Geotagging your travels: why you should, and how to do it

by Dana Murph on

Even casual travelers know the wonders of GPS. It’s hard to imagine how we functioned on the road just a few years back without a satnav at our disposal, and now that our smartphones are also well equipped to guide us from point A to point Z (and everywhere in between), having a true sense of direction isn’t quite as necessary as it once was. But GPS satellites are useful for quite a bit more than just routing us. In the photography world, geotagging is becoming an increasingly attractive way to effectively track ones travels in a unique, refreshing visual fashion.

If you aren’t familiar with the term, geotagging refers to embedded GPS data on each image, which can then be read by various photo applications and mapping software. When you take a photo using any existing DSLR, a great deal of “metadata” is embedded onto each image; this data enables individuals to see what aperture, shutter speed, white balance setting and focal length (among other things) were used when a particular shot was composed. These pieces of information are remarkably useful when comparing shots after the fact, and geotagging adds one more vital bit of data to the mix: coordinates. Read on to find out how you can start adding GPS data to your images, and why you should make the effort to do so.

%Gallery-115291%The easiest way to make this happen is to buy a camera with a GPS or Hybrid GPS module built-in. A number of newly introduced compact models include this. Fujifilm’s FinePix XP30 has inbuilt geotagging support (not to mention a rugged, waterproof casing), and Casio’s Exilim EX-H20G is a non-rugged alternative with integrated geotagging. It’s an easy feature to find — either a camera has it built-in or it doesn’t, and manufacturers will generally go out of their way to ensure you know if a particular model does.

If you aren’t in the market for a new point-and-shoot, existing DSLR owners can upgrade their camera to support geotagging. Nikon makes a module of their own that fits certain models (GP-1), and if your camera doesn’t have a first-party add-on, Gisteq offers a (mostly) universal solution that connects via Bluetooth (PhotoTrackr Plus and PhotoTrackr Mini).

Once your camera is equipped to embed geotagging data, all you need is a program that’ll read that data. Apple’s iPhoto (displayed throughout this post) is a great example; any image that you load into iPhoto can be sorted by ‘Places.’ If you have an Internet connection, you’ll see pins populate the map (as shown here) in order to represent all of the locales where photos were taken. Google’s Picasa is another solid option, as is the popular Flickr.

What you’re left with is an incredibly visual way to look at a trip you recently took, all by way of photographs. In a way, these specific location points tell a story in an of themselves. Rather than simply telling friends and family that a certain group of photos were taken in Montana (for example), geotagging allows them to see exactly what routes you took on a road trip and precisely which trails you skied at Whitefish Mountain Resort. If you took multiple images at a certain place, you can easily sort those by selecting a single pin. The images throughout this article show (most) of the photos I took on my Casio Exilim EX-H20G while in northwestern Montana, including a number of shots while on Big Mountain itself.

On a grander scale, geotagging all of your images for the foreseeable future would enable you to create a lifetime travel map that visually shows where you’ve been in the world. It’s certainly a lot easier than trying to remember every off-the-wall stop you made, and it’s most definitely more satisfying than some Bucket List you’ve generated in Microsoft Word. On a smaller scale, sending your child off to camp with a geotagging camera would allow you to see where all the counselors shuttled your young one around — after all, kids have a thing for not keeping a very detailed journal, and this would make their job of explaining what all they did a lot easier.

Interested in getting started with geotagging? Listed below are a few recommended GPS-enabled cameras, geotagging add-on dongles and photo applications that work well with geotagged images.

GPS-enabled point-and-shoot cameras:

Geotagging add-on dongles:

Geotagging applications:

Photo of the day – arty rooster graffiti in Portugal

by Meg Nesterov on


Many of us have a certain “thing” we like to photograph when traveling. For some, it’s food. For Gadling blogger Mike Barish, it’s amusing signs, as well as himself with various SkyMall products. Personally, I like graffiti, like today’s photo from Portugal taken by Flickr user Rita Moreno. The graffiti is practically arty in it’s framing, colors, and even the tears in the paint seem thoughtful and eye-catching.

What do you like to photograph on your travels? Send your best shots to our Gadling group on Flickr and we might just pick one of yours as our Photo of the Day.

Travel Photo Tips: What is metering, and how does it affect my pictures?

by Dana Murph on

Up until now, we’ve covered three of the more basic, essential aspects of understanding the minutiae that goes into composing a photograph. While traveling, it’s easy to run into vastly different scenes from hour to hour, making it all the more important to understand how and why your camera reacts the way it does. The goal here is to get you more comfortable with manually controlling your camera so you can accurately capture whatever it is you’ve traveled to see, and while it’s not nearly as simple to grasp as ISO, aperture or shutter speed, getting a basic understanding of metering is essential to understanding how exposure works.

When you think about exposure in general, you think about how brightly lit or how dark an image is. We’ve all seen the wedding rehearsal pictures that were so underexposed that everyone looks like a silhouette, and we’ve all seen the sunrise shot from the beach where everything looks white — a telltale sign of overexposure. In this guide, we’ll provide you with the knowledge you need to know in order to grasp metering and how it affects the exposure (darkness / brightness) of your travel shots. And we’ll also refrain from drowning you in technical knowledge that you have no time to ingest. Read on to get one step closer to mastering metering.Metering is a broad topic. Discussions could go on for hours if you wanted to dig into the technical aspects, but for the purposes of this article, we’ll simply be focusing on the three main metering modes available on most modern DSLRs. On your camera, you’ll probably have a small selector dial with three options on it; a single, tiny spot, a larger spot with a thin band around it, and an even larger spot with a full border around it. This will obviously vary from camera to camera, so consult your owner’s guide if you’re having trouble figuring out where you metering toggle switch is. Below, we’ll discuss the three primary modes and give you examples of when you should (or shouldn’t) use each one.

Be aware that these only automatically adjust when using the camera in a mode other than ‘Manual.’ If shooting in manual mode, you’ll have full control over the metering prior to shooting each shot, so you’ll need to make adjustments based on what your camera says; in other modes, the camera will determine the metering for you based on which of the below selections you have made.

Spot Metering. This is that tiny circle we referred to above. If you select this, your camera will only focus on a very small portion of a shot, which you can direct in your viewfinder. The camera will then adjust exposure for only that, and ignore the surroundings entirely. If choosing a spot that isn’t an obvious focal point, you’ll need to manually focus. When is this useful / not useful?

  • Use spot metering if your subject is brightly backlit, and you have no real concern for the background being “blown out,” or appearing white, so long as your subject is exposed properly.
  • In macro shots, spot metering can be useful to get the exact exposure on the objects in the center of the frame.
  • If you’re attempting to photograph the moon, spot metering accurately disregards the expanse of black around the moon itself.
  • If you have a landscape shot with lots of shadows, you can adjust the spot so the camera exposes for a non-shadow.
  • Don’t use spot metering if you have any concern at all about the entire image being exposed properly.

Needless to say, spot metering is a niche option. It’s only useful in a handful of situations, so it shouldn’t be your go-to selection. Moving on, there’s a Center Weighted Average Metering option. Think of this as the “splitting the difference” option. In a nutshell, this will average the exposure of the entire frame, but give extra consideration to the center area of the image. When is this useful / not useful?

  • For portraits — maybe a couple on a beach, or a family at dinner — this option works well.
  • If your subject is brightly lit, but you do care about the background (a cityscape behind them, for example), give this option a whirl.
  • If you find that your Matrix metering option isn’t providing accurate suggestions or giving you enough control over what is focused on, this weighted option might be the ticket.


Matrix Metering takes the entire image into consideration and exposes accordingly.

The final major mode found on the bulk of DSLRs is Matrix Mode. This is both the most complicated to explain and (in general) the most useful. Each camera handles it differently, but the idea is that multiple zones are evaluated, and then all of them are weighted together and evaluated as a whole using algorithms that you probably have no desire to understand. Just trust us: these algorithms are usually very small, and oftentimes provide the best direction for exposing shots where the entire frame is important to consider. When is this useful / not useful?

  • The rule of thumb is to always use Matrix mode unless you can think of a specific reason why you’d need Center Weighted Average or Spot Metering modes.
  • Even if you think Spot or Center Weighted modes would be useful, we’d recommend shooting first in Matrix. Today’s DSLRs are surprisingly good at judging exposure based on calculated matrixes.

Keep in mind that this is just a basic explanation of metering to get you started. In future articles, we will cover tips on how to use changes in metering for creative effects in scenarios related to travel. For example, selecting the best metering mode for snowy vacations, or for capturing macro shots of foods or signs that’ll remind you of your journeys. Hopefully with the pointers listed here and in our previous articles on ISO, aperture and shutter speed, you’ll be four steps closer to understanding your camera’s ‘Manual’ mode.

Let’s recap:

  • Metering is important because it determines the exposure of your shot, or how brightly / dimly lit it will be.
  • Use Matrix Mode on your DSLR unless you have a very specific shot or reason to use another option.
  • Spot Metering is useful only in niche circumstances, such as brightly backlit sporting events, shooting the moon or certain macro shots.
  • Center Weighted Average Metering is best reserved for portraits.
  • Even when metering, you can (likely) adjust your exposure up to two full stops in either direction; since Matrix is the least predictable, be willing to tweak things a little brighter or darker depending on preference.
  • If you’re overly concerned about metering, but have little time to adjust things on the fly, shoot in RAW — metering can largely be adjusted after the fact with no real deterioration of quality if you do so. With JPEG, you will notice a decrease in quality when dramatically changing the exposure in post-processing.

Stay tuned for more tips on understanding metering, white balance and more! Our basic guide to understanding ISO, aperture and shutter speed can be seen here.

Travel Photo Tips: What is aperture, and how does it affect my pictures?

by Dana Murph on

You’ve schooled yourself on ISO, and you’re starting to get a handle on shutter speed. Next stop? Aperture. This particular setting is exceedingly important when trying to wrap your head around the basics of manually controlling a camera, but it’s also one of the more confusing. For starters, not every camera and lens can achieve the same f/stops (in case you couldn’t guess, aperture levels are measured as f/[number]), and similar to shutter speed, changing the f/stop does more than just one thing.

Tweaking the aperture can change the outcome of your photo in a drastic way. But before you go cranking that number beside the “f” on your camera screen, let’s break down the basics on what aperture is, what it affects and why you should care. Read on for a few pointers that every shooter should know.Have you ever noticed those black blades within your lenses? In optics, an aperture is simply the hole through which light travels. As you can imagine, changing the size of that hole can make a huge difference in the look and feel of your photographs. There’s an exhaustive definition of the topic over at Wikipedia if you’re interested, but we’re assuming you stopped here because you’re just looking for the long and short of it. Here are a few general rules to understanding aperture:

  • The lower the f/stop, the more light is allowed in.
  • Exceptionally low f/stops (f/1.2 through f/2, for example) are only found on a handful of lenses, primarily professional DSLR lenses.
  • Most point-and-shoot cameras only stop as low as f/3.5 (at best), limiting the amount of light you can fetch when shooting in dimly lit scenarios.
  • You’ll pay dearly for exceptionally low f/stops. A Nikkor 50mm f/1.8 can be found for ~$100; the same lens with an f/1.4 rating (just one step lower) is three times more expensive at ~$300.
  • Lower f/stops narrow your depth of field; a shot at f/2 will have a very tight focal point, with a tremendously blurred background, whereas a shot at f/14 (as an example) will focus on the foreground and background with essentially no ‘bokeh‘ to speak of.

Now that you’ve got a grip on that, we’re going to break down the most common uses of aperture when it comes time to compose a shot.

  • A lowered f/stop can be artisically chosen if you want to focus in tight on a foreground subject while introducing a silky, beautiful blur (that’s the ‘bokeh’ we mentioned above) around the subject. This is great for focusing on a person with a less-than-exciting backdrop.
  • A higher f/stop is useful for capturing vast groups, where you want the persons on the edges to be just as sharp and in-focus as the person in the center of the image.
  • A lower f/stop is very useful for letting more light enter an image during dimly lit or dark situations; this prevents you from having to boost your ISO (and thus, inject noise and grain) or dramatically slow your shutter speed (and thus, potentially introduce unwanted blur from hand-shake).

Let’s look at an example of how lowering your f/stop can be beneficial at night and in situations where you want oodles of bokeh surrounding the subject. The image below shows an identical shot at f/1.4 and at f/8, both taken in a dimly lit room with very little ambient light around. Lowering the f/stop allows a tremendous amount of light to flood in, in turn giving us a useful image without resorting to firing a flash. The moral of this story? Lower your f/stop when you’re in dimly lit areas — your images will thank you!


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Now, let’s look at an example of injecting bokeh into a shot. These two pictures were taken with a f/1.4 (left) and f/16 (right) aperture. You’ll notice the shot on the left has a soft, silky, progressive blur surrounding the focal point. This highlights the subject and simultaneously hides the ho hum background. The f/16 shot has most of the background in focus, effectively destroying your ability to focus only on the foreground subject and disregard the lackluster backdrop. On the flipside, your backdrop is in focus, so if that is your goal for a shot, now you know how to accomplish it. The moral of this story? Lower your f/stop if you want to introduce bokeh, bring out the foreground subject and blur the background; raising the f/stop will help you to focus on a larger image, such as capturing an entire soccer team.


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Our suggestion now is to give it a try! If you have a camera where you can adjust the aperture manually, try placing your camera in Aperture Priority (the “A” mode on the dial) and stopping it completely down as low as it’ll go. This will vary based on the lens, but toggle the f/stop and lower it to the smallest number allowed by whatever lens you are using. Focus close on a foreground object, and snap the shot. Check out that bokeh! If you’re having a hard time getting the bokeh effect, try holding an object out in your hand and focusing; that’s an easy way to get the background to blur nicely. Now, try that same shot with an aperture of f/8 or greater in order to see how wide your focal range becomes.

Keep in mind that this is just a basic explanation of aperture to get you started. In future articles, we will cover tips on how to use changes in aperture for creative effects in scenarios related to travel. For example, using the aperture to help you focus on your kids while blurring crowds behind them, ensure that your entire background is in focus in self-portraits, and more. Hopefully with the pointers listed here and in our previous articles on ISO and shutter speed, you’ll be three steps closer to understanding your camera’s ‘Manual’ mode.

Let’s recap:

  • The lower you set your f/stop, the more light you’ll have access to. This allows you to rely less on a boosted ISO and a sluggish shutter speed to still get a usable image in low-light situations.
  • If you need to focus on a large group of people, or you want the ocean behind you to be sharp, use a higher f/stop.
  • If you want to introduce artistic blur (or ‘bokeh‘) into your images, use a lower f/stop.

Stay tuned for more tips on understanding metering, white balance and more! Our basic guide to understanding ISO and shutter speed can be seen here.

Travel Photo Tips: What is shutter speed, and how does it affect my pictures?

by Dana Murph on

Now that you’ve got a grip on ISO, it’s time to talk about shutter speed as it relates to light. What is it, and how can it be tweaked to better the photographs that you’ll take on the run? A great question, and we’re glad you asked. Simply put, shutter speed refers to the length of time that the shutter stays open while snapping a photograph. In general, the longer a shutter remains open, the more light is allowed in. And the more light that is allowed in, the brighter a picture becomes.

There’s a fine line that is walked with shutter speed. If you don’t leave the shutter open long enough, your images will turn out too dark to be useful. Having a shot that’s too dark can spoil an otherwise great vacation memory, and it’s nearly impossible to brighten an overly dark photograph using Photoshop (or a similar editing application) without adding a lot of noise and grain. On the flip side, leaving the shutter open too long can result in a couple of negative outcomes.

We’ll discuss these and walk you through an example after the break, so grab your advanced point-and-shoot, interchangeable lens camera or DSLR and read on get a better feel of how changing the shutter speed can change the outcome of your snapshots.As usual, we’ll try not to dive too deep into aspects that you don’t really need to understand. But there are a few basic things you’ll need to know about shutter speed in order to make quick adjustments as you’re shooting different scenes — assuming you’re not shooting on automatic mode, of course. Your travels won’t always put you in an optimal place for taking shots, leaving you with limited options to control the amount of light that floods into each shot. Adjusting shutter speed is one of the quicker ways to do just that.

Shutter speed is referred to in terms of seconds, or fractions thereof. For example, you may see a “400” on the data monitor of your camera. This means that you’re set to shoot at 1/400 of a second. This is just a small fraction of a second, which means that the shutter will open and close extremely quickly. If you see an “8,” that means you’re set to shoot at 1/8 of a second. In the image below, the “30” signifies that this camera is currently set to shoot at 1/30 of a second.

Here are a few general rules to keep in mind while adjusting shutter speed. These won’t apply in every single scenario, but these are good guidelines to keep ingrained in your mind when you’re trying to figure out shutter speed extremes on the fly.

  • If you’re shooting a still subject handheld (without a tripod), it’s generally tough to hold the camera still enough to eliminate blur from a shot at a shutter speed slower than around 1/80 of a second. Sometimes you can get as slow as 1/25 of a second while holding it still, but that’s more the exception than the rule.
  • If your subject is moving at all, and you’re forced to hand-hold the camera, I’d recommend shooting at 1/160 of a second or faster to ensure little-to-no blur is introduced. If you find that 1/160 of a second still isn’t quick enough, a bump to 1/200 or 1/250 of a second should suffice.

Of course, both of these points are assuming you do not want blur in your shots. There are certain scenarios where some amount of blur is desired, such as capturing the beauty in flowing water in a babbling brook. But in those cases, you can start at around 1/100 of a second and move slower. Here’s an important point, though: when you desire a certain amount of blur in a shot, you’ll almost certainly need a tripod. Why? Because you only want a certain portion of the photograph to be blurred (the water, in the previous example), but you wouldn’t want the rocks and surrounding plants to also be blurred.

Let’s look at one simple example to give you a better grasp on how adjusting shutter speed makes a difference in your photographs. You’ll need a camera with a manual mode; most point-and-shoot cameras do not allow users to adjust shutter speed, but a few of the more advanced models will. Essentially all interchangeable lens, Micro Four Thirds and DSLR cameras will, however.

Similar to our ISO example, we’ll have you head to a room inside your home. Find a subject — a phone, a coffee mug, any kind of still object — and place it on a table or on a bed. We’ll be shooting this with various shutter speeds. There are a lot of other variables to consider, of course, but this simple example will show you how shutter speed itself directly impacts the outcome. Let’s start with a shutter speed of 1/500 of a second, and disable your flash for the duration of the example. Fix your ISO on 1600 (since you’re indoors in a low-light scenario) and your f/stop number as low as it will go (f/2.8 or f/3.5 if possible). Focus on the subject and shoot. What’s the outcome? Probably a dark shot, but if you can make out any of the subject, you’ll notice that it’s impeccably sharp.

Now, adjust that to 1/250 and shoot again. What’s the outcome? Probably a slightly brighter photograph, and one that’s still sharp. You should get the impression that you’re moving in the right direction. Now, adjust to 1/160 of a second and shoot again. Your image should be even brighter, and if you have a steady hand, still sharp and blur-free. Now, the fun part. Adjust to 1/50 of a second and re-shoot. You probably noticed just how slow the click was. But how about the outcome? It’s probably a very bright image, maybe even too bright, but it will almost definitely have some level of blur to it. Let’s try one last stop: lower the shutter speed to 1/5 of a second and re-shoot. It’s practically impossible to hand-hold this shot and not introduce blur. You’ll probably be happy with how bright the image is, but the amount of blur will likely make the image less than ideal. Below is a brief gallery guide of how changing the shutter speed alone can allow more light in, but also make it easier for handheld shake to introduce blur.

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In a nutshell, you’ve just learned how shutter speed alone can adjust your shot. If you need to let more light in, slowing the shutter solves your problem, to an extent. If you slow it too much, you’ll lose the ability to compose a blur-free image. If you speed it up too much, the image will become too dark. Like we said at the start, it’s a fine line you’ll have to walk. If you try a similar experiment outside, in broad daylight, you’ll notice that you need a much, much faster shutter speed to compose a usable image. If you keep that 1/8 of a second while shooting outdoors, you’ll probably get the polar opposite of a completely dark photograph: a completely white photograph. The solution? Speed that shutter up dramatically –1/500 of a second or faster — and see how it changes things for the better.

Keep in mind that this is just a basic explanation of shutter speed to get you started. In future articles, we will cover tips on how to use changes in shutter speed for creative effects in scenarios related to travel. For example, using the shutter speed to help you best capture a flowing waterfall, compose an exploding firework shot, controlling blur, etc. Hopefully with the pointers listed here and in our previous article on ISO, you’ll be two steps closer to understanding your camera’s ‘Manual’ mode.

Let’s recap:

  • Adjusting shutter speed is one of the quickest ways to add more light or restrict light to a photograph
  • Indoors, or in low-light situations, you’ll need to slow the shutter speed dramatically if you don’t have a flash to use, or would rather not use the flash
  • In general, it’s difficult to not introduce blur into a shot while shooting handheld with shutter speeds 1/80 of a second or slower (or 1/160 of a second if your subject is moving)
  • Outdoors, you’ll need very quick shutter speeds (1/500 of a second or faster) in order to avoid having a completely white image, or an image that’s overly bright
  • Having a tripod or a lens with vibration resistance can enable you to have a slower-than-average shutter speed, yet still avoid blur

Stay tuned for more tips on understanding metering, f/stop, white balance and more! Our basic guide to understanding ISO can be seen here.