Behind Bali: Diana Zalucky on the Connections That Make Travel Meaningful
Some assignments ask you to document a destination. Others ask you to become part of it.
When Photographer and Director Diana Zalucky traveled to Bali with FTLO Travel, she had just 48 hours' notice before boarding a plane. What followed wasn't a traditional production. It was an opportunity to document a once-in-a-lifetime experience as it naturally unfolded, balancing the client's shot list with the spontaneity of real moments shared by real travelers.
From quiet mornings and rice fields to poolside conversations and unexpected detours, Diana approached the assignment with curiosity, flexibility and an instinct for knowing when to step in and when to simply observe. The result is a body of work that feels less like a travel campaign and more like a collection of memories.
We caught up with Diana to talk about photographing authentic experiences, embracing the unexpected and why the best images often happen somewhere between the plan and the moment.
What initially brought you to Bali for this project?
Capturing a library of images for the website and social media marketing for modern group travel company FTLO Travel of real guests during their Bali itinerary.
What was the brief going into the shoot, and what were you hoping to capture?
There was definitely an extensive wish list of shots to cover every experience to the level I would if it were a dedicated production while also trusting my judgement when to step back as to not have any guests feel like they were there for a production, that I was just documenting their experience.
How much planning went into the production before you arrived on location?
This was very much a one woman show with 48 hours notice before I boarded the plan for Bali!
Were there any unexpected challenges or surprises during the shoot?
Getting all the necessary travel docs so last minute prior to the trip was a challenge, traveling only with carry on was a challenge, most photographers use our carry on for our gear alone. Being mindful that all the “talent” were paying guests that invested their own time and money into this trip. I had to make sure whatever I was capturing was always adding to their experience. There is a fine line between letting moments happen and then seeing how great they could be if I was able to direct them a bit more the get the most visually out of the experience.
Most of the way I direct on set is to let moments unfold naturally but I have the scene or scenario set up to cover all the bases for what we need creatively. For this I could be ten feet away from a much better set up then where something was happening or capturing a guest experience during a time of day that is not when we would ever plan to shoot during a production.
Travel shoots often require a certain amount of flexibility. How did the project evolve once you were on the ground in Bali?
I went into the project with the attitude that I was just another friend on this trip. I was the guest’s friend who wanted to get the best pictures of them during this once in a lifetime experience. Granted the majority of the guests were in their 20’s and took full advantage of the night life in each location which naturally meant many guests were “sleepy” during the day time if you know what I mean. (Laughs)
I really love to overdeliver for my clients and had my own extensive wish list of images I wanted to capture. I had to really let go of that once I hit the ground as I had zero control over time, place or even being able to pull over to capture a moment.
It was pretty nonstop of an itinerary so I really tried to focus on those subtle quiet moments happening in between moving from one location to the next. I also allowed myself to intuitively decide in the moment if what I wanted to capture would be better captured digitally, on film or filming vertical videos vignettes for their social media.
Looking back, what stands out most about the experience of creating this work?
How group travel really can mirror the dynamics we have on set especially on long haul productions. You end up being part of this sort of family from the land of misfit toys and you’re experiencing all the highs and lows together. Part of what we do as photographers and directors is energy work.
When we truly feel it, everyone around us feels it too. When we care, when we bring heart into whatever it is we are creating, that ripples out to everyone around us too. What we bring to the moment when we capture anything is a contagious contribution of energy bridging a timeline to what that next moment has the potential to be.