Behind the ‘zines: Lonely Planet Traveller’s October issue
This month’s UK issue of Lonely Planet Traveller magazine has just hit the shelves and it’s chock-full of travel inspiration, from epic bike rides in France, New Zealand and Vietnam to the majestic mountains of the Alps.
Here’s a sneak peek behind the scenes at how the latest issue was made, and a few of the team’s favourite photos that didn’t make the final cut; with adventures including assignments island-hopping in Greece, exploring Armenia and riding the rails across the USA.
Deputy editor Amanda Canning travelled to Greece for our Great Escape feature on island-hopping around the Cyclades, starting in Athens and ending – four hops later – in Santorini.
‘One thing that will stay with me for a long time,’ she says, ‘is the incredible hospitality photographer Adrienne Pitts and I experienced wherever we went. Even the animals seemed more affable than average.’
Pictured here is Petros the pelican, a local celebrity in Chora town on Mykonos. ‘We were on our way to meet a guide at the windmills above Chora, but had to stop and get a shot of Petros preening himself at the harbour, entirely unbothered by the passing crowds.’
On assignment in Armenia, features writer Oliver Smith and photographer Justin Foulkes were treated to spectacular views of Ararat – the mountain believed to be the resting place of Noah's Ark – shown here rising over the capital city.
'I like this image because with the stormy clouds it feels appropriately biblical,' says Oliver. 'And because Armenia's national symbol is Mount Ararat – it features on banknotes, on the national crest, on the passport stamps – everywhere you go you see businesses named after the mountain.' But unusually for a national symbol, Ararat is not in Armenia at all – it is set just the far side of a closed border, in Turkey.
‘This photo of Texan cowboy Roy Hurley looking over the Davis Mountains is one of my favourite outs from our feature on the Sunset Limited train, which runs across America from New Orleans to Los Angeles’, says Art Director, Hayley Ward.
‘It didn’t make the cut in the end because the story featured other cowboys, but I love its warm morning light, the soft colour tones of the landscape and the composition. The way he’s positioned within the view is great – you can see he’s telling an interesting story. I like the way the camera focuses on him, bringing him to life, while the foreground and background are softer.’
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