Tag Archives: Drone Photography

Drone Photography on the Road: What You Need to Know

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Travel photography has evolved dramatically with the advent of drone technology. Drones allow photographers to capture breathtaking aerial perspectives that were once only possible with helicopters or planes. Whether you’re documenting a scenic coastline, a bustling cityscape, or a remote mountain range, drone photography can elevate your travel portfolio.

However, flying a drone while traveling comes with challenges—legal restrictions, safety concerns, and technical considerations. This guide covers everything you need to know about drone photography on the road, from regulations to best practices.

1. Understanding Drone Regulations

Before taking off, it’s crucial to research local drone laws. Regulations vary by country and in case of India, can vary state-by-state and UTs. Violating them can lead to fines, confiscation of your equipment, a combination of the two or more.

Key Considerations:

AP Photo/Seth Wenig
  • Registration Requirements: Many countries require drone registration (e.g., DGCA in India, FAA registration in the US, EASA rules in the EU).
  • No-Fly Zones: Airports, military bases, and national parks often prohibit drones. Apps like DroneMate can help identify restricted areas.
  • Altitude & Distance Limits: Most countries impose a maximum altitude (typically 120m/400ft) and require keeping the drone within visual line of sight.
  • Privacy Laws: Some regions have strict privacy laws against photographing people without consent.

Pro Tip: Check government aviation websites for the latest rules before travelling.

2. Choosing the Right Drone for Travel

Not all drones are travel-friendly. Consider these factors when selecting one:

Portability

  • Foldable Drones: Models like the DJI Mini 4 Pro or DJI Flip or Autel EVO Nano+ are compact and lightweight.
  • Weight Limits: Micro drones often face fewer restrictions, but also have their own limitations. Opt for them if required as they cause the least amount of disruption and can lead to smoother flights.

Battery Life & Charging

  • Look for drones with 20+ minutes of flight time and carry spare batteries. In 2025, most drones qualify for this, however, it’s a good idea to buy the “Fly More” combo available for every drone. 
  • Check if your destination uses compatible power outlets or bring a universal adapter.

Camera Quality

  • Sensor Size: Larger sensors (1-inch or bigger) perform better in low light.
  • Resolution & Stabilization: 4K video and 3-axis gimbals ensure smooth, high-quality footage.

Best Travel Drones in 2025:

  • DJI Mini 4 Pro (Ultra-light, great for beginners)
  • Autel EVO Lite+ (Excellent camera, longer flight time)
  • Skydio 2+ (AI-powered obstacle avoidance)

3. Packing & Transporting Your Drone

Traveling with a drone requires careful packing to avoid damage or airport hassles.

Carry-On vs. Checked Luggage

  • Always carry your drone in hand luggage—lithium batteries are prohibited in checked bags on many airlines.
  • Use a hard-shell case (e.g., Pelican or DJI Fly More Case) for protection.

Airport Security Tips

  • Be prepared for additional screening—TSA and other agencies may inspect drone batteries.
  • Keep batteries at 30-50% charge for air travel to reduce fire risk.

4. Pre-Flight Checklist for Travel Drones

Before every flight, follow this checklist to ensure safety and compliance:

  1. Check local drone laws, and to do that, use apps like Airmap or UAV Forecast.
  2. Inspect your drone propellers, battery, and gimbal – make sure they’re calibrated properly. 
  3. Calibrate the compass and IMU, especially after long-distance travel.
  4. Check weather conditions and avoid high winds, rain, or extreme temperatures, which might give you less time in flight as well as less footage than expected – better to wait these out.
  5. Find a safe takeoff/landing spot – avoid crowds and obstacles, especially trees and overhead power lines.

5. Capturing Stunning Travel Photos & Videos

Aerial photography opens up creative possibilities. Here’s how to make the most of it:

Composition Tips:

  • Rule of Thirds: Position key elements (roads, rivers, buildings) along grid lines.
  • Leading Lines: Use natural or man-made lines (roads, coastlines) to guide the viewer’s eye.
  • Symmetry & Patterns: Capture geometric landscapes, like terraced fields or urban grids.

Best Times to Fly:

  • Golden Hour (sunrise/sunset) for warm, dramatic lighting.
  • Blue Hour (twilight) for cityscapes with glowing lights.
  • Broad daylight – daylight is the best because you can spot your aircraft visually anywhere and can also see obstructions in the way. 

Creative Techniques

  • Orbit Shots: Circle a landmark for cinematic footage.
  • Top-Down (Nadir) Shots: Perfect for abstract landscapes.
  • Reveal Shots: Start close to a subject, then ascend to reveal the surroundings.

6. Post-Processing Drone Footage

Quick Editing Tips:

  • Adjust contrast, shadows, and vibrance for punchier images. Colour correct and grade according to your style.
  • Use gradient filters to balance sky and ground exposure – drone cameras might not have the best dynamic ranges. Also it’s preferable if you can shoot RAW or Log (video).
  • Stabilize shaky footage – There still might be some due to winds – with warp stabilizer.

7. Ethical and Responsible Drone Flying

While drone photography offers incredible creative freedom (and is also fun), it also comes with a responsibility to respect people, wildlife, and the environment. Irresponsible flying can lead to legal trouble, damage to ecosystems, and negative perceptions of drone pilots. Here’s how to fly ethically while travelling:

A. Respect Privacy and Local Communities

  • Avoid Intrusive Filming: Never fly over private homes, backyards, or sacred sites without permission. Even in public spaces, be mindful of people who may not want to be photographed.
  • Follow Cultural Norms: In some countries, drones are seen as invasive or even threatening. Research local attitudes—for example, flying drones near religious ceremonies or indigenous lands may be offensive.
  • Engage with Locals: If someone expresses discomfort, land your drone and explain your intentions politely. Building goodwill helps maintain positive relations between drone pilots and communities.

B. Protect Wildlife and Natural Habitats

  • Keep Your Distance: Drones can stress animals, causing them to flee or abandon nests. Maintain a safe altitude (at least 100m/330ft from wildlife) and avoid nesting or breeding areas.
  • Follow Park Rules: Many national parks and protected areas ban drones to preserve ecosystems. Check regulations before flying—violations can result in hefty fines.
  • Avoid Sensitive Environments: Sand dunes, coral reefs, and fragile landscapes can be damaged by drone crashes or even rotor wash. Stick to durable surfaces for takeoff/landing.

C. Minimise Noise Pollution

  • Drones Can Be Annoying: The buzzing sound can disrupt peaceful settings, like quiet villages or serene nature spots. Fly only when necessary and avoid prolonged hovering near people.
  • Choose Quieter Models: Some drones (like the DJI Mini series) are quieter than larger commercial models. If noise is a concern, opt for a less disruptive drone.

D. Leave No Trace

  • Pack Out Everything: If you crash or need to replace parts, don’t leave broken propellers or batteries behind. Lithium batteries can be hazardous to the environment.
  • Avoid Risky Manoeuvres Near Landmarks: A drone crash into a historic site or natural wonder could cause irreversible damage. Always prioritise safety over getting the “perfect shot”.

E. Educate Others and Lead by Example

  • Share Best Practices: If you see other drone pilots acting irresponsibly, politely inform them of local rules (e.g. no-fly zones or altitude limits).
  • Support Responsible Drone Advocacy: Join communities like Drone U or FPV Freedom Coalition that promote ethical flying and work with regulators to balance access and conservation.

Conclusion: Keep The Blue Side Up

Drone photography is a game-changer for travel photographers, offering unique perspectives that ground-based shots can’t match. However, success depends on understanding regulations, choosing the right gear, and flying responsibly. By following this guide, you’ll be well-equipped to capture stunning aerial imagery on your next adventure—without legal trouble or safety risks.

Travelling The World’s Gullies – Shreepad Gaonkar

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Shreepad Gaonkar was an avid cricketer when he picked up a camera for the first time to document his journey and, later on, a tournament. What has transpired since then, is an inspiring spectacle, as he’s travelled over 34 countries, working with various tourism boards. Asian Photography spoke to him about ethical and responsible travel photography, bucket shots, challenges and more. Excerpts:

What inspired you to take up travel photography?

Ever since I was a kid, I was into cricket, which I played for over 18 years throughout school, university, club and corporate cricket. I completed my B.Sc. IT degree and later did a Sports Management degree working for six years in IPL as an Operation Manager across 11 cricket stadiums in India. I was playing club cricket in Mumbai, organising grassroot cricket tournaments, coaching under 14 kids and also working in IPL & ISL at the age of 22. This indirectly introduced me to documenting my travels on the phone over the years until one day I realised that I was good at it and people started appreciating it on social media. Eventually, I ended up borrowing my friend’s DSLR just to understand what a camera is, how to operate, what settings to set, etc. My hunger grew with every small thing I loved about the camera, which led me to my first official shoot for a cricket tournament — capturing a T20 match at DY Patil stadium, which would also open my doors for travel. So my passion for cricket and my curiosity for documenting and travelling made me get into photography.

What are some of the biggest challenges you face as a travel photographer? Have these changed over the years?

Firstly, I believe travel photography/cinematography is not everyone’s cup of tea, I have seen the best DOPs struggle when it comes to a guerrilla shooting or a “run & gun” travel shoot which has challenges that come out of nowhere. You have to adapt to situations and luckily, my previous work culture from managing IPL and major leagues and handling immense pressure 24×7 really made me tough mentally. Now, when I have challenges, I always look at it as with my management brains rather than me being a photographer. Some of the biggest challenges I face is while taking drone shots in India, the process is really way long to ideally secure aerial permissions as compared to other countries. I have been to 34 countries and the process to get the permits overseas is much easier even for a beginner or a tourist than taking permissions in India, that really hurts.


How do you balance travelling light while still having the right equipment?

I honestly film a lot more than photography, but I travel with just a couple of lenses, and right now, using a Sony A7S3. The process is to have variable lenses with a combination of a prime either 35mm or a 50mm. I prefer filming handheld more than using a gimbal, as handheld gives you more natural and dynamic perspective. I add one drone, usually my Mavic Air 2s which is lighter than newer drones and this specific drone has travelled with me to 26 countries, so it works out to be the best for me. Also over the years, I’ve realised that you actually don’t need a dozen equipment when you travel as long as you are clear of what you want as the end output. I film as per the edit, as I edit myself, so when I am on ground filming I have an advantage of choosing what I want to shoot and how the film ought to look like.

Over the years, has the story behind the shot taken a backseat over aesthetics?

Yes, the audience and the brands I work with at times are very specific with what they want rather than what inputs I can give as an artist. I believe a lot of photographers and videographers will agree with this – oftentimes, we like to keep a raw and natural touch to the art with minimal post-production, but the focus has been shifting on the other side nowadays. When  working for a lot of tourism boards, I always suggest to film in the natural environment with more focus on candid moments. This really brings out the best visuals, which looks more natural and real rather than appearing staged. Yes, aesthetics are important, but It’s a superb feeling to make a non-fiction as a fiction, the clients really like it, and it brings out the story really well.

Has the advent of “Instagram photography” influenced how you shoot pictures?

I’ve been on Instagram since 2013 and a lot has changed over the past 11 years. I would say it has played a critical role in my career, as it really shaped my thought process over the years. In a way, yes, it influenced me in a lot of ways. It inspired me to make content whether it is reels, carousel, stories and put forth my perspective to the world. Eventually adapting to the world and blending my style with it, but the intent was always learning something new and less focus on the numbers and followers. A lot of my  colleagues appreciate my work and mention that I should have a million followers, but I always stick to the quality of the content rather than just the quantity. As I firmly believe that what matters the most for me is I do justice with my perspective and the final output, rest will follow.

Is there a place you keep returning to because of its photographic appeal?

Filming and capturing the Ganpati festival in Mumbai and Lalbaug. Wherever I am in the world, I make sure I never miss filming Ganeshotsav. I have been following this ritual for 10 years, and have made three official YouTube songs, countless reels and some epic memories. I have learned more on the streets of Lalbaug than anywhere in the world. The Lalbaug chaos helped me shape myself as a multitasker as you have very limited time to do everything — photos, videos, flying a drone, video editing and then coming back home to craft the entire thing.

What are your thoughts on ethical travel photography?

We should be ethical in general in everything we do. The discipline, the passion, the values I learned on the cricket field has taken me places. Being a sportsperson, I’ve always had a certain way of approach in doing things and I implemented them on & off the field – which indirectly helped me reach where I am. Not that I have achieved a lot, I am still learning. Respecting people, culture, different environments is an integral part of travel photography/videography. For instance, I always try to communicate to people if I badly want a portrait or If I see some unique character on the streets I take their consent before filming, and how do I do it? I just give a smile if they greet back, then start the conversation. It works at times and if it doesn’t, I simply say “it’s alright, no worries”. Moreover, we should always be careful of what environment we are filming in. For instance, I was filming for Israel Tourism at Dead Sea and I had the official permission to fly the drone for one hour, but I only flew for 10 minutes to get the overall vibe, considering the border issues. So being proactive but what environment we are filming is really very important.

With over-tourism being a growing issue, how do you practice responsible travel photography?

Yes, it’s a matter of concern. We should be mindful of what we do, there are creators who will risk everything to take photos and videos just for views and numbers, but we ought to think about other outcomes too. Another practice is we should try to film during the non-peak hours especially if we are filming in different countries so it doesn’t disturb or create unnecessary hassle. Highlights should be on the culture, history, and the story, not just the aesthetics.

Where do you see the future of travel photography going?

The future of travel photography is evolving fast, influenced by technology. We should thrive for more authentic content, immersive story telling capturing the real essence of the place. I am really super impressed by the immersive videos made for Apple Vision Pro and really looking forward to getting into that, which is the next step of making interactive videos using the VR and 360 gear.

Do you have a bucket shot?

Yes, I do have a bunch of them. Having travelled in over 34 countries, I wish to at least do 190 in this lifetime. Last year I was in Lapland in Finland and I saw the Northern lights for the first time, but that was like just for 10 minutes, and in that time, I just captured a couple of shots. I really hope to do it again and capture a time lapse of the Northern Lights and an aerial shot of me with the active volcanoes in Iceland.

The Art of Capturing Expeditions – Alex Stead

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Alex Stead is a professional photographer known for capturing breathtaking landscapes, adventurous expeditions, and dynamic lifestyle imagery. With over a decade of experience, his work spans from the Arctic to the deserts, blending storytelling with stunning visuals. He has collaborated with global brands and tourism boards, crafting compelling narratives that inspire wanderlust. He also has a deep passion for wildlife and remote expeditions. Asian Photography caught up to him to talk about his background, storytelling, expeditions, and the evolution of travel photography.

Do you remember the first photo you ever took that made you think, “This is what I want to do”?

Growing up, I’ve always wanted to be a photographer, but I didn’t really know that it could be a proper career or that I could make a living out of it. I spent a lot of my childhood wandering London with my camera, capturing the city. In 2012, it was the Olympics which were being held in London, and we’d managed to get a few tickets to some events. One of which was the Men’s 200 Meter with Usain Bolt, and we luckily had pretty good seats. So as a 15-year-old with a big lens I had borrowed, I managed to get some great photos of the event. While I’d know for a while that I wanted to be a photographer, this gave me great confidence that it could be something I could achieve. Even though I never went into sports photography, I tried all areas of photography before finding travel, lifestyle and automotive which is mostly what I do today.

How do you decide what stories to tell through your photography?
When deciding what stories to tell through my photography, I consider several factors. I think about what resonates personally with me and what stories I want to convey. This could be an intriguing destination or a theme that has caught my interest. I also reflect on the relevance of the story to my audience or the client, looking for topics that might inspire or evoke a strong response. Additionally, I consider the visual elements available, such as lighting, composition, and colour, ensuring they can effectively communicate the intended narrative. I also want to explore as much of the world as I can, so I look for intriguing places which I’d like to capture.

What’s the hardest thing to capture in travel photography that people might not realise?
I think travel photography in general is all quite hard and easy at the same time. It’s very easy most of the time to travel to a country and take a photo, like a lot of normal tourists do. However, it’s a very different and challenging job to capture a location in a way which grabs someone’s attention on the front of a website or a magazine. It’s hard to always create captivating images when it’s not always ideal conditions, so your creativity always has to be switched on to the max at every location. To make sure you get the most captivating photo, the best composition, you are in the right place for the best light which could only last a few seconds. 

I think overall as a travel photographer you have to master so many photography skills and environments. For example, I could be one week in Antarctica and the next in the desert, so I very much learnt over the years how to work in different environments and that’s something which people don’t realise is hard. How you have to adapt your photography skills to the environment very quickly. Not to mention how physically hard sometimes photography can be, I usually carry about 15KG of camera gear. Perhaps more if I need big lenses for wildlife.

How do you choose your next destination to photograph?
Most of the time the places I end up aren’t down to me, but it’s down to my paying clients. Of course, I spend a lot of my time pitching projects or ideas to clients, however the creative teams in their agencies or the brand HQ make the decision where a project will happen. That said, I love to have more personal projects where I reach out to tourism boards or brands in certain countries and put together a project there. In the future, I want to spend a lot more time in the Arctic and the Antarctica regions exploring, so I’ve been pitching ideas to expedition companies.

I also love capturing wildlife, so I’m constantly pitching ideas around that, however there isn’t a huge amount of income from wildlife photography, so these are mostly personal projects.

Do you travel with a plan in mind, or do you let spontaneity guide your photography?
I always do a lot of research before going on a trip, I really want to get to know the places I’m going before I set off. I spend a lot of time on Google Maps and street view understanding the environment. Especially if I’m shooting for a client, we have a lot of locations and ideas in mind, so we are on the same page about what we are producing. That said, things don’t always go to plan, or you find a hidden gem which didn’t come up in your research, so it’s good to be spontaneous at times and see where it takes me. When on location we always try to find a good local guide and that really helps us get the most out of the trips I do. I love going to countries where you can self drive and explore though. Places like New Zealand have been one of my favourites to go to as you can just road trip and explore with being spontaneous.

What do you do when things don’t go according to plan?
I’ve learned over the years how to be very adaptable and embrace change quickly. Before a trip I do a lot of research on the places I’m going and always have a backup plans if things go wrong. A lot of the time on travel projects we don’t book accommodation till the same day and change our itinerary constantly with the weather. 

Of course, this is not always possible in more remote areas, however it certainly helps to be as adaptable as possible. Sometimes, even with all of this, you don’t always get the most ideal conditions for the photos you imagined creating at that location. However, with a lot of my work if the weather is “bad” I lean into the more interesting weather. I think as a travel photographer you learn quickly to shoot in all weather, lighting, and environment conditions. Within that, looking for more interesting compositions, for example. 

What’s one piece of gear you can’t live without?
For me, I use a polarizer in a lot of my work, so this is something which I couldn’t live without. A polarizer reduces reflections and glare, intensifies colours, and darkens skies. I think it’s a great way of improving your daytime work and making the light less harsh. 

How do you see travel photography evolving in the next decade?
It’s hard to say where I think travel photography is going, however the changes I’ve seen in my 10+ years of doing this, travel photography is evolving a lot more into short format video. With the rise of social media, 9×16 video is highly popular, so I see a lot of photographers including myself adapting to this medium and telling stories through this. One thing I really hope stops is the rise of AI-generated travel content. However I see this growing and growing sadly to a point where we can’t tell what is real and what is fake.

What’s your best photo till now and the story behind it?
I don’t think I can say I have one “best photo”, however one I took about six years ago really still stands out to me. I was in Iceland on a long term project for a company and was watching sunset at the iconic black sand beach lookout. It was I believe late April/ early May so was coming towards puffin season, however so far on the trip and the hours being at this view point we hadn’t seen them. However, as it got closer to sunset, they came out and were diving off the cliff to go fishing. I noticed two puffins coming together quite often so I laid down and slowly moved closer trying not to disturb them. I also changed lenses to a much wider one, most people shoot puffins with a 70-200 mm, but for this I’d got a 14-24 mm to try to capture the sunset and landscape.

What’s one thing you wish you knew before you started? 

I wish I knew a lot more about the business side of photography. It’s not an easy industry, and actually 80% of my time is spent behind a desk running the business side of things.