9 Lessons From a Decade of Travel Photography

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A shepherd in traditional attire with sheep, a lion walking on a dirt path, and a pagoda with Mount Fuji in the background at sunset, shown in three vertical panels.

Chris Poplawski doesn’t believe in specializing. The OM SYSTEM photographer and USC business graduate left his corporate marketing career over a decade ago to pursue travel photography full-time alongside his wife, Meagan. Together, they’ve photographed more than 30 countries, built an impressive client list, and led workshops around the world. Poplawski calls himself a “jack of all trades,” comfortable with landscapes, wildlife, portraits, and commercial work. Above all, Poplawski has a gift for transforming the places he visits into visually stunning stories.

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Chris Poplawski’s path to travel photography wasn’t a straight line. After graduating from USC, he spent years in corporate marketing before realizing the work wasn’t fulfilling him. A decade after picking up a camera and learning the basics, he shoots alongside his wife Meagan, and credits their partnership with pushing his work forward.

Side-by-side images show lush green mountains by the sea. The right side features a person in a white dress standing on a ship deck, facing the dramatic peak at sunset. The left shows the town at the mountains’ base.

“Early on in my photography journey, working alongside Meagan taught me that collaborating with creative partners can often get you further than going it alone,” Poplawski stresses. “Photographing around the world with friends, family, and colleagues pushed me deeper into the creative space because, for me, it made everything fun and exciting.”

But for Poplawski, photography became more than fun. He doesn’t just travel to take pictures. He travels to tell stories.

grassy hills with mountains and a cabin, dramatic green cliffs beside the ocean, and golden sand dunes with a lone person walking.

“I strive to bring people’s eyes and interest to the places that we travel to,” he explains. “If I was just taking vacation after vacation, I’m not sure I’d be as fulfilled. Having a purpose to expose the world to my vision of it, that’s a unique opportunity not many people get to say.”

Poplawski shares with PetaPixel what a decade of purposeful travel has taught him.

Think Like a Business, Shoot Like an Artist

Most photography education focuses on technical skills like exposure, composition, and lighting. But Poplawski argues that his USC business degree has been just as valuable behind the camera as any photography workshop.

“What I took from business school wasn’t just theory and textbook knowledge,” he says. “It was the constant exposure to conversations, meeting people from different backgrounds, and learning to seek understanding. It was the ultimate networking course, which I believe is essential in travel photography. I didn’t realize at the time how much being outgoing, direct, and always asking questions would benefit me as a photographer.”

a car drives down a dusty road toward mountains at sunset; a lone person walks in a narrow street lined with traditional wooden buildings; a city skyline with Burj Khalifa is silhouetted against an orange sunset.

Those skills translate directly to his travel work, especially in high-pressure situations. Poplawski describes his aerial photography work in Kauai as a prime example.

“When I am coordinating shots from a helicopter with a headset on, I need solid communication skills,” he explains. “I have to be personable enough that the pilot wants to help me, but direct enough to ask for exactly what I need.”

The same principles apply when photographing people abroad, even without a shared language.

A man in traditional attire and a red turban stands among a large flock of sheep, with green foliage and yellow flowers in the background.

“Travel photography is most rewarding when you embed yourself in the culture, and college helped me hone my skills to do that,” Poplawski says. “Communication is communication. Even if I can’t speak the same language, I can communicate. A smile, a gesture, pointing at my camera and then at them. Those small moments of connection open doors that would otherwise stay closed.”

For Poplawski, the connections formed during a shoot often matter as much as the images themselves.

“From the business side, good communication expands professional relationships,” he says. “From the photography side, actually bonding with people on my travels is what makes the story unique. It allows the memory to live more vibrantly in my mind. Anyone can take travel snapshots. It’s the bonds that are formed that turn those snapshots into photographs.”

Start Your Trip Before You Leave

“Whether I’m working with a client or self-funding a personal trip with Meagan, there’s always an early assessment that needs to happen,” Poplawski begins. “What are we trying to capture? How much time do we want to spend on certain things? What’s the priority if something doesn’t work out the first time? Getting that baseline of expectations before I leave is essential.”

For Poplawski, the real photography trip starts at his computer, often weeks before departure.

“I start with Google Earth to research locations, driving distances, trails, and terrain,” he explains. “By the time I arrive, I want to know everything subconsciously: where the border crossings are, which mountain passes have high winds that could delay travel, which roads are dirt and will take longer. Getting familiarized with what to expect means I arrive with a solid plan.”

a dramatic green cliffside by the ocean, a winding desert road lined with tall cacti, and a coastal view with large rocky formations seen from inside a cave.

That meticulous preparation has saved him from costly mistakes. Poplawski points to an upcoming Patagonia trip as an example.

“We’re picking up a car in Chile and spending time in Argentina,” he says. “I learned from reading blogs that you have to arrange a vehicle passport in advance. Little meticulous details like that, if you don’t handle them beforehand, you might get stopped at the border and never make it across.”

But Poplawski says all that preparation isn’t about locking himself into a rigid schedule.

Aerial view of a dramatic green coastline, a Japanese pagoda with Mount Fuji in the background, and a hiker overlooking rugged mountain peaks under a clear blue sky.

“I spend hours reading blogs, watching videos, and reaching out to photographers or locals who know the area. A quick message asking about conditions or hidden spots can save hours of wasted driving. By the time I arrive, all that preparation becomes subconscious. I’m not fumbling with logistics or second-guessing routes. I’m free to be present, react to what’s in front of me, and let the creative work happen.”

Embrace the Weather Everyone Else Avoids

“If I am motivated to shoot, I enter this almost delusional state of interest,” Poplawski insists. “I’m there to tell visual stories, so not only do I forget about harsh weather, I am excited to use the weather to add drama to the stories I am telling.”

That mindset paid off at a snow monkey park in Japan.

A Japanese macaque with wet fur sits in steamy blue water, gazing upward. The mist and soft lighting create a calm, serene atmosphere.

“It was freezing, and I didn’t dress adequately,” he recalls. “Everyone went inside to warm up. I wanted to go in because of how cold I was, but something in my gut told me to tough it out. Then, seemingly a hundred monkeys came down from the hillside into the hot springs because the temperature dropped. It started snowing. I had this 15- to 20-minute window with no people around, no distractions, and completely free photography angles of dozens of snow monkeys. My friends came running out asking how I was still outside. I wasn’t even thinking about the cold. I was in the moment with these monkeys and their harsh habitat, and all I could think about was experiencing it with them and trying to convey how it felt with the photos that I was taking.”

Left shows snow-covered trees and a mountain under a bright blue sky; right shows a calm lake, green trees, and rugged mountains with warm sunlight and partial clouds.

Poplawski has learned to reframe harsh conditions as creative opportunities.

“I embrace locations for what they are,” he explains. “Yes, I would love perfect light and golden hour, but the story is the story. If I’m hiking in difficult conditions to reach a place few people experience, it doesn’t matter what the weather is. I’m going to capture it because it might be the only time I can. It’s humbling to see things just as they are, as I find them, even if the weather isn’t perfect.”

a yellow house by icy water with an iceberg, dramatic snowy mountains reflected in a lake, and a colorful village on a rocky coastline with blue water and hills in the background.

“Most of the locations that I find myself in, the weather can be so harsh, I need gear I can trust.” Poplawski shoots with the OM SYSTEM OM-1 Mark II, which features IP53 weather sealing that lets him keep shooting in rain, snow, and dust that would sideline other systems.

“I have one job when I am out shooting: to tell stories. I can’t afford to be worried about my camera when conditions get rough,” he says. “I need to be focused on what’s in front of me.”

Stop the Pity Party

“One of the first lessons that I learned when I became a full-time travel photographer is that I can’t feel sorry for myself,” Poplawski stresses. “I have to take a no to the face, accept that I’m not getting what I want, and find a way around it. Resilience isn’t optional in this field. It’s a necessity.”

That lesson was tested at Makua Beach in Oahu.

A woman walks along a sandy beach at sunset, framed by palm leaves, with a tall, green mountain rising in the background beside calm blue ocean water.

“Meagan and I went to swim with wild dolphins,” he recalls. “While we were in the water, someone broke into our car. They stole my entire camera bag, all of our OM SYSTEM cameras and lenses, Meagan’s wedding rings, drones. They threw my passport in the bushes and left the phones. We were devastated.”

The trip wasn’t over. They still had days left in Hawaii and commitments to fulfill.

Three images show lush, green Hawaiian mountains. The first image features misty ridges, the second a pointed peak under soft clouds, and the third a coastal mountain landscape beside the ocean.

“You can’t let negative events define why you travel,” Poplawski explains. “I don’t travel to bring camera gear around the world and feel invincible. I travel to be exposed to things, to people, to places, to whatever these opportunities bring. The gear can be replaced. The experience can’t.”

The incident changed how he operates, but not why.

“I don’t take my backpack off or leave it in cars anymore,” he admits. “I refuse to let that one terrible day affect my love for what I do. Instead of feeling sorry for myself, I just learned how to adapt. The pity party has to end eventually. Otherwise I’ll never leave the house.”

Pack a Studio in a Sling Bag

“Every travel photographer faces the same dilemma,” Poplawski explains. “The more gear you carry, the more creative options you have, but the weight eventually forces you to leave things behind.”

“There’s no worse feeling than seeing a picture-perfect wildlife sighting in the distance and not having my telephoto,” he continues. “Or finding the perfect portrait opportunity and realizing I left my fast prime at the hotel. After years of travel, I’ve learned that being prepared for anything is more valuable than saving a few pounds.”

Poplawski’s solution is a kit that covers ultra-wide landscapes to distant wildlife without requiring a massive backpack.

On the left, a lion walks along a dirt path surrounded by dry grass. On the right, a close-up of the lion’s face shows its intense eyes and detailed mane against a green, blurred background.

“I’ve started using sling bags more when I want a grab-and-go setup,” he explains. “For me, they make it easier to access my camera quickly when traveling. I can fit four or five lenses in a bag designed to hold two. Macro, mid-range, telephoto, wide angle. All of it in a sling.”

That packing advantage comes from shooting the compact and lightweight Micro Four Thirds system.

a busy street with signs and rickshaws, a person sitting near the Golden Temple by water, and a dim street scene with rickshaws under an overpass at sunset.

“I can pack two or three OM SYSTEM lenses in place of one lens from another system,” he says. “I’ll still throw my M.Zuiko Digital ED 150-400mm F4.5 TC1.25X IS PRO OM in there even for backcountry hikes where weight matters, because it’s much lighter than any comparable lens on the market. It’s not a question of whether I can take it. It’s how.”

Poplawski also recommends analyzing what non-photography items are taking up space.

Three photos show a leopard cub in dense green foliage. In each image, the cub gazes toward the camera, partially hidden by vegetation or tree trunks, blending into the natural jungle surroundings.

“Before every trip, I empty my bag and question everything,” he says. “Do I really need that bulky wallet? Those extra cables? A lot of travelers carry clutter out of habit. When I realized my 17mm lens is roughly the size of a large wallet, my priorities shifted. I’d rather have a fast prime for street photography than a leather bifold I barely open.”

The M.Zuiko Digital 17mm F1.8 II has become one of his most-used travel lenses precisely because of its size.

“I use it for everything: food photography, market details, portraits of people, dogs, animals,” Poplawski explains. “For walking around a city, I’d rather be on a fixed lens than a zoom. It forces me to move, to engage, to get closer. And it fits in a pocket.”

a person in a yellow jacket stands by a waterfall in green hills, a sunset over coastal cliffs with a waterfall, and a forest with tall, clustered trees and lush greenery.

Additionally, with OM SYSTEM’s strong image stabilization, Poplawski rarely needs a tripod on his travels. “Even if I do bring a tripod, I don’t often use it because the OM-1 Mark II‘s stabilization handles situations that used to require one. Low light, long exposures at dusk, even shooting from unstable positions. I can work handheld and stay mobile instead of setting up and waiting. That’s one less thing in my bag and one less thing slowing me down.”

“Packing light gives me creative flexibility without compromise,” Poplawski concludes. “Landscapes, portraits, wildlife, even photos of my dog when she’s traveling with us. I’m prepared for just about anything.”

Use Constraints as Creative Fuel

Most photographers use gear that gives them more creative options. Poplawski, however, sometimes takes the opposite approach: he deliberately limits himself, and those limitations shaped his signature style.

“A common theme throughout my work is incorporating out of focus foliage that immerses the viewer into the landscape,” he explains. “Early on, I was toying with constraints and fell in love with that sense of immersion. Photos that create a POV, that make you feel like you’re standing in that moment. I started limiting myself deliberately, forcing compositions that pulled viewers into the scene.”

A rugged mountain with patches of snow is reflected in a calm river, surrounded by green grass and vivid orange wildflowers in the foreground under a partly cloudy sky.

That signature style emerged from years of shooting with a single lens: the M.Zuiko 17mm F1.2 PRO.

“The 17mm, which is a 34mm full-frame equivalent, forces you to get close and to be part of the scene rather than observing from a distance,” Poplawski emphasizes. “In travel, documentary, and street photography, that proximity creates connection. You’re not stealing moments with a telephoto. You’re there, present, and making a connection with your subject before you raise the camera.”

Poplawski pairs his 17mm with the OM-3 for maximum discretion in sensitive environments.

“Being a fly on the wall doesn’t mean being invisible; it means not being distracting,” he explains. “It means reading the room, understanding when your presence is welcome and when it’s intrusive. The OM-3’s compact size helps, but more important is your approach, your body language, and your willingness to put the camera down and engage and be present instead of hiding behind the viewfinder.”

That discipline carries into all of his work.

“I’ve spent so many days with nothing but the 17mm in my hands,” Poplawski reflects. “If you give me any constraint now, I feel confident I can create something I’m proud of, because I’ve taught myself how to find that creativity inside of me when I don’t have all the tools available.”

Shoot Video for Your Future Self

Poplawski built his career on still photography, but one of his biggest regrets is waiting too long to embrace video.

“When I was starting out, I wish I had exposed myself more to being creative with video,” he admits. “Not to become a videographer, but just to reflect on those meaningful moments that I witnessed. I have a million photos but not one video from my early travels. I was very keen to be a photographer, and still am, but videos evoke your memories in a much different way.”

The difference, Poplawski explains, is sensory.

A hippo in water at sunset, three puffins standing on mossy grass, and a leopard resting among dry grass.

“Video brings your senses into the memory, not just your eyes but your ears,” he states. “I’ll play back footage from a shoot and hear the waves crashing or the wind whipping across a glacier, and suddenly I’m right back there. A photo shows me what I saw. Video reminds me of what it felt like to stand in that place. For me, it isn’t about becoming a filmmaker or building a video portfolio. It’s about how you’ll remember your travels decades from now.”

Beyond personal memories, video has become a professional necessity for Poplawski. “Our clients increasingly expect us to deliver both stills and motion, and social media algorithms reward video content heavily. Instagram Reels can reach audiences that static posts simply can’t.”

“The industry has shifted,” Poplawski continues. “Ten years ago, a travel photographer could build a career on stills alone. Now clients ask about video in almost every conversation. And on Instagram, a 15-second Reel can outperform a photo that took hours to capture. If you’re not shooting video, you’re leaving opportunities on the table, both personal and professional.”

a domed cathedral framed by leafy arches, a villa on a small island viewed from a boat, and a monastery built into a rocky cliff surrounded by greenery.

Modern hybrid cameras have made the transition easier. OM SYSTEM bodies feature superior in-body image stabilization, which means Poplawski can shoot smooth, handheld video without a gimbal or tripod. The OM-1 Mark II also shoots vertical video natively, eliminating the need to crop or reframe footage for Instagram Reels and TikTok.

“I’m not setting up a production,” he explains. “I’m just capturing the motion of a moment while I’m already out shooting stills. The stabilization helps me create beautiful video footage in between photos, and having vertical video built in means I don’t have to think about reformatting later. I point, shoot, and it’s ready for social.”

“When I leave a location now, I feel like I have valuable content for my clients and for myself,” he says. “Adding video to my skills has been critical for my creative growth, and it’s changed how I remember my travel experiences, which, as I get older, I value much more than I used to.”

Slow Down and Be Present

“I’m wired to go fast,” Poplawski admits. “I will go all day if there’s daylight and chances to shoot,” he says. “But Meagan has reminded me on jobs that I’m moving a million miles an hour and might miss something or not fully immerse myself in the experience, which is crucial to capturing a story of it. Going fast captures more content. Sometimes going slow captures more stories. It’s important that I go into each shoot location and establish which of the two I am trying to do.”

That lesson has shaped how he approaches destinations, especially remote ones.

Dense forest with tall pine trees covered in thick, rising mist, creating a mysterious and serene atmosphere. The fog partially obscures the greenery, giving the scene a soft, dreamy quality.

“If you’ve already hiked 14 miles to reach a beautiful destination, it’s not about running around trying to find photos,” Poplawski explains. “It’s about taking a moment to feel the place for myself, not just through the lens. It’s hard to tell a meaningful story if my eye was stuck to the viewfinder the whole time.”

One of his simplest practices: pausing for a selfie.

“There are so many times I’m shooting so hard that I forget to put my wide angle on and get a selfie with Meagan,” he admits. “When I slow down and take that selfie, I’m so glad I did. We were standing in this beautiful place we may never get back to, and now we have a picture of ourselves to remember. That quick act alone calms my mind and makes me slow down.”

For memory-making moments, Poplawski reaches for his OM-3 with the Creative Dial.

A sailboat glides near steep, lush cliffs by the sea, while a green hummingbird perches on a branch among leaves and orange flowers in bright sunlight.

“The Creative Dial removes me from needing to edit much at all,” he explains. “It amplifies the image where you’re already at your end product. For a true point-and-shoot day where I am capturing memories, the dial is perfect. It lets me have that inner creativity without touching editing software later.”

“But this isn’t really about cameras,” Poplawski states. “People spend thousands of dollars and travel halfway around the world only to experience everything through the lens. Yes, I love pictures. Capturing is a major part of making memories. But after every trip, I always ask myself: ‘Were you really there? Were you present in the moment?’ If I waver on either of those answers, I make an effort to be more engaging with the location on the next trip.”

Travel with Kindness

The most valuable connections Poplawski has made while traveling started with a simple hello and a shared appreciation of the location.

A triptych showing (left) a busy city street with Tokyo Tower, (center) the Taj Mahal rising behind crowded rooftops, and (right) a traditional Japanese room with a person tending to a sunlit hearth.

“Nine years ago, we stayed at an Airbnb in Klaksvík, Faroe Islands,” he recalls. “The host, Sigbritt, loved showing off her homeland to tourists. In that first moment of saying hello, I didn’t think anything of it. But before I knew it, her and her daughter are going on hikes with us, sharing dinners with us. We’re making lifelong memories on our first visit to the Faroe Islands. Over the years, we have worked on projects with the tourism board together, she’s taken us to her favorite places she’s hiked since childhood, and we have become a part of each other’s families.”

That relationship evolved into something neither of them could have predicted.

a sandy beach with waves at sunset, a grassy mountainside with turf-roofed houses, and a winding stream through a golden meadow with snow-capped mountains in the background.

“Through Sigbritt’s network, I have photographed a local farmer’s newborn cattle dog puppies, hiked trails that don’t appear on maps, and gained access to local experiences that no amount of planning could have provided,” Poplawski describes. “Sigbritt has completely transformed how we see the Faroe Islands, in the way only a local can do.”

“My relationship with Sigbritt has taught me that every portrait is a conversation,” he reflects. “Everyone I meet around the world has a story to tell. They all have a family. They have hopes and dreams. And above all, they have pride for their homeland. Since I met Sigbritt, I realized that it doesn’t matter if I don’t speak the language, although I will always try with at least a word or two. Making that simple effort communicates your respect, curiosity, and genuine interest. Just being present can lead to a meaningful connection that can lead to experiences that I never thought possible.”

a colorful bird on a branch, a grey owl perched among tree branches, and a group of four brown hyenas standing together in dry grass.

“When you make a relationship with a local, you never know in that moment of saying hi how far it’s going to go,” Poplawski says. “Ask locals for help. Ask questions. Be willing to engage. Try to bridge the language gaps. Just travel with kindness and you will be rewarded.”

After photographing more than 30 countries, Poplawski still finds wonder in moments that can’t be repeated.

“You can’t repeat a sunset, or the look a shepherd in Jawai, India gives you as he smokes,” he reflects. “In 10 years, 20 years, you’re not going to capture the same exact moment. To be anywhere in the world and experience that singular moment in time that can never be replicated is humbling. And to be lucky enough to capture a memory of it with my camera is the icing on the cake. It’s its own flicker of a second that will never be repeated. No photo will ever exactly resemble it. It’s yours. Your memory. Your life that you’re living.”

a monkey in hot water, a lion resting in dry grass at sunset, and an elk standing in a field with pine trees and mountains in the background.

His advice to photographers considering the leap into travel work is simple.

“Just do it. Go get it. Be motivated. Embrace the highs and the lows equally. But the most important lesson that I ever learned? Stop trying to capture the portfolio worthy photos. Prioritize the memories. Once you are able to do that, the images will come naturally.”

More from Chris Poplawski can be found on his website and Instagram.

More from Meagan Bourne can be found on her website and Instagram.

Full disclosure: This article was brought to you by OM SYSTEM.

Feeling inspired? Enter the #TravelWithOMSYSTEM photo contest for a chance to win an OM-3 or OM-5 Camera Kit + WANDRD camera bag.

Image credits: All photos by Chris Poplawski and Meagan Bourne.

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