FAQs

Q1: How do you become a travel photographer?

Becoming a travel photographer today is about storytelling rather than constant travel. Editorial photographers focus on light, mood and narrative. A strong portfolio, consistency of vision, and an understanding of how magazines commission work are essential to building a sustainable career in travel photography.

Q2: Can you learn to shoot for publications such as Condé Nast Traveller?

Yes. Editorial photography is a learned craft.
Publications like Condé Nast Traveller look for photographers with a refined eye, natural use of light, and an understanding of atmosphere and pacing within a story. Learning how editors think, what they value, and how images function together is key. Your work should stand out & speak for itself.

Q3: What do editors look for in travel and lifestyle photographers?

Editors value calm, cohesive imagery with a strong point of view.
They look for photographers who can tell a story through restraint, who understand light and space, and who can deliver consistent quality across an assignment. They also look for a brand ambassador - you ultimately represent the brand and CN Traveller is an institution.

Q4: Is there a photography course focused on editorial travel photography?

Yes. Ana Lui Teaches is an online photography masterclass designed for photographers who want to develop an editorial eye, refine their workflow, and understand what it takes to work towards magazine-level travel and lifestyle photography.

Q5: How do you develop an editorial eye in photography?

Developing an editorial eye is less about perfection and more about intention, repetition, and restraint. For me, it comes from slowing down and learning to see - how light moves through a space, how moments unfold, and how images speak to each other rather than stand alone.
Editors don’t look for one beautiful photograph; they respond to coherence, mood, and storytelling.
An editorial eye is built by understanding how a series of images works as a whole.
It also means editing ruthlessly. Choosing fewer images. Letting go of what’s trendy or purely decorative, and keeping what feels honest and calm. Strong editorial work is clear, quiet, and confident.
And just as important: don’t try to replicate what you see on Instagram.
Magazine editors respond to something different, something that JUMPS OUT, an individual perspective, a way of seeing that feels considered and timeless.
Innovation doesn’t have to be loud. It’s about being curious, observational, and deeply yourself.

Q6: What makes Ana Lui’s course different from other photography courses?

What makes my course different is that it’s not built around gear, trends, or quick fixes.
It’s built around seeing, styling, editing, and thinking editorially.

I focus on helping you develop a clear visual voice, understand light and timing, and create cohesive stories rather than isolated “pretty” images. It’s calm, structured, and deeply practical -less like a traditional course, and more like being guided through the way I’ve worked editorially for years. Sharing with you my entire process.

Q7: Do travel photographers really get paid to travel?

Yes, but not in the way many people imagine. Travel photography isn’t paid holidays.
You’re paid for your eye, reliability, and ability to deliver under pressure, often on tight schedules and with very specific briefs. Travel is usually a by-product of the job, not the reward.

Editorial commissions may cover travel and all the fees, while commercial or branded work is where the real budgets tend to be. Most professional travel photographers build income from multiple streams - editorial, commercial, licensing, assignments, and longer-term collaborations. So yes, travel photographers do get paid to travel, but only once they’ve put in the work to build trust, consistency, and a recognisable point of view.

Q8: Is travel photography still viable in 2025?

Yes! Very much so. Despite what social media might suggest, travel photography is still thriving in 2025. Condé Nast Traveller continues to expand in print (Germany has just launched, with more markets coming), which shows there’s real demand for strong, thoughtful travel imagery.
What’s changed is that quick, trendy content doesn’t last.
Calm, editorial storytelling does. If you’re focused on craft, narrative, and consistency, travel photography isn’t just viable. It’s evolving in a good way.

Q9: What am I doing wrong if my photos are good but I’m not getting work?

This is very common and it doesn’t usually mean your work isn’t good enough. Most of the time, the issue isn’t image quality but clarity and positioning. Or simply timing.
Editors look for very specific things at very specific moments.
They might be commissioning Costa Rica while you’re pitching Berlin.
Sometimes it just means it’s not the right fit right now. So don’t give up! Or be proactive and check what they are looking for right now.

Q10: Can an online photography masterclass really help you get published?

Yes! When it takes a holistic approach to photography. Getting published isn’t just about technical skill. It’s about how you see, how you edit, how you pace your work, and how consistently you show up. My masterclass focuses on the whole picture: mindset, light, storytelling, editing, and understanding the editorial world, so your work doesn’t just look good, it makes sense for publishing.