Julien Dorol photos blog

After speaking of prints, I will now address the question of leadership. I had, until now, no idea on this subject, and this exhibition has given me the opportunity to test the cutting mat. This is not a very difficult operation, but there are some pitfalls to avoid. Fifteen frames, I have not missed a mat, and with a little practice you get to very good results.

The primary function of the mat is to protect the drawing from direct contact with the glass, and also to highlight the photo. They come in all thicknesses and all colors. I chose the pasteboard 1.5 mm thick with white soul who once cut diagonally at 45 °, frames the image of a small white border.

The cut requires a few tools, and considering the price of cardboard (about 8 € for a 50 x 70 cm), it is better to take the right tools and avoid the first price. And the few manufacturers of this type of specific equipment have understood and abused. It must, first time a cutter at 45 degrees. After some research on the web, it seems that the model home MAPED is one that works best. A 38 € tool is also the smallest of things! Attention blades for the 90 ° version is different (they are beveled on both sides, instead of one for the cutter to 45 °) and will not work for bevel cuts.

To make straight cuts, you need a rule at least eighty centimeters, and that is that prices become outrageous MAPED proposes rules adapted to the cutter with a guide groove which allows the tool to ... modest sum of € 60-80. Because it has absolutely nothing more than another version less specific, apart from the gutter, I opted for a simple mason rule one meter has fulfilled its mission very well.

The cut must be made on a surface does not catch the blade. My first tests were made on a large sheet of plywood, and it was not very conclusive. The blade of the knife grip on the hard wood and cardboard in passing. It is necessary that the blade can slide freely on the cutting surface so that the incisions are free and clear. I used a large sheet of foam PVC laminated cardboard cutting mat as that gave me satisfaction. The elastomeric pads provided for such work are not suitable for cuts at 45 degrees, they deteriorate immediately.

Once the right tools together, it'll just get started. The first step is to draw the picture window. It must be remembered that the bevel reduce this window of one or two millimeters inwards (about two millimeters for a cardboard 1.5 mm thick). This must be taken into account if we want the wedge reached the edge of the image.

We then place the ruler so that the cutter just bite the strokes, it firmly holds the rule, take a deep breath, and is incised by entering and exiting the cutter 5 mm outside the path for sure the card comes off without smudging. Cutting must be done in several passes if necessary, without forcing, if the blade twists and everything goes awry. We must at all costs, avoid or get out the blade in the middle of a line of cutting, the incisions will be shifted and certainly will now.

The prints and mat are then placed under glass. I chose not to put a wooden frame, because the price quickly becomes high (the budget for this exhibition is therefore already) and I prefer to leave the choice to prospective buyers. The whole gives a simple and neat, easy to perform, and prints are truly an added dimension when dressed in a mat and under glass.

In recent misadventures of hard drives, I take the problem of safeguarding it very seriously. After losing several GB of data, I have more confidence in the mail (I wonder if one day I had confidence). "Fortunately, the lost data were not of paramount importance, but it's still annoying.

I can not imagine losing a moment of photos both investment and the amount of work are important. The cost of equipment, travel, time to shoot, to processing photos and caption, the sentimental value, not to mention the possibility of losing a job that is not delivered or completed ... I find it unthinkable to leave all this energy to thank you for a fool disk drive that has decided to keep everything working for him forever! My volume of images and files increases considerably, it took me seriously thinking about a backup solution, assuring data security, and the ability to easily retrieve them when problems arise. There are lots of solutions more or less safe and / or costly depending on the degree of paranoia. So I will describe one that suits me better. This is certainly not the best, but at least I can sleep peacefully.

I do all my backups on hard disks because that is what seems the safest. CDs are too small, and the DVD does not appear to be reliable over time. The online solutions, although interesting, ask me to worry about download times.

All my pictures are shot in RAW. Returning from a meeting or a trip, I import all RAW files on the laptop to do all the editing and processing. Once all my files sorted and processed, I export the JPEG standard in maximum resolution, and I keep on the disk of the laptop that JPEG. All RAW files are stored on a 2TB external drive that does not move from my home. The only safeguard is not enough because in case of theft or fire, it must "necessarily" an offsite backup. To make the backup of this disc, use small disks of 2.5-inch pocket, one for each year. Discs years past are stored offsite in a secure area, data from the current year are saved on a 2.5-inch drive that I did not bring with me to do a weekly backup (I store in a place where I can get them easily with friends or other).

The other part to safeguard important documents on any work schedule with photos: articles, exhibitions, website backups, blog, paperwork ... All this represents a significant mass of files it would be really very painful to lose. To secure this, I am daily and a full copy of the computer on the hard disk of 2TB and another on a 2.5-inch drive that never leaves my bag. I set the record 2.5 inches for the computer to restart if it crashes over the primary drive.

Here is a diagram that may be clearer:

All these manipulations are less complicated than they appear because there is software involved in any transfer of data on a desired frequency, the desired disc, with the choice of making a boot disk or not ... For Mac users, I recommend the excellent " Carbon Copy Cloner ". Time Machine works well, but has some shortcomings such as the inability to set the backup boot disk.

Some companies offer solutions rather sophisticated, but even if the functions seem interesting, I doubt that the high price is justified compared to a more personal.

I briefly spoke of the festival "Art Day" at The Rack in which I participate in an exhibition. This is the third that I realized, and I now realize how important it is for me. I see my pictures throughout the year mainly on the screen 13 inches from my computer (yes, a bit small but it is very good), and most often using "Web" is to say a few hundred pixels wide. Suffice to say that when I get a random 30 × 40 cm or 40 × 60 is a shock, a rediscovery of the picture, a completely different reading. Expose is also another way to distribute his work, a more lively media, where one is forced to meet people and reach an audience other than the aficionados of the web.

This post aims to share some tips that I would have liked to know before getting my first show .... I talk about in this article draws, then come back on stage management soon.

An exhibition is not just hang pictures on a wall. For me, the culmination of work, a project, the memory of a search in some way ... What I like when I visit an exhibition, it can enter from one end to another in the universe in which the photographer (or artist) is trying to take me. I remember a photographer friend who said to me one day when I asked him for advice: - "You know, do not do a show to make it easy. It must be strong, it captivates people. " This obviously goes through a rigorous selection of images to present a consistent and coherent work, but it is ultimately the basis of photographic work, and I will not expand here that the aspect "development" of photos.

The print quality is one of the crucial points. On the one hand, the photos should be fun to watch, and a bad impression should not tarnish the image of strength. On the other hand, we must keep in mind that some visitors may be interested and buy prints. The quality of these should be beyond reproach, and above all it must be sustainable over time. It is therefore important to ensure the quality of papers, inks and framing materials (they do not contain acid substances that can degrade the drawing) and be sure of their durability. Printers for the general public to use dedicated photo can now make beautiful lasting impressions. The advantage of this solution is to be totally independent, not dependent on intermediaries, and to control its graphic chain from A to Z. Many photographers make beautiful prints at home with their equipment.

After some testing and research, I rejected this option for several reasons:

- This requires a significant investment. We need a printer designed for photo, and a reasonable size. The A4 is a bit limited for display, and printer prices very affordable A3 although not the lowest. It must be added the cost of consumables (ink and paper) that quickly becomes significant. Besides the impressions missed: when the printer stops for no reason in the midst of a draw it three times, the case is far less profitable, whether time or money.

- Make prints of exhibition worthy of the name is a real job. Mastering chain graph requires time and learning. Each paper, each ink will look different. Not being fascinated by stories of ICC profiles, color space (though it deserves an article!) And others, I decided not to use either my time and my patience for this task.

I am therefore confident in tradespersons whose experience and advice me save time. Next picture type (film, digital, color or black and white) technicians advise me on the paper used, ensure that my files have the correct color profile associated with the right resolution ... They send me a test strip for each drawing from which I feel validates (absolutely essential). When I get a draw, I'm sure the outcome and have never been disappointed. Small labs have certainly a price slightly higher than the big majors printing on the internet, but for me, a few percent reduction of large structures can never replace the contact with people available and helpful ( I use e-commerce for things less difficult).

My previous exhibition prints were 30 × 40 cm (A3) and if this format is perfect for small venues (cafes, restaurants ...), I quickly found that it seems little more spacious in places, especially if space is dedicated to the exhibition. For this exhibition, I went over to the size (40 × 60), and I must say that I have no desire to make smaller prints. I feel that in format 40 × 60cm, the picture began to "talk". The eyes are more piercing, the details are more visible and more noticeable. I really feel to be more absorbed by a large image, which seems logical, but I did not feel much difference between the two sizes.

Same for the choice of paper. While my first tests were made on glossy paper 200 g/m2, I went to a matte, slightly contrived, and a density of 300 g/m2. The increase in density gives me draws less prone to buckling, and less delicate to handle (especially in 40 × 60). As for the glossy finish that I sometimes find it too "snapping" or brilliant, I prefer the matte finish that seems to give more texture and softness to the image.

In a future article, I will talk about leadership (and especially the cutting mat), and all items incidental to this exhibition.

The test strips needed to validate the final prints

Receipt prints. There are more than coach

The opening of the festival "Celebrate Arts" is scheduled July 16 at 15h in the rack . I unfortunately can not attend on that date, I will present the show and talk about the pictures during meetings scheduled July 31 at Gallery 9 15h and on August 7, same place, same time.

Click on the image to see the series

Late April, the rock band Chambery "Sober Sucks" asked me to take photos at a concert he was to give early May

My meeting with members of SoberSucks few years ago as part of a musical project. Several factors (including the photo) pushed me to put music aside and started to derail the project. However, the passion for music and my taste for rock have not tarnished and it is natural (even with some enthusiasm) that I produced images for this group. Knowing already members of the training, I knew what their expectations were. We briefly discussed the expected picture, but the musicians given me their trust.

Visit was therefore taken to Chambery in the early afternoon to take the road and go to Fayet near Chamonix. We were greeted very nicely by the team of "Landmark Bear" and after a few refreshments and discussions, everyone got to work to make the scales. When a group asks me to shoot images for a concert, I manage to be present at the scales. I also want to test a few frames, and assess the available light quality, light chat with the engineers to get an idea of the atmosphere they intend to create and define the settings I'll use for the set.

For this concert, the management of the light was perfect with a good dose of smoke to spread, which allows you to play with the beams and shapes in the composition of images. The scene was rather small, which allowed me a certain proximity to the musicians. Being the official photographer of the group for this concert, I had access to the sides of the stage to be able to change angles and not to limit myself to pictures taken in front.

What I find most difficult to photograph a scene, is the drummer. Often masked by guitarists and bassists other, or hidden behind the cymbal stands, the drummer is often little or no lighting. Access to side allowed me to make images somehow. The light is in general very low in this remote part of the scene, I asked a tripod to avoid blurred images. Even if the musician is fuzzy, I definitely want to be part of the picture clear to amplify the effect of motion.

Question equipment I worked with my two favorite targets (the only two that I have elsewhere and that gives me satisfaction), a 24mm f2, 8 to manual focus and my 50mm f1, 4. The duration of the set of Suck Sober was about 40 minutes. I needed to be fast and not waste time with changes in optical. So I used two boxes with each objective screwed over. For settings, the light is rather low, I opted for a maximum aperture and sensitivity to ISO 1600. Even if you lose sharpness because of the maximum opening and generate the high ISO noise, the goal is to have sharp images. The sound makes up for in post processing, not the sharpness.

At the end of the concert, I had to almost 400 images to provide a quarantine. After some discussions with the musicians, it was clear that black and white was the treatment that best suits the image and spirit of the group ... Click the image to see a small selection of photos.

A few words on SOBER SUCKS:

Sober Sucks is a rock band that is not encumbered or musical conventions "that will say it." The training is Savoyard-cons give a damn about her sobriety that would attract the praises of a docile audience and anxious to hear a sound formatted taking care of his attributes hearing. Sober offers a rather energetic rock, acidic, alcoholic with a little more than a riff four chords per song and a linear structure. Unpredictable, guitarist JB voltefaces surprised by these melodic compositions but whose effectiveness keeps you excited throughout the pieces. To deepen the cut edges of the scratch riffs, the singer Sab is in good spirits throughout his schizophrenia voice from a gentle voice and put into a state of hysteria as the title "Elouera" or sprinkling as sounding frankly blues rock 'Wheels on Fire' roars hoarse right out of Metal influences, like drummer sprawling triple bass drum, wall unit to the bottom and 7 string guitars with triangular shape. And to support it all, the couple Bass / Drums sends a heavy and slamming his story that the public, as wise as it is, take a good snap and comes out of a concert Sober Sucks with serious doubts on the notion of sobriety .

A ride on the MySpace , and FaceBook page.

On my last trip to Nepal, I was led to meet Joyce Van Rijen and Krishna Khaitu which together manage a Non Governmental Organisation in Bhaktapur. Their Association "Suvadra" aims to support disabled children and empower them to lead normal lives despite their disabilities. The situation of disabled children in Nepal is difficult and complicated. The families, lifestyle often modest, have difficulty accepting that disability does not understand and can not handle. Children are often treated badly and have virtually no future. It is certainly not a mark of cruelty or malice, of a reaction of impotence due to the low level of education, lack of specialized facilities and assistance to families. Added to this idea and received a few beliefs.

Joyce and Krishna have decided to create a structure to house a dozen children and give them the keys to access the autonomy and power to live independently in society or within their family. I was touched by their approach and how they work: No way to complain about the plight of children, but a real desire to move forward and bring them to a normal life, whatever the disability or incapacity.

After several discussions, we agreed a date for a photo shoot to illustrate the work of Suvadra. The goal was to make images that the association could use to its website or for brochures. It should make images corresponding to the mindset of the association and Suvadra, bias was clear: to show children living in hope, not disabilities to sad to soften the crowds . This was fortunate, because I do not want to show people in a miserable appearance, but to underline what they give off better, whatever their condition.

I was quite apprehensive before the photo shoot because I'm very uncomfortable with anything related to "medical" and which induces or could induce the "suffering". Even though Joyce and Krishna explained to me the case of each child, I had no idea what to expect and above what would my reaction. But going beyond these fears that progresses, and is anxious but determined that I went to the house Suvadra day shoot.

Before leaving my camera, I first spent time making contact with children. I was especially helped put me at ease, to go beyond my fears, identify each of them and what they release. I soon forgot my fears, because children are very direct and unprejudiced. After an hour and a half of making contact, I started out my equipment and take photographs. I would have liked to take more time without the camera, but I only had one day to make the images.

I like more and more conduct such commands running on a very short time, conditions that do not control lights and often disastrous. That, I think, the best way forward and to be able to adapt to any situation.

As so often in such situations, the light was what could be worse: a bright sun right in the middle of the day and not always photogenic environments. No question of waiting for the beautiful and soft evening light, I had to take the children in their daily lives and in full operation. To avoid shadows on faces too obvious, I sometimes used a reflector to bring light on the parties a little bite. Easier said than done when you have no assistant and we must keep the reflector, directing and photographing specific subjects that move .... A lot. These children have incredible energy and it was not very difficult to carry images of life, joy and energy.

As I work with fixed focal lengths and I had to be responsive, I used for this session, two cases simultaneously with two different objectives (24mm and 50mm). I use very rarely two boxes at the same time because I like to be discreet, but I was quite surprised by how quickly my subjects have "forgotten" devices. Initially, attention was turned a little to my gear, but I quickly felt "invisible" and I was able to capture spontaneous moments and expressions without any discomfort due to my presence.

This experience, beyond the aspect of photography, made me a lot. I was simply impressed by the work and results that getting the association Suvadra. Several children have made incredible progress in a short time and can now consider independent living and a real future. On the other encounter more difficulties and will never attain the independence of some, but they have at least one structure adapted to cope with their disability, as long and difficult this fight may be.

A wonderful experience that I will renew.

If you want to contribute to the work of the association SUVADRA, you can visit the official website , or send an email to Joyce or Krishna .

Click on the photo to see the series.

I stayed for several days already in a Nepalese village and I stayed in a small Guest House (which was more of a homestay than a "hotel") held by two women, Loxmi 79 years old and daughter of Tiza a fifty year. I was incredibly received and stayed with them three weeks to observe and learn the lives of Nepalese farmers.

In the middle of my stay, I organized a little "photo shoot". I already had the picture in mind a few days before and I told my two models the day before that I like to make a picture of themselves in their kitchen during their "tea break" daily. Tiza Loxmi and seemed quite enthusiastic. Was an understatement.

The next morning, I left all my gear: The device, mounted on a tripod, remote control (not to keep an eye glued behind the case and communicate more easily with the models), and the ultimate, a reflector to "lead" the dark parts held by an assistant. It was enough for my two budding stars will take the game and work to readjust their dresses, their hair rearrange, hide unsightly fold, as models of real pros .

The meeting at length about ten minutes at most, in an atmosphere of jokes and laughter!

The portrait photography and "humanist" things are not easy. For me, it's never easy to get into people's privacy and their aim a camera under the nose. When I photograph a person, I still have that modesty brings me lots of questions: "Is what I did not bother with my pictures, I do not abusing its time, it must Tired of having all the time took pictures ....

It is recognized that in areas frequented by tourism, some people are highly sought after for portraits and not always the most sensitive (There are even many, many shocking behavior from some photographers but I think ... c is another matter) and become quite reluctant to the idea of being pulled yet another portrait again.

But sometimes, the picture may become a game and fun for the photographer and the (s) model (s). Taking his time, forging links, complicity, people gain confidence and become more relaxed. I think the quick installation of all equipment there is also a little, showing that we want to make a serious picture and the best possible conditions, the models feel honored by all this attention and ask without hesitation. In any case, what I felt in making this meeting and a few others. It goes without saying that in this case, send some prints to people photographed !!!!! If they play the game, he must play too.

Overall I am satisfied with the result because the photo is what I had in mind as soon as I saw the kitchen, but I'm especially pleased with how this session is held and the atmosphere there was.

As I said a little earlier, I am a bit "obsessed" with ethical issues and I sometimes have difficulties to overcome my shyness. This session gave me great motivation to repeat this kind of experience and made me realize that the photo could be a game and a source of good humor, without being experienced as a constraint or voyeurism. It depends (again) how it's done and how we approach people.

The camera equipment is not what excites me most about this activity, but there is however the tools I could not do without and which directly affect my pictures and my style.

The 50 mm is included. When I go through my library of images, I realize that 70% of my images are made with this focal length. When I got back seriously into photography, I tried a lot of zoom lens (zoom) without ever finding anything of convincing for what I was looking for.

I'm finally back to my first love because the 50mm is actually the first goal I used the quick reflex silver that my father lent me when I was 10.

Today, I use the 50mm for several reasons:

At one time, this lens was proposed to office with boxes and been widely disseminated. The technology is so successful and inexpensive. Today, even entry-level 50mm (f1.8) worth hundreds of euro offers image quality that many zoom lenses more expensive are not entitled.

If the focal length reduces costs, it also reduces the backpack. Apart from the ultra high end models that open to f1.2 (if you had € 1400 you did not know what to do ...), the 50 remain fairly compact and light, qualities that I particularly during long hikes. It also helps to keep quiet and do not have a "monster" super light screwed to the case and slide easily into your pocket if you change your goal frequently.

The fixed focal length required to move rather than simply turning the zoom ring and keep your feet nailed to one place. Each variation requires framing to move (sometimes several centimeters), to turn around his subject, trying to work ... it pushes these pictures I found more precisely, and directly affects the quality of his compositions.

Technically speaking, these objectives provide a large opening and can work in conditions of very low light sensitivity without much up. I also like playing with low depth of field in my images, in order to highlight the main subject of his environment. The large openings of the 50 offer all the fun of playing between the foreground and background blur net.

I particularly like the portrait work with the 50mm lens because it is the vision that gives the closest to the human eye. The images produced have, in my opinion, a more realistic, more "authentic" as short as focal 24 mm by examples. But what seems most important is the relationship that requires focal with her: there's no talk of cheating by taking photos on the fly as one might do with longer focal lengths. The 50th requires proximity with the "model" which obliges to have his agreement. In other words, it first requires an exchange, a discussion, a complicity that inevitably will be felt in the image.

In my case, this is part of my approach. I do not want to just shoot people, but to the extent possible, to convey emotion, charisma, or charm they exude. By "discipline" and it requires honesty on this point, the 50mm is the ideal tool for me and indispensable.

To end this post, if you are purchasing your first digital SLR, the absolute fly zoom sold with the kit (often 18-55 mm opens up to f3, f5 see 5, 6). Construction is often mediocre image quality really little valued, and you would restrain openings miserably low lights that are often the most interesting.

Consider buying a body only and offer you a little (or step) 50 mm, even entered a range. Think also of older lenses found used for less than a mouthful of bread and that mount easily on the digital camera via adapter rings. I still use the lens of my "childhood" (a 50mm f1, 8 Zuiko OM10 once mounted on my father's) in relief, and I found even better than some recent targets ... and 10 times stronger! !!!!!!!!

It'll just rummage through the attic or running in the camera store nearest you.

I will not dwell too much on this article because the law is one step that I do not really and I really want to do without. But then, our western world is governed by the laws, insurance policies and any other country, as authentic as it is, will require a minimum of paperwork to enter (some more than others).

The first thing is obviously to ensure that his passport is in order, and it corresponds with the requirements of the countries visited. A simple call to the United States requires a biometric passport or visa ... nearly 100 €. Attention also to countries that do not issue visas on the spot. Getting back at the airport because it lacks a visa is never a good time. This seems so obvious, and yet ... If you cross several countries, forget watching!

A small audit recommended vaccines does not hurt. For my part, I always step back to the spirit of "medicalization" of our society. If you have any recommendations for medical from Asia for example, it would be virtually no vaccines in a month that would make a life with those we need to do from birth. After looking and took different opinion I was given no treatment for Asia, and am none the worse. However, I should not allow myself the same remiss if I left for Africa or other country where certain diseases are highly contagious and serious.

The last point should not be taken lightly the matter of insurance. I'm not paranoid or fearful of its kind, but some bad adventures experienced by friends or other passengers pushed me to take more precautions. An injury during a trekk, a health problem, such unexpected watching everyone without exception. An evacuation is expensive, very expensive especially if we are in isolated areas and high altitudes.

It's very daunting, but I recommend to thoroughly research the conditions and amounts covered by insurance: if you are to make a pass at over 4000m (it does so very quickly in Nepal or Peru for example), forget the Repatriation of your insurance card, you will need an option "Altitude". Even travel insurance offer a little amount limits for evacuations by helicopter. Beware of "subtleties" of terms like "disease" or "accidents". Some insurance covers one and not necessarily the other. If you stay several months in a country, it is important:.

Yet we must keep in mind that insurance did not help in some very remote areas and that vigilance remains the best way to avoid trouble. ...

I make copies of the first page of my passport, my insurance contract, and I keep them in one of my bags. I also leave a copy on the server computer of my site, accessible from any internet point. It costs nothing and in case of theft or loss, make these small precautions, in my opinion, the situation a little less painful.

That is what is the paperwork. It takes me some time and finally allows me peace of mind and I "disconnect" once fully established. In the next article in this series, I'd do a quick tour of the equipment that I take in my bag, and we'll be ready to go ...

Deep in the preparation of my next trip to Nepal, I still like to share some ideas on preparing for a trip. If you do not read the previous article, you can go take a look HERE .

I still do not know if I travel to shoot or if I make the picture to travel. One I certainly serves as a pretext for another and vice versa. If there is however one thing I know for sure is that I can not imagine traveling without photo and every time I go, I put every effort to bring something hearty, strong, beautiful. Before leaving, I am documenting the country in order to immerse myself more easily in culture and better understand.

In the first time, I want to know what I want to show exactly what topics I will deal: I'll spend the holidays with landscapes, portraits, culinary specialties, the animal in the street. Do I want to show the country under a side exotic, authentic, modern ....

This choice allows one hand to know what is going to take such material: The landscape does not require the same objectives as the animal example, and I do not see any carry a range to cover all subjects. I travel light and therefore limit myself to the point. Also, I prefer to concentrate on a theme and do it well rather than try to do everything in half.

The theme also determines the period stays. Each season provides a hue and a different landscape. If we look at the culture of a country, traditional festivals can grasp and understand the customs of a country. If you want to put all the chances of his side for the "decisive moment", it is best to plan his trip function (easy to say )

Once I know on which theme I'm going my way, I am documenting my destination. I spend much time on the internet, reading articles, I travel magazines that speak of culture, wildlife, history, I read stories of travelers (as Alexendra David-Neel, Sylvain Tesson Nicolas Vanier ...). All of which awakening my imagination and feed my creativity once there. I look once more the work of many other photographers to see the various biases, the emotion which others have been captured.

This step is completely gone the trip for me. The imaginary part of the journey in some way. I read somewhere a quote from I do not know who (can not remember the author) who said "the most beautiful of travel is that one step further". I agree with this idea a bit: I so love the months or weeks before departure. My mind is in turmoil, and I'm already imagining the images I want to do (it's not serious? ).

Once I'm well documented, I located the places I find interesting on a map. I have no connection really accurate, rather a series of points that I really want to visit. When I am there, I do not program precisely because I like to leave room for the unexpected, the surprises, unexpected discoveries. When I discover a place that I particularly like, I like to spend as much time as I want without having imperative. Select and find information on where I need also keeps me from falling into "tourist traps" (each trip is full!), Or any other place uninteresting photographic or cultural.

So, that is documentation. I attach great importance to this moment that inspires me a lot before leaving. This also allows me to think about a lot of related subjects in the photo, my question. A moment that can really share and which belongs only to us.
Sweet dreams of travel ...

I always travel with my own without going through an agency or other tourism organizations. I do so because I like being free to come and go where I want when I want. I do not really route (or just a north / south or east-west around which I ride) and even less precise planning! I often discover the existence of special places in discussing with the locals or other travelers or simply by chance. I like to leave room for the unexpected, and surprises.

However, I've realized over the travel it is unrealistic to think that "go exploring" requires no preparation. Even if one starts with a spirit of "backpacker", it is sooner or later face the realities administrative, medical, political or budgetary. I have seen many travelers find themselves in very unenviable (for more money back in Europe, unable to evacuate a remote area after injury because no insurance ...) and their stories' m have gradually become aware of these realities (and sometimes my unconscious).

I am taking much more care and spends more time preparing my travels before simply in order to be completely free of these constraints once there and immerse myself fully in the countries I visit.

The aim of this paper is to describe how I prepare my travel, choice of destination until the arrival on site. All I will describe you may seem obvious, but what I saw on a trip let me think otherwise. If you have other tips and tricks, all comments are welcome.

Choose your destination:

The choice of destination is first guided by dreams, imagination, places that one imagines splendid paradise. However, there are some elements to be sure before choosing not to be disappointed or worse.

The political situation: before taking any tickets, it seems important to ensure that the country plans to visit that has no "crisis" or major violent conflict. It seems obvious, but even in countries as tourist, everything can change from one day to another: thousands (millions?) Tourists visit Thailand every year, this has not prevented many of them to be blocked in the country two weeks after the events. Madagascar has recently been faced with a coup and the events that have (for some) ended badly. For several years, Nepal Maoist insurgency was growing, and a few thousand people (tourists were not concerned by these "losses") are no longer here to speak. It is not necessary to go dan paranoia, but some countries are experiencing difficult situations that require some precautions to avoid the "inconvenience".

Climate: It is always interesting to learn the type of climate but also the destination of the seasons and choose (if possible) the dates of his stay in office. This prevents some unpleasant surprises. In some countries, the magnitudes are enormous both in temperature than precipitation. Asia for example have absolutely not the same aspect during the monsoon or dry season. In New Zealand, traveling 500 km, we can move from a semi-arid climate "tropical" with rainfall reaching 10 m of water per year ... We must be sure to "support" the climate and equip themselves accordingly. I mentioned earlier unconscious, I curled hypothermia at a camp because I underestimated the weather and I was not properly equipped ... once but not twice!

Culture and cultural principles is the point which I think is most important. A trip, apart from the relaxation and discovery, is a confrontation between two cultures and one must be willing to accept certain principles that we may seem outrageous or unacceptable: if you did not like to dress modestly, it is perhaps not worth going to a country where the burka is de rigueur. If you do not support the killing of animals, avoid Nepal or India, where Hindus sacrifice buffaloes, goats and chickens in the street before sprinkling the temple of blood and decorate it with guts.
All these examples to say that the journey requires a questioning and acceptance of customs that we are not necessarily natural and we must respect. While certain things seem insurmountable, perhaps it is better to spend our way and guide us towards another destination rather than harm his life journey and possibly come into conflict with the culture that we discover.

All information necessary for the preparation of travel are safe goods available in the guides, but I never limit myself to this single source of information. Internet est évidement une source quasi inépuisable, mais ce sont souvent les discussions avec d'autres voyageurs qui m'amènent à m'intéresser à une destination.

I stop here for this first part. One could write an entire book on this subject, but that is not the purpose of this article. I just want to share my little experience and observations accumulated during my travels. The next article of this series will cover the administrative part of the preparation. The most daunting (I hate when that time comes), but also the most difficult.