In the world of travel photography, the ultimate goal is not just to document a place but to capture its very soul. This was the challenge facing contributing photographer Mark Parren Taylor on his assignment in Seoul, South Korea. Tasked with exploring the city’s rich cultural inheritance, his journey led him to the sprawling and magnificent Gyeongbokgung Palace. More than a static monument, the palace is a living museum, and his mission was to encapsulate this duality. His iconic shot—a vibrant tableau of traditional costumes against the palace’s stoic architecture—is a masterclass in blending the past with the present, proving that a successful photograph is often a product of meticulous planning, strategic improvisation, and a keen eye for the quiet, compelling details that tell a much larger story.
The Quest for Cultural Inheritance
The visit to Gyeongbokgung Palace was an essential part of Taylor’s assignment to explore Seoul’s cultural identity. As South Korea’s answer to Beijing’s Forbidden City or Edinburgh Castle, the palace is not merely a collection of buildings but a powerful symbol of the nation’s history. To avoid the all-too-common pitfall of empty, detached museum shots, Taylor knew his photographs needed to breathe with life. He had a clear vision: to create a photo story where shots of the palace’s stunning architecture would serve as a ribbon-like thread, weaving through the narrative. The re-enactments held in the vast courtyards were the key to fulfilling this vision.
The inclusion of these live performances served a triple purpose. First, they prevented the collection of photographs from appearing static and devoid of human context. Second, they powerfully encapsulated the theme of the past and present intertwined, showing a living tradition within a historical setting. Finally, they provided a vital link to other shots in the story, such as portraits of modern Koreans wearing hanbok, the traditional costumes, in other locations. The goal was to build a comprehensive visual narrative that honored the city’s history while showing its vibrant, continued relevance in the modern world.
The Art of Preparation: Kit and Strategy
Travel photography is a demanding discipline that requires a photographer to be a generalist, ready for a wide variety of subjects. A typical day can include shooting everything from bustling street scenes and detailed interiors to broad landscapes and intimate food portraits. To be ready for anything, Taylor relies on a simple yet effective strategy for his camera kit. He invariably carries the same gear, which changes only for highly specific situations. He prefers a pared-down approach, often leaving his longest lens behind in favor of a standard 50mm or a wide 28mm prime lens, as he feels these lenses allow him to get closer and create a more intimate connection with his subject.
To avoid the risk and hassle of changing lenses in the field, he carries two camera bodies, each fitted with a different lens. This allows him to switch seamlessly between a wide-angle perspective and a more standard viewpoint, ensuring he never misses a crucial moment. This emphasis on efficiency extends to his packing philosophy; with a lot of ground to cover, often on foot, his moderate-sized camera bag must be light enough to carry all day, weighing no more than 20 pounds. This prepared yet adaptable approach is a testament to the fact that successful travel photography isn’t about the gear you have, but about the strategy you employ to be ready for the unexpected.
Beyond Technique: The Elements of a Successful Shot
While technical skill is a prerequisite for any photographer, Taylor argues that the best shots come from an appreciation for three key elements. The first is an attractive, compelling subject. In the case of the palace, the ornate architecture and the vibrant colors of the performers’ costumes provided an undeniably strong subject. The second element is good light. The Korean sunlight, reflecting off the pale stone and gravel, presented a challenge similar to a snowy alpine scene, requiring him to slightly open his aperture to achieve the correct exposure. The third and final element is that “something extra” — a quirky, surreal, or even mundane detail that adds an unexpected layer to the image.
For the palace shot, Taylor wanted a clean, graphical image. This meant meticulously composing the four performers in a pleasing formation while waiting for other figures to move out of frame. He also had to be patient, waiting for the exact moment when the performers’ actions were at their most dynamic—such as the precise peak of a drum mallet’s arc. This level of attention to detail, combined with the patience to wait for the light and action to align, is what separates a good photograph from a truly memorable one. It is a process of recognizing a great location and having the discipline to return to it until all the elements come together in a single, powerful frame.
The Story’s Rhythm: From the Field to the Final Edit
Taylor believes that a photoshoot is not just a collection of individual images; it is a visual story with its own rhythm and tempo. This philosophy is evident in his nightly routine of spending a couple of hours working on the day’s images and backing them up. This process allows him to get a feel for how the story is coming together, identifying what’s missing, assessing the overall mood, and adjusting the tempo as needed. He looks for repeated color themes, shapes, or framings that he hadn’t anticipated but finds appealing, weaving them into the narrative to create a sense of cohesion.
Ultimately, his goal is to produce a story with balance, variety, and a changing rhythm. This includes incorporating images with negative space—the quiet, serene moments that allow the eye to rest and a designer to place text. Above all, he strives for images that capture the principal themes of the story, in this case, the intertwining of the past and the present in Seoul. He views this approach as the only truly typical aspect of his work, ensuring that each new assignment remains fresh, challenging, and, most importantly, compelling for both him and the final audience.
