Boudhanath Stupa, Kathmandu

Now I'm back shooting film, I'm certainly not going to even consider digital for the foreseeable future. It's just been such a painful process for me to have to try to get the colours I like out of a digital system. boudasunset

Here's a picture of Boudhanath Stupa, the largest Stupa outside of Tibet.

I shot this one evening as the light was beginning to fade, while I was perched at the top of a cafe right across from it. This stupa is incredibly busy, and because of the white wash on it, it can be extremely hard to shoot properly.

I'm always looking for atmosphere in what I do, so I knew I had to shoot this at a time when no one is around. Mornings were ruled out, because quite frankly, I couldn't seem to get there before the local Tibetans started to circumnavigate the Stupa as part of their daily ritual.

It is like a motorway, a congested one, in the small hours. So I shot this in the evening with a deliberate long exposure so I could get motion in the prayer flags.

Back from Bolivia

I'm just back from my travels. Apart from being extremely tired, I have to report that the Bolivian Altiplano gets my vote for probably the most surprising landscape I have yet encountered. Up until I went to Bolivia, Iceland had been awarded that distinction as far as I was concerned. Iceland is superb, surprising, and like another planet, but the Bolivina altiplano goes one step further. I felt I was on mars, but mars as painted by Dali. There were landscapes there that are reportedly what fueled on Dali with his painting when he visited. I can now see where he got a lot of his ideas from.

Due to the high altitude, I suffered AMS symptoms for a couple of days. But during that time I got to stand on the Salar at 5am waiting, in the middle of the largest salt plain in the world, watching the sun come up and present one of the best sunrises I've seen in a long time. And it just got better and better. Each night and day provided stunning sunrises and sunsets.

So I'm pretty confident that I've just made some of my best images to date.

I've too much film to work on, process, scan, edit. I've got a backlog of film from India and Nepal, plus new Scotland images.... I'm going to be busy. Plus setting up some new workshops : Who wants to go to Bolivia next year? Let me know..... and who wants to go to Torres del Paine in Winter?

Anyway, I've got a bit of sleep to catch up on. Until then...

Packing for a trekking trip to India & Nepal

I'm heading off to India and Nepal, for two months of photography in early January but I have the same dilemma I always have when I travel. What camera system should I take? _mg_5668.jpgAs much as I don't like to focus on the gear aspect of photography, because I feel there is already plenty of that on the internet, deciding on what sort of kit or quantity of kit to take on a major trip is an important decision.

The first question I've had to ask myself is this : what is it I intend to photograph, and for that, I already know the answer - people, shrines, temples and landscapes.

I learned a lesson a while back when I discovered that taking too many systems, caused too much conflict for me. One system tends to get overlooked for the other, and inevitably becomes a bit of a dead weight that I wished I'd hadn't taken with me. One of the greatest constraints is portability. It's really a burden to have discovered that the camera bag is a lot heavier than I thought, once I've been carrying it for a few hours. But it's also frustrating to see images that I know I cannot capture because I don't have the right lens with me and I come up against the same wall each time : compromise._mg_5667.jpg

I think I've got it sussed this time. I will be taking my Mamiya 7 kit with a wide angle, standard and portrait lens in one little bag and that's it. I've bought the same stock of film to use throughout the trip so I don't get frustrated at having the wrong type of film in the camera at the wrong time. So I've settled on Portra 160NC, because:

  1. It's a lovely people film. Skin tones are lovely
  2. It has fine grain and is a decent speed
  3. It's also quite nice for landscapes
  4. It's a negative film, so it's latitude is a lot wider than slide film. It's easier to scan and it's also a lot kinder to higher contrast situations which are common in Nepal. The light is often extreme there.

But I think the most important thing for me was that If I were shooting digitally, I would miss the beautiful rich tones I get from Portra+medium format. It's as simple as that._mg_5669.jpg

So here is the complete list of what is in my bag for this trip:

  1. Mamiya 7II
  2. Mamiya 50mm wide angle (my favourite wide angle, equiv to 24mm in 35mm land)
  3. Mamiya 80mm (eqiuv to 40mm lens in 35mm land)
  4. Mamiya 150mm (equiv to 75mm lens in 35mm land)
  5. Sekonic L608 light meter (I don't trust the Mamiya meter when using the wide angle as it's essentially a spot meter)
  6. Lee full ND kit (2 & 3 stop hard / soft grads + full NDs + Circular 105mm polairser filter
  7. 100 rolls of Kodak Portra 160NC film
  8. Manfrotto monopod (for indoor or shaded shots)
  9. Gitzo 1220 tripod (for landscape shots)
  10. Lowe Pro Stealth Reporter DW400 shoulder bag

I wonder what you found the most surprising in this list? It sounds like there is a lot, but it's quite compact and well below the carry on requirements. Having one system means I remain focused on using that system. Having the same film means I don't have to worry about changing ISO on the camera too (I know this sounds ridiculous, but I like to cut down as much chance of error as I can).Most folk tend to go for backpacks for their camera gear. I've lost count of how many bags I own at home and not one of them is ideal. I have backpacks but in general I really loathe them and here are my list of reasons:

  1. Every time I want to take a photo, I have to take the bag off my back and open it on the floor. It does not give me immediate access.
  2. Backpacks encourage me to carry more than I should
  3. Using a shoulder bag means I have access (through a zip in the roof of the bag) to it's contents. I can do this while on the move or in confined spaces where there is a lot of bustle going on
  4. A shoulder bag encourages me to cut down the amount of gear I take. There is no space for a 'just in case' lens or something that may not get used. Because the shoulder bag has to be light, it is inevitably as comfortable as a backback is.
  5. I've had things spill out of a backpack that hasn't been zipped up fully. I don't have to worry about that with a shoulder bag.

All these ideals and thoughts are purely my take on things and I'm sure everyone has come up with their own way of packing for a trip.  I want to be comfortable while I'm away and free to do what I want to do, which is immerse myself in the pursuit of photography.

ps. I'm still on the look out for a 65mm lens (great for street scenes), so my wee bag may get a bit bigger yet.

What is required to make a great photograph?

I was just thinking today, that if someone asked me - what is required to make a great photograph? Then I'd have to come up with a top ten list of 'things' that I think contribute to making a good photo. largejokulsarlon12.jpg

1. Being there. You must have heard the term 'f8 and be there'? Well, it's the essence of a good photo. Being in the right place at the right time, or in the case of landscape photography, recongising a good composition, and being submerged in beautiful light

2. Recognising the moment. Knowing that right here, right now, the light and the subject matter are combining to provide something you feel inspired to capture.

3. Being open to 'anything can happen'. Often I've found photographers so intent on making an image, and rooted to the spot, that they can't see the wood for the trees. If they only let themselves 'go' and disengage from the process of making a picture, perhaps they will see aspects they didn't notice, or will research / roam the location they are in. I remember on one workshop taking a picture of some horses below the Cuernos in Torres del Paine. The composition was so obvious to me, yet a participant of my trip said to me afterwards 'I didn't see it'. And I'm sure it's because they were so wrapped up in capturing what they were trying to 'make work' that they missed what was being offered to them.

4. Being able to recognise a good composition. Some people instinctively know when a composition works and just go to it like a duck to water. Others have to experiment over time to discover what lenses work and what sort of compositions work too. Nothing is cast in stone and each person has their own 'vision'. Some are more focused / tuned than others.

5. Knowing that what you want to capture will fit onto your film or sensor. With experience, certain exposures work more than others. Soft light works best than midday light, but having experience can help you determine what will work. I guess this is now getting into the technical realm.

6. We're now into the technical realms of photo making. But have you noticed that I've not even mentioned a camera yet? That's because the camera is purely a tool that YOU direct. I've taken pictures on a crappy 35mm camera that have been better than images I've taken on Large Format. Seven is about exposure. Understanding dynamic range and how to correctly expose the shot to get what you 'see'.

7. Which is important? Freezing time, or depth of field? Often I find with landscape I want to take long exposures when something is moving fast in the scene. I like to convey movement and the passing of time, but sometimes it's not appropriate. Knowing when and how.

8. A camera. Yes, it does matter, but not as much as the other aspects I've described. Naturally, it's an over-simplification to say a camera doesn't matter, but the point is that it is not the most important element in taking a good picture. It is just a tool and some tools are better than others. Some can hinder than aid, and I've found that some cheaper tools hinder less than some expensive tools. I like a camera which doesn't get in the way. It should be simple to use, and act as an aid or interface between what you see and what you capture. If you're spending too much time fiddling with it, then it's a hindrance,  not an aid to capturing the moment.

9. I can't think of any more.

So you see. It's not about the camera. But you do need a camera to capture your 'vision'. Those that say the camera does matter are missing the point. The camera is the last step. It is something you use to record everything esle that came before - being there, recognising a moment, understanding light and composition and determining the right exposure. Only then do you reach for your camera.

The Perfect Photo

Whilst browsing youtube.com for some articles on Steve McCurry, I came across a lovely documentary by a broadcaster/writer called Jake Warga. His article is called 'The Perfect Photo', and in it, he beautifully captures what I feel is the essence of travel photography. 


At one point, he says that the perfect photo is something you cannot chase, but instead, is something that finds you.

He uses the churches of Lalibela in Ethiopia as the basis of his story, and in particular, an article he found in National Geographic which spurred him on to try to take the same photo. I'm sure that the main point isn't about trying to take the exact same photo, but is merely a clever device for building a good story.

Anyway, its made me realise that I'd dealy love to do some podcasts and record my exchanges with people when I'm photographing in future.

Photography is not just about taking pictures, it's about the exchanges that happen between you and what you are shooting, be it a landscape, people, anything. Through the process of photography, our awareness of the world is heightened.

I hope you enjoy viewing Jakes documentary. I thought some of the images in it were beautiful and he managed to pique my interest in Ethiopia too.

The highs and the lows of travel photography

I think we all at some point feel like we want to give up. With me, I tend to find the combination of travel and photography a double edged sword. On one side it is exciting, adventurous and when the good images happen, I get a real sense of satisfaction. _mg_4439.jpg

But when things aren't working out, I can reach a real low point.

Waiting for days for cloud to clear, or for the rain to stop can be soul destroying. I'll try anything to take my mind of it - try to read a good book, talk to fellow travelers that I meet. But because of the displacement, I feel like an outsider and the fact that the photography isn't working out the way I wanted it to - just seems to cement the idea that I shouldn't have come in the first place.

I know that deep down, these feelings are inevitable. If you really care about what you do, and strive to create something that really means a lot to you, you can't be flippant about it. You have to accept that along with the highs, there will be lows too.

That's just part and parcel of the art of Photography.

Part of the family

I love pets, and even though I don´t have one myself, when I was growing up, we always had dogs in our home. Each one of them had their own particular personality and character. I know, you´re wondering why I´ve gone all soft when this is supposed to be about wilderness and photography and adventure!

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I couldn´t resist this shot. There in the cafe, before my eyes was a Guanaco, quite at home. Everyone who came in was quite shocked, but the family either had Guanaco blindness (a rare disease down here - see how they are looking the other way!), or the Guanaco is a corner stone of their family life. It probably has a name too.