A two-man canoe expedition up the Amazon... a one-man trek through Afghanistan... a full-scale assault on Everest involving a party of 60... a once-in-a-lifetime overland trip through Africa.

Question: What might these travellers have in common?

The object of this section is to draw attention to the fact that these two features are not unrelated. Too few expeditions or independent travellers - whether they be on the grand scale or simply a student venture - are aware that the camera can make a substantial contribution to much-needed funds. When it is pointed out that a single picture may realise hundreds of pounds, the hard-pressed traveller begins to see that he or she may be neglecting a very substantial source of revenue. While it is true that income from photography may not be received until some considerable time after arriving home, it can be used to pay off debts - or perhaps to finance the next excursion.

If photography is to pay, then advance planning is essential. Too often planning is no more than quick decisions regarding types of camera and the amount of film to be taken. Of course, these are essential questions and something might first be said about their relevance to potential markets. Unless sponsorship and technical assistance are received, a video camera is not worth taking as a possible money- spinner. The production of a worthwhile expedition film or travelogue is such an expensive, specialised and time-consuming matter that it is best forgotten. In order to satisfy television and other markets, a film must approach near-professional standards, with all that implies in editing, cutting, dubbing, titling and so on, to say nothing of filming techniques By all means take along a good camcorder, but don't think of it as a source of income.

Format and colour

With still photography, the position is quite different. It is worthwhile investing in a good range of equipment (or having it on loan). It will probably be advisable to take perhaps as many as three cameras: two 35mm SLRs and a large-format camera with an interchangeable back. If the latter is not available, then contrary to advice sometimes given, 35mm format is quite satisfactory for most markets (except some calendar, postcard and advertising outlets).

Digital photography has its attractions especially if an expedition is sending regular reports back home. However, there has, of course, to be access to a computer and, for any revenue-gaining use, the camera has to be able to produce images of a high and saleable resolution.

Most travellers hoping to sell their work will use colour reversal film though some might find a wider market if they can offer black-and-white images as well. A majority of markets for photography now pay the same fees for mono as for colour. The advantage of monochrome is the ability to 'improve' the image during processing. Colour prints are not welcomed by publishers.

It is advisable to keep to one type of film with which you are familiar. Different colour films may reproduce with contrasting colour quality and spoil the effect of an article illustrated with a sequence of colour pictures.

Outlets

Before leaving, the travel photographer should contact possible outlets for his work. Magazines generally pay quite well for illustrations, especially if accompanied by an article. You can approach UK markets such as Traveller magazine or the colour supplements of the Saturday and Sunday newspapers. Although they may not be able to give a firm "yes", their advice can be helpful. Specialist journals, assuming they are illustrated, may be approached if the trip is relevant, but it should be remembered that the smaller circulation of such journals yields a lower rate of payment. It can be worth advertising the journey in the hope of obtaining lucrative photographic commissions.

Overseas magazines, such as National Geographic, often pay exceptionally high rates, but the market is tight. Much nearer home, local and national newspapers may take some pictures while the traveller is still abroad. If the picture editor is approached, he may accept some digital images if they can be channelled through a UK agent or a friend at home. In the case of an expedition that is regionally based, local papers will usually be quite enthusiastic, but it is important to agree a reasonable fee beforehand, otherwise the payment may not cover the costs involved. Local papers may also agree to take an illustrated story on the return home, but again it is important to ensure that adequate payment will be made for the pictures published. Don't expect a fortune from the local or regional press.

It is not the purpose of this article to discuss techniques of photography, but before he or she leaves home, the photographer working with an expedition is well advised to seek guidance from others who have worked in the area. There can be problems with climate, customs and the like, of which it is as well to be aware before starting out.

Finally, one potentially contentious point must be settled before the first picture is taken. This is the matter of copyright ownership and the income received from the sale of photographs. In law, copyright is vested in the photographer, unless the work has been commissioned.

Universal appeal

Once the trip has started, the travel photographer should look for two sorts of photograph. Firstly, of course, there will be those which illustrate their travels and the changing scene, both human and physical. But secondly, and so easily neglected, are those pictures that have a universal appeal, irrespective of their location. Such shots as sunsets, children at play, brilliant displays of flowers and so on always have a market. It is important, too, not to miss opportunities that are offered en route to the main location in which the travel photographer is to operate. Don't pack away your film while travelling to your destination. Have the camera ready on the journey.

Not unnaturally, the question "What sells?" will be asked. There is no simple answer, except to say that at some time or other almost any technically good photograph may have a market. (It is, however, assumed that the photographer is able to produce high-quality pictures: there is never a market for the out-of-focus, under-exposed disaster.) Such statements as: "The photograph that sells best is the one that no one else has," may not seem very helpful, yet this is the truth. It is no use building a collection that simply adds to an already saturated market. For example, a traveller passing through Agra will certainly visit the Taj Mahal - and photograph that splendid building. Yet the chances of selling such a photograph on the open market are dismal. It's all been done before, from every angle in every light and mood. Perhaps a picture of the monument illuminated by a thunderstorm might be unusual enough to find a buyer, but the best that can reasonably be hoped for is that the photographer will hit on a new angle or perhaps a human interest picture with the Taj as background. On the other hand, a picture of village craftsmen at work might sell well, as will anything around which a story can be woven. Landscapes have a limited market but, given exceptional conditions of light, then a good scenic picture might reap high rewards in the calendar or advertising markets. The golden rule is to know the markets well enough to foresee needs. Sometimes the least obvious subjects are suddenly in demand.

Severe and unusual weather conditions sell well: a sudden rainstorm in an arid region, storms at sea or droughts. It's a fact of life that pictures of disasters have a good market. In the knowledge that subjects seen from an unusual viewpoint attract picture desks and art editors, consider aerial photography. This may seem to be prohibitively expensive, but the more remote the area the more likely it is that light aircraft will be a regular form of transport. Hitch a lift or pay a bush pilot for a short flight. If the availability can be foreseen, get some advice on technique before you leave.

Record keeping and processing

One most important but easily overlooked point is the matter of record keeping. In the conditions experienced by many travellers, this will not be easy - yet it cannot be emphasised too strongly that meticulous care must be taken to ensure that every picture is fully documented. It is true that certain photographs may be identified at a later date (macro-photography of plants, for example) but no shot should be taken without some recording of at least its subject and location. It is usually best to number the films in advance and to have an identification tag on the camera that will indicate the film being exposed. A notebook can also be prepared before the traveller leaves.

With the advertising market in mind, it maybe helpful to make sure that good photographs are taken that include the traveller's equipment. Less obviously, there is a market for photographs of proprietary brands of food, magazines, newspapers, items of clothing and equipment and so on in exotic and unusual settings.

If the traveller is to be away for a long time, it can be important to get some of the exposed film back home. There are dangers in this procedure because of the uncertainty of postal services, but provided some care is taken - perhaps with arrangements made through embassies - then there are advantages. Apart from the obvious problem of keeping exposed film in sub- optimum conditions, some preparatory work can be carried out by the traveller's agent. Of course, if the film is sent home, it is essential that labelling and recording are foolproof.

Serious selling

Once the travel photographer has returned home, the serious business of selling begins. Topicality is a selling point, so there is no excuse for taking even a few days off, no matter how exhausted you may feel. Processing the film is clearly the first task, followed by cataloguing. No one is going to buy if the goods are badly presented, so it is worth making sure that a portfolio of high-quality mono enlargements and colour transparencies is prepared with a really professional appearance. Put together a stock-list of all your photos (what countries and subjects, colour and black and white, and how many you have in each area) and circulate it around all the magazines and papers you can think of. As long as it is kept up to date, you should be able to sell one-offs for some way into the future.

The first market to tackle might well be the local newspapers. Following up the advances made before you set out is very important, no matter how lukewarm the original response. It often looks more professional if there are both a writer and a photographer to produce a magazine article, but it should be made clear to editors that a separate fee is expected for text and illustrations. This is invariably better than a lump sum or space-payment.

A direct source of income from photography can be slide shows for which the audience is charged. These are relatively easy to organise but must be prepared with slides of maps and accompanying tape or live commentary. Incidentally, try to avoid a mix of vertical and horizontal frames. It gives an untidy appearance to the show - even when the screen actually accommodates the verticals. The bigger the screen the better. If these shows are to have a wide audience, it may be necessary to put the organisation in the hands of an agent.

A photographic exhibition can provide helpful publicity, but it will probably raise little or no income itself. Branch librarians are usually helpful in accommodating exhibitions and, if these showings precede some other event like a lecture or slide show, they can be indirect money-spinners. For an exhibition, great care should be taken in making the display as professional as possible. Again, the bigger the enlargements, the better. As far as photography is concerned, 'big is beautiful', and it is worth investing in a few really giant enlargements.

If the traveller has not been too far off the beaten track, then travel firms may take photographs with which to illustrate brochures and posters. However, as with the calendar and postcard market, it must be pointed out that this is a specialist field, requiring not only particular sorts of photographs but images of a very high technical quality. This also applies to photographs used for advertising, although suggestions made earlier regarding pictures of proprietary brands leaves this door slightly wider open than usual.

Whenever an original transparency or negative is sent to or left with a publisher or agent, a signature must be obtained for it, a value placed on it should it be lost or damaged (probably £500 per original) and a record kept of its location.

Using an agency

Lastly, when the catalogue is complete, the travel photographer will wish to put the whole of his saleable photograph collection on the market. Now a decision must be reached on the thorny issue of whether or not to use an agency or picture library. Of course, direct sales would mean an almost 100 per cent profit, while the library sales will probably net only 50 per cent of the reproduction rights fee. But, as so often happens, it is the enlargement of the market, the professional expertise and marketing facilities of the library that are attractive. It is worth making enquiries of a number of photo libraries (see the Writers' and Artists' Year Book) and finding a company that offers the sort of terms and assistance that satisfy the travel photographer's requirements. It may be preferable to deal with a company that does not expect to hold the collection but simply calls for pictures when needed. This allows much greater freedom to the copyright owner, as well as being a check on what is happening in the market. Some libraries offer additional services to associate photographers in the way of help with the placing of literary as well as photographic material, and in the organisation of lecture services.

It may even be better to contact a picture library before leaving. For a small consultancy fee, a good agency may be able to advise on the sort of pictures that sell well and on the level of reproduction fees that should be charged. There is nothing more annoying than selling rights for £50 and then finding that the market would have stood £100. Many amateurs sell their pictures for too low a fee and others assume that there is a set price, irrespective of the use to which the photographic material is put. In fact, the market for photographic reproduction is something of a jungle and it may be better to gain professional advice rather than get lost. The same applies to locating markets. It is almost impossible for the inexperienced amateur to identify likely markets for his work. There are thousands of possible outlets and a small fortune could be lost in trying to locate a buyer for a particular picture, no matter how high the quality.

An ambitious and skilled travel photographer should expect to make a significant profit from his photography, providing an effort is made along the lines indicated. In the case of a specialised and well-publicised trip, it is not unknown for the whole of the cost of mounting the venture to be recouped from the sale of pictures. There are some simple points to remember: don't treat the camera as a toy, don't give the job of photographer to a non-specialist, don't put all those transparencies and negatives in the back of a drawer when you get home. As a money-spinner, the camera may be the most important piece of equipment the traveller carries.