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travel
destinations
africaandindianocean
morocco
4838855
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# Morocco: A picture perfect getaway
## Do you seriously want to improve your travel photography? Then book a
course in the field with an expert, as Nigel Tisdall did in Morocco with Steve
Davey.
![Photographer in Morocco - A picture perfect getaway in Morocco][1]
Image 1 of 2
Picture this: one of the group seeks a new vantage point for their photography
in Morocco Photo: NIGEL TISDALL
![The professional photographer Steve Davey's take on Ait Banhaddou - A
picture perfect getaway in Morocco][2]
Image 1 of 2
The professional photographer Steve Davey's take on Ait Banhaddou Photo: Steve
Davey/ stevedavey.com
By Nigel Tisdall 11:00AM GMT 27 Feb 2009
[Comments][3]
Dusk is falling in the most famous square in North Africa. Kohl-eyed girls are
lining up glasses of mint tea, burly men are dishing out freshly cooked
sheeps' heads, the snakes are looking charming. Everyone is set for another
magical night in the Marrakesh merry-go-round that is Djemaa el Fna.
Except me. I'm here on a holiday to learn about travel photography, and our
tutor has just given us 15 minutes to "get a few interesting images" before we
gather at a roof terrace cafe to try some classic, sunset-over-the-medina
shots. While our group of eight is not at all competitive, I'm feeling
anxious. Djemaa el Fna may well have been photographed to death, but it's
still a wonderful sight - and if you can't get a cracking shot here, well…
I hook up with a fellow student, Max, and we agree that the toughest subject
for a travel photographer is people. Forcing ourselves to tackle this, we home
in on a glaringly-lit row of stallholders selling steaming bowls of snails.
There's one in a white lab coat who looks like an extra from the film _Borat_,
and I ask permission to take some shots. "Un euro" he demands, but we pass on
an offer to taste the snails.
For a few intense minutes Max and I are lost in a paparazzi-style photo blitz
that feels promising. Only later do I discover that my camera settings have
gone wildly wrong. Somehow I've locked the metering to spot and spun the white
balance to preset, whatever that does. In my moment of glory, I've totally
messed up.
Such is the pain and joy of digital photography. The advent of multimillion-
pixel cameras is clearly a great revolution, allowing travellers to freeze
that bungee jump, capture the atmosphere of a candlelit church in Guatemala
and zoom in to record the glint in a gorilla's eye. At the same time these hi-
tech beasts seem too clever for their own good, and come with baffling manuals
and a sub-plot of computer-based post-production that soon provokes nostalgic
sighs for the simpler days when we just went off on our hols, happily snapped
away, then dropped the film into the chemist.
## Related Articles
* [Learning photography in Morocco][4]
27 Feb 2009
* [The Big Picture travel photography competition][5]
26 Feb 2009
* [More ideas for holidays in Africa][6]
26 Feb 2009
The greatest advantage of digital cameras, of course, is that you can click
and tweak and play about as much as you like at no extra cost, and with
instantly viewable results. In the blink of an electronic shutter, we have all
become photography students - and as the tremendous response to the
competitions held in _Telegraph Travel _(see [The Big Picture][5]) has
demonstrated, many of us are now returning from our travels with a wealth of
strong and captivating images.
It is for such reasons that my group is now tucking into tagines and couscous
with Steve Davey, who is part of a new universe of specialist guides, books,
workshops, websites and holidays that has sprung up to help us make the most
of the natural union of digital cameras and travel. Author and principal
photographer for the best-selling BBC book 'Unforgettable Places to See Before
You Die', Steve has impeccable globe-trotting credentials, but more
importantly he turns out to be a genial communicator. One hazard of
photography is that it attracts "anoraks", but thankfully Steve is more of a
friendly fleece.
After many years on the road, he recently poured all his experiences into a
new guidebook to travel photography that we all agree is mightily inspiring.
Loaded with advice on subjects such as how to get good pictures while on a
boat or train, it includes hundreds of his own, hard-won images that are
fulsomely captioned, so you can understand exactly how that top shot was
achieved. But books and websites can only get you so far. As we wander the
souks, I soon realise that nothing beats going into the field with an expert.
It is in the nature of travel photography that things are suddenly thrown at
you, and the opportunity to get instant advice on the spot is priceless. How
can I get the rich colour of these carpets? Why is my silhouette of this
minaret not working? Should I chance a shot of that beautiful Berber girl?
While the professionals will devote hours to stalking a definitive image, most
of us only have a few minutes to quickly grab something before moving on.
Driving up to the snow-dusted High Atlas mountains, there is a unanimous
outcry in the minibus when we suddenly behold a view that is pure Morocco.
Rich red fields, silvery olive trees, a centuries-old village, jagged white
peaks and an oceanic blue sky. It's the classic calendar shot and we all pile
out to try to capture the scene, but with such a variation of light and dark,
it is a tricky subject. While I am dithering, Steve just gets down on the
ground and snaps the view through the outline of some prickly pears.
"Good shot?" I ask.
"I think so," he replies, "but I fear I've been lying in goat -." As Steve
frequently demonstrates, good travel photographers will be quite grubby by the
end of their working day. They must also be tirelessly devoted to finding the
best light, which means no leisurely lie-ins. The next morning we're up at
five to catch the sunrise over Ait Benhaddou, a kasbah that has starred in
numerous films from _Lawrence of Arabia_ to _Gladiator_. It's a long way off,
but a major benefit of travelling in a group is you get the chance to compare
and borrow kit. A Nikon devotee, Steve has brought along an arsenal of camera
bodies and lenses for us to play with, including some eyewateringly good zooms
and the new D90, the world's first digital SLR to include a movie function.
Now what use is that? My scepticism soon disappears when I realise this is
perfect for gathering video evidence of my roommate's stentorian snoring.
The latest digital SLRs now have superb three-inch LCD screens, which allow us
to flick through the day's shots every evening, admiring individual approaches
and discussing technical challenges. Our tutor also treats us to after-dinner
talks gathered around his laptop, in which we are given insights into such
mysteries as RAW (a file format), sharpening and camera calibration, and learn
his "Six-Point Plan for Better Pictures".
For me, the most inspiring of Steve's mantras is his insistence that we must
all strive to take a proper photograph, not just a simple, representational
record of our travels. This requires an eye for composition, as well as
knowing how to get the best from your camera. While significant enhancements
can be done later at the computer, we all agree that travel photography means
getting out and about - not sitting in a darkened room screaming at Photoshop.
By the time we reach Aremd, a chilly, end-of-the-valley hamlet near Imlil, I'm
feeling a euphoric sense of progress. Once my camera was a grumpy friend, now
it's a good mate. Thanks to Steve and my fellow students, I'm now breezily
checking my histograms, pumping up the ISO and spinning that exposure
compensation wheel like a DJ mixing sounds.
On our final morning I'm the first person up, a keen bean who scurries on to
the roof terrace with my tripod to try some dawn shots of the snow-sprinkled
mountains that I fancy will look best when converted to black-and-white. The
peace of the High Atlas in winter is astounding, and I realise I'm blissfully
happy up there, tweaking and framing in the pinky light. While pros like Steve
Davey move on a higher plane, shooting star trails over Tanzania and capturing
the ruins of Angkor awash with moonlight, trips like this are a reminder that
we are all now capable of taking, and appreciating, a good picture. What else
is there to do with life, but give it your best shot?
* **Intrepid Travel** (020 3147 7777; [www.intrepidtravel.com)][7] offers
small group and independent tours of Morocco, from £415 (plus a local payment
of €200) for nine days excluding flights.
* A 12-night tour incorporating **Steve Davey's photography course**,
departing September 21, costs from £1,195 (plus local payment of 300),
excluding flights.
* **Morocco Handbook **(Footprint £14.99) covers the country in detail.
* Steve Davey's **Travel Photography **(Footprint £19.99) is a thorough and
inspiring guide to the subject, with a companion website, which also details
the photography course tours, at [http://footprinttravelphotography.info][8].
In addition to Morocco, the author will be leading a specialist photography
trip with Intrepid to India later this year. For information on Nikon cameras
see [www.nikon.co.uk.][9]
**Visit [Marrakesh & the Atlas Mountains][10] with [Telegraph Riviera
Travel][11] [![][12]][10]**
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http://www.telegraph.co.uk/travel/destinations/africaandindianocean/morocco/48
38855/Morocco-A-picture-perfect-getaway-travel-photography.html
Telegraph
## [Morocco][18]
* ### [Travel »][19]
* ### [Arts and Culture »][20]
* ### [Africa and Indian Ocean »][6]
* ### [Nigel Tisdall »][21]
In travel
[![Marrakech shopping: secrets of the souks][22] ][23]
### [Marrakech shopping: secrets of the souks][23]
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