an email from a friend of mine whose family owns an historic ancestral 600 year old estate in Betancuria, a small village of no more than 200 inhabitants (several more goats) on the island of Fuerteventura, in the Canary Islands. She needed to hire a photographer to shoot the rooms in her hotel (www.princessarminda.com) and her restaurant and then tour the island to photograph its mountains, beaches, caves and other highlights, and would I be interested?
Completely unexpected, completely unprepared, I thought about it for five seconds and said yes. I’d never been the the Canary Islands and quickly decided that reorganizing my photographic portfolio well, it could wait another few weeks.A few days later I was flying to Frankfurt, then on to Fuerteventura where I arrived on a windy, cool evening at 9:30 pm. My friend pick me up at the airport and we drove through winding dark roads, flanked by cacti and not much else, wending our way into the tiny little town of La Vega where we met up with her father and two wonderful Estonian emigrés who were working at the hotel with them. I had a cool beer in my hand a minute later and really couldn’t believe that four days earlier I had no idea where I’d be in this moment.
There is something absolutely liberating and exhilarating doing something entirely out of the ordinary, totally unplanned and with no set expectation for what will happen. I knew I was there to photograph the hotel rooms and restaurant and islands sights, but when and according to what schedule was wide open. I had eight days to spend however I wished, visiting a picturesque island I’d never seen before with nothing to carry but my camera. No wallet, no keys, no maps, no phone, no direction but towards the best lighting. In such a disconnected journey it is easy to forget time. I noticed as well that the low-level uneasiness and minor stresses that easily fit themeslves into my normal life just melted away, like a wave smoothing out the sand on its return to the sea.
In the landscape of Fuerteventure with its austere hills, tall cacti and aloe vera spears there is none of the clutter you see in most urban lives and within days, my mind took on the same expansive emptiness and openness. At night the wind blows and it is cool while during the day the sun burns down with intense heat through mainly cloudless blue skies. In this timeless space, I found myself wandering from one view to the next, with no hurry, a hiker/photographer’s dream. I lived on fresh goat cheese produced just up the street from the Princess Arminda, slices of chorizo or jamon serrano (dried paper thin slices of ham), papas arrugadas (salted, dried whole potatoes usually served with a spicy garlic sauce), fresh figs I plucked myself from the tree, goat stews, cold draft beer and not much else. Such a vacation seems the perfect antidote for the stress of a modern life, and I was lucky to have it given to me.
There are a few photos of the island now posted on the Facebook page Julian Haber Photography that I’d like to share from the experience. For those interested in visiting the hotel, you can contact Juan, the owner here.