Travel journalist Lien Verwimp describes how photography inspires a more mindful attitude when visiting new destinations
The lived experience of any journey is unique to the individual. If you sent 100 people on the same trip and asked them to keep a journal, while there would be broad similarities, you would read 100 vastly different accounts flavoured by each person’s temperament, likes and dislikes.
The same is true of travel photography. An individual’s aesthetic preferences, tonal choices, unique philosophy of what deserves to be photographed – these all drastically affect how a place is rendered.
Lien Verwimp is fascinated by how people respond differently to the same location – in fact, she has made a business out of observing this behaviour. “I’ve now been a travel journalist for four years,” she begins. “And I launched my own travel website, Daymaker, two years ago – a social travel platform where people share trips with each other. Based on your profile, we match you to itineraries that link with your specific interests.
“I got into photography quite spontaneously,” she remarks. “I went on a backpacking trip in Australia and Southeast Asia and took lots of pictures with my phone – nothing big. But I discovered I could interest people not only with my stories, but also by putting images to them. People started to respond to my pictures, making them dream of going away a bit more. I love that.
“After doing it like that for some time, I found I could photograph local emotions and vibes much better with a digital camera system. I bought my first one – and it made my travels more intense.”
Why use a mirrorless camera for travel photography?
Taking a more intentional approach to her photography resulted in Lien gaining a more purposeful travelling experience. “I saw beauty in new things,” she enthuses. “I stood still at places I wouldn’t normally, I woke up earlier to sketch sceneries at sunrise.
“What I love about the process is that it was natural; it started from my eye rather than any kind of technical knowledge. I discovered a lot from other people’s photography and by experimenting, but I never did a course or anything. I’m always learning by myself.
“That’s the main message. When it starts from your own eye, it has your specific style in it.”
Transitioning from the fairly limited medium of a phone camera to a high-resolution mirrorless model, complete with a choice of high-quality lenses, Lien noticed an immediate step up in her photographic capabilities.
“Just the options it gives – I could focus more on what was happening in specific situations and make choices about how I would frame it. Sometimes, it’s not the main image that matters, but the expression of a person within the image, so you need to zoom a bit more. For me, it’s a better way to get the feeling of the destination.
“The latest Fujifilm cameras are so easy to use. Anyone can become a photographer; you don’t need to have all this technical knowledge before you can start experimenting, although it still takes some time to get comfortable with the process. But that adjustment period is getting shorter and shorter with each one of these new cameras.
“I love the Film Simulations. For travel, it’s great to experiment on day one and two and see what colours are popping nicely. When I went to Sicily, specific colours were prominent all over the islands. It’s nice to find a profile that complements that, then you’ll have this look for the whole trip.
“The main camera I’m using is the FUJIFILM X-T30 II. And I complement it now with the FUJIFILM X100VI. I use two lenses with the X-T30 II – mainly the FUJINON XF18-55mmF2.8-4 R LM OIS and XF70-300mmF4-5.6 R LM OIS WR.
“I have my main lens for consistency in the pictures. Then I can add the longer lens, if we’re in a place where I see an animal or a fisherman or some distant detail. When you have those next to each other – context and detail – that’s what I love. That gives a mental image of the place to a person that sees those pictures.”
Going with the flow
It’s clear to see from Lien’s images that she is guided by natural light – though she tries not to let herself be limited by it.
“Weather is important, of course, but you can create great stuff without good weather. A lack of natural light triggers a chance to learn more about indoor photography.
“This is something I still want to work on more. But when it’s bad weather, I also do more black & white photography – then it’s a mood for me to work with.” When one door closes, another opens, suggests Lien. “It’s an opportunity to get a bit more creative. I like that.”
Another of Lien’s favourite options, when poor conditions have blown the primary plan, is to simply take a moment and watch the world go by.
“I love being in a place where there’s a lot happening. You sit down with a coffee and take time to photograph specific situations and let life happen. As much as scenery can make a nice travel image, the expression of a local person says so much.
“My husband said, ‘Great photos from Tokyo, but can you also show some classic tourist sites?’ For me, though, that’s not what photographing a city should be. It’s about local people, specific streets. That’s a more interesting way to transfer the feeling of a place.”
Some travel photographers make great efforts to showcase destinations while including as few people in their images as possible. But Lien isn’t interested in sanitising the places she visits.
“Some people will say, ‘Oh, that’s not for me.’ Well, great, because not everything is for everyone. When I’m on holiday, I know upfront that there will be types of people who like the pictures or the destination, but it won’t attract others – which is perfectly normal.”
A point of connection
Fundamentally, engaging in travel photography is a grounding experience for Lien.
“I allow myself to spend more time in specific places, to make sure I can enjoy it properly. It’s first about observing – not being too hectic and not immediately photographing everything I see. But to observe it and see what’s going on and see what the emotion is.
“This isn’t necessarily emotion from people, but emotion from the place, so taking time is a big difference for me and my planning. I’m setting my alarm clock earlier, and when I start the day, I’m taking time to go for a stroll.
“Photography is also a way to connect with local people. I often go and talk to them, ask if I can photograph them doing what they are doing. And then you get a new sense of the local life.”
With more time and focus, Lien searches for the underlying energy of each location.
“In the final result, a good photo is when something is happening in the picture – even in stillness, you can see something is happening. It’s a feeling of momentum.
“You see these photos where there’s so much happening – when you see it, you need to stop and stare. That helps to transport you to that place for a moment. That’s what I really like.”
