When shooting the content for a larger travel article, you have two main obstacles that are actually the opposites of each other. When putting together the images in the actual layout, the art director need them to be diverse enough so that they don't feel to identical but similar enough to keep the article together and keep an art direction consistency. If you are lucky, you'll happen to catch the right kind of images without thinking too much about it, but when keeping the following tips in the back of your head you´ll succeed much more often.
Here's a few to-the-point advice from my personal experience with travel magazines that will help you deliver a wide variety of images to your art director and at the same time make it obvious that the photographs are all a part of the same article.
Create a common denominator...
A rule of thumb is that the smaller the geographical area where you're shooting, the easier it is to give the pictures the same mood. If the article is about a specific restaurant, you probably won't have any problems at all. But if the text is about Southern Italy, it'll be much harder to keep a red thread through all of the material you want to deliver.
Use your key words
If you are documenting the Southern Italy, there'll probably be a pretty specific angle for the text. Decide on a few keywords that you can keep coming back to in your images. You might be exploring "the vineyard boom among the new generation of producers in Italy". Your key words could then be 'wine', 'young people' and maybe 'designer clothes', if the young wine makers are very trendy. Or if you are visiting Sri Lanka to write about living on a tea plantation, your keywords are tea plants, colonial and labor. Find motifs that match those words.
Make a visual connection
Try to find a visual element through many of the pictures (not all, otherwise they will look to much alike). Let a specific color occur in the work - a red lamp in one picture, a red wall as a portrait background in another and a tiny red post box in the background in the third.
Or use the same kind of color tones throughout the material. Whether it is the earthy colors of a small french village or the strong saturated neon colors in the streets of Tokyo, use them as your common denominator.
Post-produce it to fit
Every place I visit usually gives me a specific feeling. Cold, warm, dusty, dull, desaturated etc. When editing the pictures for the article at my studio, I choose a few pictures, two or three, and edit them to give decide the general post-processing for the entire article. The french village I might give a soft and yellowish tone to describe the warm winds and setting sun. For the material shot in Tokyo it would be more suitable to crank up the contrasts and darken the shadows. When you got the mood set for the first images, compare every image that you go through in the editing process and make them stick together.
...and then make it as diverse as possible
When you've decided on the framework for the article, your next obstacle is to create as much range as possible, without stepping outside those set borders.
The same rule of thumb as before applies here, only the other way around: the smaller geographical area you have as play field, the harder it will be to get a large enough variation among the material you need to produce.
Alter your portraits
Pictures of people are the single most important part of a travel article. Period. Shoot tons of portraits. Every time you encounter someone that catches your interest, capture him or her on a frame. Get an extreme close-up, take the picture from a far or even from behind. Most important, alter where the model is looking! My favorite way to capture a human being on film is usually to ask her to keep her eyes pinned straight into the camera. That'll give a lot of presence to the image. But you NEED portraits where there is no eye contact. She might be looking down or to the side. Or up in the sky. Shoot a lot of different portraits from all distances and all angles. That will make it possible to fit in more people in the finished article without it feeling like there is two photos side by side, looking almost the same.
It is really easy, especially in the beginning of your career, to get stuck with one kind of pictures that you like more than others. That is a great way to learn, to get comfortable with one piece of the toolbox at the time and then move on to another. But if you want to sell articles to magazines, you need diversity. When you take one picture in landscape format, turn the camera around and do one in portrait to. If you shoot an environmental picture, don't miss the opportunity to get extremely close and capture a detail as well. Alternate daylight pictures with night time shots. People and no people. Pictures with and without motion. Indoors and outdoors. Sometimes you can even mix color with black&white! Whenever you shoot one picture, try to create another one from the same spot that is totally different.
Mix informative and emotional pictures
Every photography is either sharing concrete information or conveying a more intangible feeling (or a mix of those two). An informative picture is the one showing the faces of the vineyard owners up-close, smiling to the camera. The emotional picture could be a beautiful back-lit shot of their backs, walking through the grapevines. An informative shot is when you show the plate of grilled fish you are about to eat. Its emotional counterpart is the portrait of the chef on the you take through the thick smoke from the grill.
Be aware of how the size of the geographical area are that you're working on is and find a good balance between variety and consistency in you images.
Every evening, after finishing shooting, I sit down at my computer and look through all the pictures I've captured during the day. I go through the list of all the pictures i need in my head and check of the images I have. It doesn't mean that I won't shoot more of those, but I can relax more and concentrate on getting the rest of the photographs that I need.
Each and every photo in a travel article will add something little to the whole, a feeling or a piece of information. Together they should tell everything you want to say.