Late in 2012 I wrote a short op ed. blog piece about the pending release of Canon’s new 200-400mm F4L IS lens with inbuilt 1.4 teleconverter. At the time of my post there were only a few prototypes of this lens in existence and they were all at the London Olympics (I was somewhere between Paris and Chamonix at the time) for testing by a lucky few sports photographers. Initial feedback on the grapevine from those fortunate few was that this lens (even in prototype form) was an oustanding performer and lived up to Canon’s claims of Unsurpassed combination of versatility, first-class optical performance and an enhanced weather-proof construction.

Fast forward to today and I recently finished (in February this year) three days shooting with the new Canon 200-400mm F4L IS lens (in prototype form). To my knowledge this is the first online pre-production review of this lens anywhere in the world. During the test I was fortunate to also have on hand the Nikon 200-400 equivalent and a D800E for comparison and this may also be the first time these lenses have been used side by side. In terms of size the two lenses are almost identical although the Canon is wider in girth and does feel lighter than the Nikon. Once a 1.4 teleconverter is added the Nikon does become a longer lens than the Canon.The Nikon design is now more than a decade old and does not include an inbuilt 1.4 teleconverter although it has had some optical and vibration reduction upgrades over the years. For those looking for a direct comparison of these lenses in terms of image quality I am sorry but you are going to have to look elsewhere. It is just too hard to account for differences in lenses when they are shot on different mega pixel cameras. What I can say is that after shooting side by side with the Canon and Nikon for three days is that both are excellent lenses and that the end result has as much to do with the camera and photographer as the lens itself. Shooting dressage with the 1DX and Canon 200-400 I was able to capture images that the D800E simply could not because its frame rate is literally half that of the 1DX. Twelve frames a second makes a difference when you are photographing a charging horse or wildlife on the move. In terms of autofocus it is again to hard to account for any differences between the lenses as so much depends on the camera and the photographer so we confined ourselves to simply comparing the physical attributes of the lenses. What was universally agreed however is that having an inbuilt 1.4 teleconverter is a significant advantage. The teleconverter can be activated in less than a second in the Canon where as it takes at least ten seconds to take the lens off the Nikon and install a converter. This difference is huge and is not to be underestimated when it comes to wildlife and sports photography. The Canon can continue shooting and tracking the subject whilst the converter is slide into place. The Nikon requires taking the camera away from the eye to fit the converter and then reframing the subject and reacquiring focus. This time delay can be the difference between getting the shot and missing the shot. Included below is a short video with my thoughts and impressions on this new and very impressive lens from Canon.I know the Canon lens looks quite a lot bigger than the Nikon in this photograph however that is a function of the lens and camera used to take this photograph. The Canon is also closer to the camera and thus appears larger in the frame.

Teleconverter Functionality

The Canon 200-400mm F4L IS is only the second lens from Canon to ever employ an inbuilt 1.4 teleconverter that could be optionally switched on or off with the flick of a switch. The first lens to do so was the extremely rare Canon FD 1200mm f/5.6 L Lens (picture on PBase.com). I have personally never seen one of these lenses in the flesh although I have briefly shot with its replacement, the discontinued and ultra expensive EF 1200mm f/5.6 L USM Lens; which did not have an inbuilt teleconverter.

The teleconverter in the Canon 200-400mm F4 L IS lens offers a magnification factor of 1.4x the lens focal length. This turns the Canon 200-400mm lens into a 280mm – 560mm lens with the flick of a switch. The switch can be locked to prevent accidental operation. After three days of shooting with the lens I never felt the need to use the lock switch as the teleconverter switch does require a fairly dedicated press to move into position.

Image Quality

I need to put a caveat on my comments about image quality as the lens I tested from Canon was a prototype and not a finished production model. Whilst I do not expect there to be any significant optical differences between the unit I tested and finished samples it is important to clarify that my comments relate strictly to the prototype and not finished production units (which are currently unavailable).

Getting right down to brass tacks the image quality of Canon’s new 200-400mm F4L IS lens is superb. My own testing shows it to be fully the equal of Canon’s mighty 300mm F2.8L IS lens both in the centre and in the corners. This is phenomenal performance in a zoom lens and goes to show how much development and engineering work has gone into the design of this new optic. During the three days I was able to shoot with the lens I shot over a thousand frames at a local open range zoo not far from my house and at a dressage training event. I also spent a good deal of time shooting test charts so that I could make direct comparisons against the 300mm F2.8L IS. I tested the lens at varying focal lengths both with and without the 1.4 teleconverter in place and have found it to offer superb image quality regardless of focal length. It is necessary to go 300% magnification in Adobe Lightroom to see any difference between a file shot with the 300mm F2.8L IS and the 200-400 F4L IS. The most noticeable difference at 300% is the significant lack of chromatic aberration in the 200-400 lens. Any resolution differences are a quibble and it could be argued that the 200-400mm lens actually has better contrast. This confirms what I have heard from other photographers who tested this lens at both the London Olympics and the Australian Open tennis early this year and have claimed it is as good as Canon’s 400mm F2.8L IS lens.

Image Quality with Teleconverter

The addition of an inbuilt teleconverter makes a good deal of optical sense since it can be specifically designed and tuned to the lens in which it is being employed. Traditional teleconverters are a compromise because they are designed to work with multiple lenses across a range of focal lengths. They are not tuned to a specific set of optics and employ more elements than they may otherwise need to in order to ensure operability between lenses. For this reason an inbuilt converter will always outperform and out-resolve a stand alone converter. In my own testing I found the in built converter in the 200-400 to offer improved image quality over the stand alone Mark III 1.4 Teleconverter.

To clear up the internet scuttlebutt I can clarify that it is possible to use a 2X teleconverter with the 200-400mm lens; which turns it into a 400-800mm F8 lens that will autofocus on the 1DX camera. Image quality with the 2X teleconverter in place is at least equal in quality to what you would expect to see using the converter on a prime telephoto lens.  It is also possible to flick the 1.4 teleconverter into place and go to 1120mm although autofocus is lost and image quality takes a nose dive as you would expect with stacked converters.

Autofocus

The prototype 200-400mm lens I tested on the Canon 1DX camera has the best autofocus I have ever experienced with any camera – period.  It is blisteringly fast and deadly accurate. This lens and camera combination never miss focused during the nearly 700 frames shot on high speed 12 frames per second AI servo at the dressage training event I was invited to photograph. The camera and lens were able to successfully track the rapidly moving dark horses irrespective of erratic and unpredictable movement. All of the files are sharp and well within what I would deem critical focus.

Image Stabilisation

The new 200-400mm lens employs 4 stop image stabilisation that is virtually completely silent. Whilst I can hear the IS in my 300mm F2.8L IS when shooting with the lens in this mode I could not hear it at all on the 200-400mm lens. My tests show that the IS in the 200-400 is significantly better than that in the original 300mm F2.8L IS lens and I would have no hesitation in hand holding this lens in poor light and shooting at shutter speeds that would normally require a tripod for these focal lengths. The lens has three different modes for either hand held shooting, panning or utilisation on a tripod.Who is it for?

For Photographers who need a super-telephoto zoom in the 200mm – 560mm range with superb optics this lens is likely to be worth every cent. After spending time shooting from the deck of ships I have come to the realisation that there is no substitute for a high quality super telephoto zoom lens. For shooting wildlife such as penguins, seals, polar bears, walrus and birds from the deck of a ship where the required focal length is always different I expect this lens will likely prove the ultimate no compromise choice for ‘getting the shot’. It is the lens I have decided to take with me on the expeditions I am running to the Arctic and Antarctic in August and November this year.

With a focal length of 200mm – 400mm or 280mm – 560mm with the 1.4 TC in place this lens will also be very popular with sports photographers simply because of the extreme versatility it will provide. It is not quite as fast as a 300mm or 400mm F2.8 but I expect this small sacrifice in speed will be a small price to pay for the added flexibility this lens will bring to many sports shooters. I expect this lens to be in hot demand with sports and wildlife photographers when it is released in June this year; even with its high price tag. Despite the long lead time from initial announcement of its development to working field prototypes this lens remains likely the most hotly anticipated lens for sports and wildlife photographers in recent memory.

In March/April next year I will be co-leading two trips with Andy Biggs to the Namibia desert in Namibia, Africa. The goal of these safaris is to photograph the breathtaking desert landscapes of Namibia in a different fashion than Andy has offered his Namibia trips in the past: in an overland fashion. This will be an overland photographic journey, and we have complete flexibility to stop to take photographs at any time along the way. We wanted to put these trips together that have a good balance between flexibility, photographic opportunities and comfortable accommodations. This approach will also enable us to carry more than enough camera baggage, so bring what you need!

Safari Dates: We will be leading two identical trips with different dates:

• Trip 1: Namibia Overland Photographic Journey – March 29th – April 7th 2014
• Trip 2: Namibia Overland Photographic Journey – April 8th – April 17th 2014

On the South Western Coast of Africa, where the icy Atlantic ocean meets the world’s oldest desert lies a place that is known for its landscapes as much as the Serengeti is known for its abundant wildlife. The unique combination of desert, grassland and cold ocean current form a one-of-a-kind terrain found only here. For this reason landscape photographers from all over the world flock to the Namibia Desert to try and capture its ethereal beauty.

In this captivating region of Namibia lies a maze of mountainous valleys that look like they were carpeted from slope to slope by ivory coloured grass, criss-crossed by ancient riverbeds and dotted with a collection of photogenic acacia trees. The final unique touch is added by the large snake like dunes that rise from the grasslands like the roof of some subterranean world. These stark and compelling landscapes are something to behold with the human eye, but when it’s sweeping meadows, barren mountains and blood red dunes are captured and transformed into a two dimensional image, it becomes obvious why this place is so beautifully addictive to photographers.

Safari Highlights

• – These private overland safaris cover fascinating attractions in Namibia while enjoying a relaxed pace along the way.
• – We will enjoy four amazing destinations on each safari in central and southern Namibia: Sossusvlei, the Namib Rand, the deserted mining town of Kolmanskop and the ancient quiver tree forest near Keetmanshoop.
• – The Namib Desert may well be the world’s oldest desert. The apricot-colored dunes at Sossusvlei are some of the most beautiful landscapes on earth. Herds gemsbok and springbok roam the area.
• – In all the locations you will have the opportunity to spend quality photographic time.
• – Finish on a high note in the magnificent sand dunes of Sossusvlei.
• – Each trip Limited to only 10 participants (due to prior interest there is only limited places remaining on both trips before they will be sold out).

The cost of this all-inclusive trip is U.S. $7,950 per person (but not inclusive of airfare to Windhoek, Namibia). The same rate applies for each participant regardless of whether they are doing photography and participating in the workshop, or not. This fee includes all in-country ground and air transportation as well as hotel accommodation (double occupancy) and all meals.

A 30% deposit of U.S. $2,325 (per person) will be required when you register. A second payment of $1,500 will be due on October 1, 2013 and the balance of $3,925 will be due no later than  February 1, 2014. If we have to cancel the trip for any reason you will receive a full refund of all monies paid to that date.

Please note: This trip is designed for photographers. Though non-photographer spouses are of course welcome, and alternate activities will be scheduled if possible, our primary emphasis will be traveling to the best locations for the best light, and this will often mean long days of both travel and shooting.

You should therefore only consider joining this expedition if you are a passionate photographer willing to put yourself out a bit. This is not a vacation sightseeing trip, but rather is a trip designed for those who’ll go the extra mile (or kilometer) to get the images they’ve been dreaming about.

Please contact either Andy at info@andybiggs.com or myself at info@jholko.com. For a complete day-by-day itinerary please click HERE.

One of the great joys of photography for me other than the actual taking of the photograph is the processing and printing of images in my studio.  Every now and again I revisit photographs from a shoot that have to date languished in my Lightroom library and very occasionally I unearth a gem that I had previously overlooked. Sometimes it takes the passage of time and a fresh set of eyes (and a step ladder) to pluck the plumbs that were previously hanging out of reach.

With the temperature in Australia a cross between scorching hot and roasting for days on end I have tucked myself away in the studio with the air conditioner and spent some time going over images from the last trip to Antarctica.  This photograph was taken from the deck of the Ocean Nova ship as we slowly cruised past this unusual iceberg during heavy snow fall. Many of my favourite photographs from this trip were shot when it was either snowing or overcast and ominous. Although Antarctica can look truly brilliant when the sun is shining I personally find it far more evocative and dramatic with some weather. I am looking forward to returning this year in November on the Antarctic workshop I am leading with Daniel Bergmann. In case you missed it Kevin Raber, Vice President of PODAS at Phase One is also joining us on this expedition and we are looking forward to photographing in one of the most remote and beautiful locations on the planet with the highest quality digital medium format camera equipment available. You can read the full post about Phase One and Antarctica HERE. Please visit the Antarctica Portfolio on my website for a higher resolution version of this photograph.

As has become somewhat traditional on my blog I like to do a post toward the end of each year that looks forward to whats in store for the coming year. Its a good opportunity for me to ready myself mentally for the year ahead and to also close off the previous year. 2013 is shaping up to be very busy with a significant number of workshops and expeditions that I am very much looking forward to. Although I very much choose to specialise in the Polar and sub-Polar regions (which remain my focus) I do have a new exploratory trip planned for 2013 into China. More on this below.

In March I will be co-leading two back-to-back Winter Aurora workshops to Iceland with my good friends Andy Biggs and Daniel Bergmann. These workshops are going to focus on the coastal regions of Iceland including the Snæfellsnes Peninsula, the mighty sea stacks at Vik and the spectacular Jökulsárlón glacial lagoon. We are looking forward to frozen waterfalls, glaciers, icebergs and with a little luck the Aurora (Northern Lights). We are going to be in Iceland at the peak of the eleven year solar cycle which should mean some intense solar activity. Fingers crossed for clear skies and blazing Aurora!In May I will be headed to the remote Xinjiang province in China with my good friend and fellow photographer Antony Watson on an exploratory expedition to the Gobi Desert, Tian Shan mountain range, Kanas Lake and Kanasi. This investigative trip is the culmination of over a year of logistical arrangements and I hope will open up some incredibly beautiful and remote wilderness for a future expedition workshop to this region.

In July I will be headed back to Iceland to lead a summer workshop with Daniel Bergmann into the Highland Regions. We will be travelling into Landmannalaugar; which is one of my favourite locations in Iceland as well as visiting the mighty Dettifoss and Selfoss waterfalls and the iconic Jökulsárlón glacial lagoon. Normally inaccessible in Winter, the Highlands of Iceland are a very special place and simply incredible for photography.In August I will fly from Iceland to Oslo and Longyearbyen for a personal expedition to Svalbard to photograph Polar Bears and Walrus before I return to Longyearbyen to lead two back to back expeditions to Svalbard, Greenland and Iceland – The Jewels of the Arctic. The first of these expeditions will be co-led with Daniel Bergmann and the second co-led with Australian Grand Master of Photography Peter Eastway. Abraham Joffe’s award winning film and production company ‘Untitled Film Works‘ has been secured to join us on the second expedition and will be producing a video of the trip which I hope to share freely here on my blog late next year.In November I am travelling to Ushuaia in South America and will lead an expedition to Antarctica and the Falkland Islands with Daniel Bergmann. This 15 day / 14 night expedition was more than eight months in the planning and is something I am very much looking forward to. We have been able to arrange access into areas normally off limits that are dedicated to Science which is going to provide us with some really unique opportunities. We are travelling early in the season which should give us the best possible opportunities for spectacular icebergs, dramatic weather and great light.In late November I will travel to Patagonia with my friend Martyn Lucas on a personal trip to photograph the spectacular Torres Del Pine and surrounding landscape. Patagonia boasts some of the most dramatic landscapes on Earth with precipitous mountains, jagged granite spires and enormous glaciers. During our time in this area we plan to hike up to the Torres and bivouac to give ourselves the best opportunity for great light. This will be my first visit to Patagonia and will fulfil a life-long ambition to photograph in this spectacular area.

I will then return home to spend Christmas my family. All up, I will be away from my studio for around 4-5 months in total next year which means I am not going to be offering much in the way of printing workshops or Lightroom instruction in 2013. If you are already booked in for one-on-one Lightroom and Fine Art Printing then those dates stand as I will be in Australia during these times.

To those of you who are travelling with me on one (or more) of these trips I am very much looking forward to spending time shooting together. It is going to be a very exciting year for photography. Roll on 2013!

I was recently interviewed by the editor of Camera House’s Better Pictures magazine for their Christmas issue and the article ‘Outward Bound’ is now online. The magazine is free and can be viewed online in a web browser or you can download a PDF of the article HERE. Check it out if you have a few minutes spare.

I find myself getting very enthusiastic about photographic equipment again lately with the pending release of Canon’s new 200-400mm F4L IS lens with inbuilt 1.4x teleconverter. This new super telephoto zoom lens promises to be a game changer for photographers who shoot at these kinds of focal lengths thanks to its inbuilt 1.4x teleconverter and reported superb optics. Canon claims that this new lens “will offer an unsurpassed combination of versatility, first-class optical performance and an enhanced weather-proof construction.” They also claim it will be just shy of a wallet smashing eleven thousand dollars MSRP; which is going to give a lot of photographers serious cause to stop and consider whether this lens is going to be worth the price of admission. The good news is that Canon had a slew of prototypes of this new lens at the London Olympics a few months ago and by all reports and feedback this lens is an outstanding performer and lives up to Canon’s claims.

For Photographers who need a super-telephoto zoom in the 200mm – 560mm range with superb optics this lens is likely to be worth every cent. After spending time shooting from the deck of ships I have come to the realisation that there is no substitute for a high quality super telephoto zoom lens. For shooting wildlife such as penguins, seals, polar bears, walrus and birds from the deck of a ship where the required focal length is always different I expect this lens will likely prove the ultimate no compromise choice for ‘getting the shot’. It is the lens I have decided to take with me on the expeditions I am running to the Arctic and Antarctic in August and November next year. I will also take it to Iceland in March and China in May.

With a focal length of 200mm – 400mm or 280mm – 560mm with the 1.4 TC in place this lens will also be very popular with sports photographers simply because of the extreme versatility it will provide. It is not quite as fast as a 300mm or 400mm F2.8 but I expect this small sacrifice in speed will be a small price to pay for the added flexibility this lens will bring to many sports shooters. I expect this lens to be in hot demand with sports and wildlife photographers when it is released early next year; even with its horrendous price tag. I am hoping to take delivery of this lens in late January next year and will be doing some extensive testing with it before I head to Iceland in March. Look for a full review early in the New Year.

The 2012 International Loupe Awards are now in the final stages of judging and if you entered any images into the competition you may have already received an email with your results. If you did enter this year I wish you all the very best and hope you do well. This is the third year I have entered the Loupe Awards (formally known as the Aperture Awards) and I feel it will also be my last. There are now so many online photography competitions that I have decided next year to enter only those competitions that actually judge the final ‘printed image’ (rather than on screen jpegs). In 2013 this will include the Australian Professional Photography Awards, the Victorian Professional Photography Awards and the International Travel Photographer of the Year Award. There may well be more competitions out there that do judge the ‘print’ that I am not aware of but I am going to limit myself to just these three. My decision to abandon the remainder of the competitions is multi-fold and is something I have been pondering for some time. I  have found over the last twelve months that I just do not have sufficient time to devote to these competitions in order to ensure I am conforming with the all the different rules. Secondly the cost to enter many of these competitions has become excessive and I feel that the spirit of the competition in many cases has become lost in the revenue generation machine. Thirdly, more and more of these competitions are proving nothing more than ‘rights grab’ attempts and I feel these particular competitions are muddying the waters for the legitimate ones. Finally the sheer number of photographic competitions has diluted the market and I feel somewhat devalued photography by turning it into a competitive sport. I do not view photography as a competitive sport with my peers where the aim is to out score them. I enter photographic competitions because I want to better my own photography and to continually raise the standard of my work. I am in essence competing against myself and the results I received in the last competition.

Whilst the International Loupe Awards are not a rights grab attempt they have become excessively expensive to enter in my opinion. As a result, this year I decided to enter only two images into the awards.  The first photograph was from my last Antarctica expedition and the second from my summer Iceland workshop earlier this year. I chose these particular photographs as I felt they were somewhat striking and more likely to get the judges attention and stand out from the crowd. It seems I managed to split the judges with two of them scoring the image from Antarctica in the 90’s (including a 95 Platinum Award) and another at a Bronze of 77. Unfortunately the lower score did pull down the average and resulted in a solid Silver Award; which is still a result I am very pleased with. Silver in the Loupe Awards is regarded as a high quality image worthy of recognition in the competition. More importantly for me it tells me my work is consistent since I have consistently received Gold and Silver awards in three years I have been participating. I have no idea as yet what my second entry into the Loupe Awards this year has scored as I have not yet received notification via email.

My decision to abandon the International Loupe Awards next year has nothing whatsoever to do with the Silver Award this particular image scored; or indeed any score any of my work has ever received. Since I have received my share of Gold and Silver awards in the Loupe Awards I feel I have gone as far as I can with this competition and the judging of jpeg files on back lit monitors. I really do not feel like I have completed an image until I have made a print and held it in my hands and as such if I am going to have my work judged in competition my preference is for it to be on what I consider to be the ultimate output – The Print.

It is always a pleasant surprise when a photograph is picked up and featured by National Geographic magazine so I was very pleased this morning to find that one of my favourite images from my last Antarctica Expedition was featured as the photo of the day on the 6th of November over at National Geographic’s website. This photograph was also amongst the editors favourite picks in September this year and was the photograph I chose to use to feature the Antarctica Expedition I am co-leading with my good friend  Daniel Bergmann in November next year. This is the 3rd time I have had my photography featured over at National Geographic’s website. The previous two photographs Blue Berg and Highway to Hell were both taken during my 2010 Iceland trip. A high resolution version of this newly featured image can be downloaded as a desktop wallpaper HERE. This photograph is also available as a 20 x 30″ Fine Art Print on Moab Somerset Museum Rag paper in a limited edition of ten (there are only three remaining in the edition).

If you would like to take photographs like this there are still a few spaces remaining on my Antarctica expedition next year for anyone who would like to join me. Just pop over to my website at www.jholko.com where you can register online for a booking form.

Just a quick update on the availability of remaining places for the Jewels of the Arctic expedition I am co-leading with Daniel Bergmann in August next year. If you are interested in grabbing one of the remaining places and would like more information you can download a detailed itinerary and information PDF HERE.

AVAILABILITY

• Triple Share Male (SOLD OUT)
• Triple Share Female – 2 Places Available
• Twin Share Male (SOLD OUT)
• Twin Share Female (SOLD OUT)
• Twin Private Male – 3 Cabins Available
• Twin Private Female – 3 Cabins Available
• Mini-Suite – Only 1 Suite  Available
• Captains Cabin – 1 Cabin Available

This dedicated photographic expedition departs on the 5th of August 2013 and docks on the 18th of August. The trip will set sail from Longyearbyen in Svalbard and will be taking in the very best of Spitsbergen and Greenland before docking in Isafjordur in Iceland. A connecting flight will then take you to Keflavik International airport for connecting flights home.

This expedition will combine the very best of Spitsbergen and Greenland with a taste of Iceland and has been structured to provide the best possible photographic opportunities. Spitsbergen’s rugged northwest coast comprises mountains, tundra and fjords. Greenland’s remote east coast shows off the immensity of the icecap, fantastic icebergs and massive granite spires rising over 1000 metres above the fjords.

This expedition offers a complete Arctic experience for photography: tundra walks amidst reindeer and exquisite dwarf vegetation, zodiac cruises  near calving glacier fronts, hikes to breathtaking mountain vistas and warm welcomes into indigenous communities. We will likely see and photograph Polar Bears, Reindeer, Arctic Foxes, Walrus, Glaciers, icebergs and more. It is going to be a truly spectacular photographic trip for a very limited number of photographers aboard an ice hardened expedition class ship.

The expedition is for a strictly limited number of 50 participants plus leaders and expedition guide. Whilst many trips to the Arctic take 100+ tourists this expedition is capped at a maximum of 50 dedicated photographers in order to ensure the best possible experience and photographic opportunities. We will be using an ice hardened expedition ship with a highly experienced crew in order to ensure we can get as close as possible to big ice and place you in the best locations for making photographs. Our expedition ship the ‘Polar Pioneer’ is equipped with sufficient zodiacs and crew for all photographers to be shooting simultaneously with plenty of room to spare for camera equipment.

A couple of days ago I received an email from someone interested in joining my new expedition to the Arctic in August next year – The Jewels of the Arctic. As a parent of young kids one of the questions about the trip really made me smile and after some back and forth email I just had to ask if it was ok to share it on my blog. The question at its heart is actually a very good one – ‘How far will we be from the North Pole?‘. The interested party clearly also saw the humour in the circumstance of the question and kindly agreed to let me share the relevant correspondence here on my blog. Enjoy.

Dear Josh,

I would very much like to join you on the Jewels of the Arctic trip next August but I just have a few questions if thats ok. I see that the trip finishes in Iceland which is fantastic as I have not been there before either. How long would you recommend I stay? And can you please give me some ideas of things I should see?

Will you be giving advice on what equipment to bring? I only have a Rebel and two zoom lenses for it but plan on getting a longer lens before we leave.

And I feel silly for asking this, but my kids want to know how far we will be from the North Pole as they would like me to personally deliver their Christmas wish lists to Santa Clause. Last year they did not get the new bikes they asked for and they think the mail man might never have made it to his house.

Thanks Josh.

I couldn’t let an opportunity to add to the humour slide by…

Dear XXXXX,

Thank you for your email and interest in the Jewels of the Arctic trip next August. I have attached some additional information on the expedition for your reading and made some comments below about Iceland and equipment

<Snipped out the extensive Iceland and equipment text>

In terms of view of how close we will be to the the North Pole: At our most northerly position we will be only 600 miles from the Pole; although much is dependant upon the prevailing ice. We will see and photograph grazing Reindeer on this expedition as well as Polar Bears and other wildlife. Whilst I cannot guarantee Rudolph or his helpers will be amongst the Reindeer I feel quite sure that at least one of the available Reindeer will be able to deliver your children’s letters to Santa in time for Christmas (I am under similar instructions from my own kids). I believe the standard Reindeer courier cost is a small bag of carrots. Please let me know if you’re children would be happy to have their letters delivered by Reindeer and I will endeavour to make the necessary arrangements.

Kind Regards,

I was certainly wondering at this point if I was going to hear back – but I did. And after a few more swapped emails the interested party has joined the expedition and we have agreed to package up our Christmas letters and send together. If anyone else would like their Christmas letters delivered by Reindeer please let me know.

One of the real joys of Polar photography (both North and South) is the abundance of wildlife and the myriad of photographic opportunities available for not only landscape, but also wildlife photography. I am still sorting through the thousands of frames I shot of penguins and seals on my last Antarctic trip even as next years new and exciting Jewels of the Arctic expedition and Antarctic Expeditions are rapidly approaching.

One of my favourite wildlife photographs from Antarctica last year is of an Antarctic fur seal wallowing in the snow not far from the waters edge. This was a fun photograph to take as I was lying in the snow during a shore landing only a few metres from the seal; which seemed totally oblivious to my presence. I shot this with a 300mm lens to get nice and tight and simply waited for the seal to raise its head and yawn (as they are prone to do – seals seem to get bored very easily ). This photograph was recently picked up by the Royal Canadian Geographical Society and I am pleased to say is featured in their 2013 Calendar as the image for September. Copies of the calendar are available from the Royal Canadian Geographic Society.A larger version of this photograph can also be seen on my portfolio website at jholko.com under Antarctica.

Bookings are now open for the new 14 day / 13 night photographic expedition I am leading to the Arctic in August next year – The ‘Jewels of the Arctic’. This dedicated photographic expedition departs on the 5th of August 2013 and docks on the 18th of August. The trip will set sail from Longyearbyen in Svalbard and will be taking in the very best of Spitsbergen and Greenland before docking in Isafjordur in Iceland. A connecting flight will then take you to Keflavik International airport for connecting flights home.

This expedition will combine the very best of Spitsbergen and Greenland with a taste of Iceland and has been structured to provide the best possible photographic opportunities. Spitsbergen’s rugged northwest coast comprises mountains, tundra and fjords. Greenland’s remote east coast shows off the immensity of the icecap, fantastic icebergs and massive granite spires rising over 1000 metres above the fjords.

This expedition offers a complete Arctic experience for photography: tundra walks amidst reindeer and exquisite dwarf vegetation, zodiac cruises  near calving glacier fronts, hikes to breathtaking mountain vistas and warm welcomes into indigenous communities. We will likely see and photograph Polar Bears, Reindeer, Arctic Foxes, Walrus, Glaciers, icebergs and more. It is going to be a truly spectacular photographic trip for a very limited number of photographers aboard an ice hardened expedition class ship.The expedition is for a strictly limited number of 50 participants plus leaders and expedition guide. Whilst many trips to the Arctic take 100+ tourists this expedition is capped at a maximum of 50 dedicated photographers in order to ensure the best possible experience and photographic opportunities. We will be using an ice hardened expedition ship with a highly experienced crew in order to ensure we can get as close as possible to big ice and place you in the best locations for making photographs. Our expedition ship the ‘Polar Pioneer’ is equipped with sufficient zodiacs and crew for all photographers to be shooting simultaneously with plenty of room to spare for camera equipment.

There will be informal talks and image reviews and plenty of opportunity for one-on-one instruction for those who wish it throughout the length of the trip. As well as informal side by side shooting from the deck of the ship, on zodiac and during shore landings there will be lots of opportunity to discuss all aspects of photography and image making with like-minded individuals. If the idea of photographing the stunning Arctic landscape and amazing wildlife is appealing then now is the time to secure your place.

PRICE

• Triple Share Cabin $7,500 per person (two cabins available)
• Twin Share Cabin $8,950 per person (1 x female berth remaining)
• Twin Private $10,700 per person (7 cabins remaining)
• Mini-Suite $11,975 per person (Only One Left)
• Captains Suite $12,950 per person (Sold Out)

Due to initial expressions of interest and registrations there are only limited places remaining. If you would like to join me on what is going to be an amazing Arctic photography expedition please drop me an email for a detailed itinerary and booking form to info@jholko.com. Please note that  places are filled strictly on a first come, first served basis and once they are spoke for thats it.

I will shortly be announcing a new and very exciting 14 day / 13 night photographic expedition titled ‘Jewels of the Arctic‘. Departing on the 5th of August 2013 and docking on the 18th of August the trip will set sail from Longyearbyen in Svalbard and will be taking in the very best of Spitsbergen and Greenland before docking in Isafjordur in Iceland. A connecting flight will then take you to Keflavik International airport for connecting flights home. This expedition will combine the very best of Spitsbergen and Greenland with a taste of Iceland and has been structured to provide the best possible photographic opportunities. Just as a teaser: Spitsbergen’s rugged northwest coast comprises mountains, tundra and fjords. Greenland’s remote east coast shows off the immensity of the icecap, fantastic icebergs and massive granite spires rising over 1000 metres above the fjords. We will likely see and photograph Polar Bears, Reindeer, Arctic Foxes, Walrus, Glaciers, icebergs and more. It is going to be a truly spectacular photographic trip for a very limited number of photographers aboard an ice hardened expedition class ship. I am not quite ready to start taking bookings, but you can register your interest to have first option to join by sending me an email to info@jholko.com. No obligation at this point.

I was recently interviewed by Resource Photo.Video.Lifestyle magazine about my landscape photography and the content of the interview is now online at their website HERE. This interview was particularly good fun for me as the nature of the questions gave me an opportunity to talk about how I got my start in photography, in addition to my thoughts on working in the field in remote locations, the importance of the right equipment and the opportunity to talk about my workshops – including the recently announced 2013 Antarctica expedition. I hope you enjoy the read over a morning / afternoon cup of coffee. 

I am including below an image I shot on my last Iceland workshop  in Landmannalaugar in August this year. Photographed from the top of one of the regions highest peaks in overcast misty conditions it was a very stark contrast to my visit two years earlier (during which time I witnessed some of the most amazing light I have yet had the pleasure to experience).  I thought at the time that the grey misty skies of this trip were conspiring against me and that there was going to be little in the way of opportunity. I photographed anyway and found when I got back to the studio and was reviewing my images that I actually really liked the soft lighting which seems to work so well with the pastel pallet of Landmannalaugars amazing volcanic mountains. This is an area of Iceland very near and dear to my heart and one I am very much looking forward to revisiting next year during my summer workshop. A higher resolution version of this photograph can be seen in my portfolio at www.jholko.com under Iceland II.

I am currently working on dates for the 2014 Iceland Workshops and hope to have these finalised and online in the next month or so.

I was very pleasantly surprised yesterday when an alert Facebook friend messaged me to let me know that they had spotted one of my photographs from Antarctica on National Geographic’s website. The photograph is part of a small collection of  ’editor’s favourite photographs’ in the their current Travel Photo Contest and is featured in the week one gallery. This photograph is one of my personal favourites from my last expedition to Antarctica and was taken from the deck of the ice-hardened Ocean Nova as we cruised slowly past the penguins and iceberg during a heavy snow storm. It is also the photograph I chose to use on the flyer of my 2013 Antarctica expedition and that won a Silver Award at the 2012 APPA Awards. A high resolution copy can be downloaded for personal use for the Desktop, i-Pad and i-Phone from National Geographic’s website or HERE from the media section of my website.

How do you take what is widely regarded by many photographers as one of the finest camera bags on the market and make it even better?

I was pondering this when the guys at Gura Gear first told me that they were working on an update to the very popular Kiboko 30L camera bag along with a range of new accessory storage bags called the ‘Et Cetera’ range.I was an early adopter of Gura Gear bags. After I returned from my first expedition to Iceland I realized how unhappy I had become with my then current camera bag (whose name shall remain anonymous). For a variety of reasons it was no longer satisfying my needs and I was on the lookout for a new lightweight bag that met airline carry-on restrictions for size but enabled me to carry more equipment comfortably into the field.  Anyone who has travelled domestically or internationally with camera equipment understands the importance of being able to carry equipment onto the airplane to avoid the risk of damage or theft in checked luggage. I therefore needed a bag that could not only hold all of my equipment, but that was light, robust, suitable for moderate hiking, and still enabled me to glide through airport check -in with a smile and a wave. My search led me to the Kiboko which, after several years of photographic travel, has become my number one camera bag of choice for all of my photography.

Fast forward to 2012 – With a four week photographic trip to Europe and a workshop in Iceland in July and August this year it was the perfect opportunity to field test the new Gura Gear Bataflae camera bags and Et Cetera range. The good folks at Gura Gear agreed and a shipment of the new product range was soon winging its way to me.

I admit to being very excited when I opened up the boxes from Gura Gear and saw the new products. You know you have purchased a quality product when you open the box and are greeted by the super slick black dust covers bearing the Gura Gear logo. Whilst the addition of a dust bag might seem superfluous it does in fact prove very useful for long-term storage and can even serve as a pretty cool laundry bag when travelling.

Widely regarded as being capable of swallowing copious amounts of camera equipment with room to spare (the Kiboko 30L will hold just about everything you can throw at it) the new Bataflae 32L adds even more space. Overall, it is larger and deeper than the original. This extra space proved a real blessing during my field tests as Canon’s new 1DX camera with a really right stuff L bracket is a very tight fit in the original Kiboko, but slides perfectly into the new bag thanks to the extra head room. Users of professional DSLR’s, medium and large format camera gear will really appreciate the extra height available.

Those of you familiar with the original Kiboko will already be sold on the benefits of the unique butterfly openings that avoid that unwieldy large flap that most camera bags provide for internal access.  There are, however, times when it would be nice to be able to open the bag right up for packing and full access. Well, the new Bataflae gives you the best of both worlds with the traditional butterfly openings but adds the ability to open the entire bag up by releasing a simple clasp at the top of the bag. This really makes packing much simpler as well as providing full access to both sides simultaneously when required in the field. The centre divider contains extra strengthening to maintain rigidity even when the bag is fully loaded. In use, I found this to work very well.The rain cover has been relocated from inside one of the butterfly pockets to outside the bag in a small zippered pocket, which has freed up more room in the butterfly pocket. The rain cover now also utilizes a draw string which is an improvement over the original elastic cover because it can now also serve as a ground sheet if required.

Like the original bags, the new range is manufactured from highly durable materials, although the new material has more bling. The stitching, zippers and internal fittings of the new bags are improved in every respect. Even the finger zipper pulls are easier to use.  Additional padding has been added to the backpack harness, which makes the bag noticeably more comfortable when hiking. There are yet more refinements to be found in the way of improved clasps for carrying tripods which can even accommodate items such as crampons. Like its predecessor, the new range comes with a considerable number of extra dividers so that its internal storage space can be customized to one’s own particular needs. All of this amounts to a very compelling reason to upgrade to the new models.

When the new Bataflae is fully loaded with my camera equipment it was significantly over the normal carry-on luggage allowance during my Europe and Iceland expeditions, yet I had no issues on any of the five international and domestic flights, including several long haul flights. With the increase in size, the new Bataflae still fits in the overhead lockers on the aircraft I travelled and still retains its understated appearance. I am utterly convinced that the Bataflae is the best camera bag on the market for photographers who fly and travel.

During my four weeks in Europe I used the new Bataflae everywhere, from the bustling streets and Cathedrals of Paris to the more subdued provincial countryside and wine regions of France where I travelled by hire car. I took it mountaineering at 13,000 feet at Mont Blanc in Chamonix where it was -15 degrees Celsius, and trod the myriad of canals in Venice Italy during the peak summer season. I then travelled to Iceland for my 2012 summer Workshop where I spent time on the Snaefellsness Peninsula, the highlands of Landmannalaugar and the stunning Jokulsarlon glacial lagoon to name but a few locations. I undertook some fairly arduous hiking in the Landmannalaugar region and subjected the bag to everything from waterfall spray, rain, salt spray, sand and dust. I threw just about everything I could at the new bags and found them an improvement in every way over the originals.

The design changes and refinements to the new bags are in many cases subtle but they add up to a significant overall improvement that makes for a very compelling reason for existing Kiboko owners to upgrade. If, on the other hand, you haven’t already pampered yourself and your camera gear with Gura Gear then you are about to be presented with a fantastic opportunity with the release of these new products. They are highly recommended for their robustness and overall design.

The new product range takes everything that was great about the original bags and improves on it in just about every respect. I would argue that, outside of the camera and lens, there are few pieces of equipment that can have as much impact on your photography as your camera bag. If you travel or frequently change locations (and which photographer doesn’t!) you owe it to yourself (and your expensive equipment) to check out a Gura Gear camera bag.

Part Two – The Et Cetera and Tembo Range

As photographers we are constantly adding accessories to our equipment arsenal. Additional batteries, chargers, color checkers, CF and SD cards and card readers, adapter rings – the list goes on and on and there is only so many of these that can be shoehorned into a camera bag already overflowing with bodies and lenses. I am sure many of us have thrown all manner of photographic accessories loose into our suitcases before we travel because our camera bag was already overweight with bodies and lenses and at risk of airport check-in destruction.Solving this problem could well be Gura Gear’s masterstroke. Its new Et Cetera and Tembo line of products is designed to solve that annoying problem of finding a home for some of those accessories. The range is perhaps best thought of as the ‘Tupperware’ of camera storage and provides a range of different storage options for different accessories. I found these storage containers invaluable on my recent European trip and Iceland workshop and far more convenient than throwing items loosely in my checked luggage.

There is a range of different sizes and shapes from which to select and photographers will likely choose those models that best suit their needs and requirements.

Gura Gear products can be ordered directly from the Gura Gear Website

CANON: I was recently interviewed again for Canon Australia’s CPS ‘Gear in Action’ website and the content of the interview is now online at CPS Australia. Unlike my previous interview HERE which primarily focused on Fine Art Printing this time the emphasis was on cameras and my experience with Canon’s new tour-de-force 1DX camera during my recent travels through France, Italy, Venice and Iceland. There is also a small gallery of images- which I have not yet even uploaded to my website. I hope you enjoy the interview.For CPS members there are also details of the expedition I am leading to Antarctica with Daniel Bergmann on Canon Australia’s website HERE. This expedition is of course open to all photographers. You don’t have to shoot Canon or be a member of Canon’s Professional Services.

PHOTOKINA: If you are heading over to Germany for Photokina later this month be sure to stop past the Moab and Legion Paper stands where some of my prints from my Iceland series will be on display on my favourite paper: Somerset Museum Rag.

A small disclaimer: Although I both shoot and print exclusively with Canon cameras and printers I am not sponsored by Canon. I pay for all of my own equipment with my own hard earned money. I choose to use Canon cameras and printers because I have found them to offer outstanding results and reliability in my photography – not because I am incentivised by the manufacturer. I am a Canon CPS Gold Member and rely on CPS to assist me with sensor cleaning and loan equipment from time to time.

A quick availability update of remaining places on the Antarctica Photographic Expedition I am leading with Daniel Bergmann in November next year. There is currently only one triple share male space remaining and two triple share female places. There are still a few Twin Share spaces available and Twin Privates. There is one mini-suite remaining and the Captains Suite is sold out. If you are interested in joining us on what is going to be a unique and wondrous expedition to Antarctica then please drop me an email to secure your spot. Places are secured on a first come, first served basis. Once they are spoken for and booked thats it.

• Triple Share Cabin Male (One space left)
• Triple Share Cabin Female (Two spaces left)
• Twin Share Cabin (Six spaces left)
• Twin Private (Eleven cabins left)
• Mini-Suite  (One cabin left)
• Captains Suite (Sold Out)

Registrations are now open for a very exciting and unique expedition I am co-leading with Professional Nature and Wildlife Photographer Daniel Bergmann to Antarctica in November 2013.  This has been a trip more than 8 months in the planning and has been designed and structured to provide the very best possible photographic opportunities. It also includes some truly unique features and opportunities that I am really excited about.

The expedition is for a strictly limited number of 50 participants plus leaders and expedition guide and will offer an extended period in Antarctica (15 Day / 14 night Expedition). You will get more time amongst the ice and wildlife in Antarctica than any other photographic trip offers. Whilst most trips to Antarctica take 100+ tourists we are capping the trip at a maximum of 50 dedicated photographers in order to ensure the best possible experience and photographic opportunities. We will be using an ice hardened expedition ship with a highly experienced crew in order to ensure we can get as close as possible to big ice and place you in the best locations for making photographs. Our expedition ship the ‘Polar Pioneer’ is equipped with sufficient zodiacs and crew for all photographers to be shooting simultaneously with plenty of room to spare for camera equipment.The expedition departs on the 9th of November 2013 and returns on the 23rd of November 2013 and includes very special access into areas normally restricted to scientific research, as well as taking in amazing locations such as the breathtaking Lemaire Channel, the Gerlache Strait and the surreal geothermal Deception Island, to name but a few. There is a fly return from the Falkland Islands; which avoids the worst of the Drake Passage and allows us more time in Antarctica as well as the opportunity to visit and photograph in the the wildlife rich Falkland Islands. There is also an option to stay on in the Falklands for each person for as long as they wish. Flights run once a week out of the Falklands with LAN Chile.

• Triple Share Cabin $9,990 per person (Only One Left)
• Twin Share Cabin $11,500 per person
• Twin Private $13,200 per person
• Mini-Suite $14,200 per person (Only One Left)
• Captains Suite $14,900 per person
• Flight to Punta Arenas from the Falkland Islands $660

Positions are strictly filled on a first come, first served basis and once they are filled thats it (some berths and cabins are already booked and spoken for). If you are excited by the idea of travelling to Antarctica with a small group of dedicated photographers you may register your interest by contacting me via email. To get an idea of the sort of photographs you can take on this expedition please visit the Antarctica portfolio on my website at www.jholko.com

This expedition report is different from the norm in that I need to preface it with the fact that I was not just visiting Iceland on this trip. Before departing for Iceland I spent three weeks touring France and Italy with my wife. During this time we spent a week immersing ourselves in the wonderful café culture of Paris before driving through provincial France where we spent time in Champagne, Burgundy, Amboise, Beaune, and the mountaineering Mecca of Chamonix, before heading for Milan and the canals of Venice. I therefore packed lenses such as the 85mm F1.2L MKII for my time in Europe. I would not have normally taken this lens to Iceland. I will endeavor to write up a separate report on what worked and what didn’t during my time in France and Italy, as these locations are worlds apart from the pristine Iceland wilderness and require a totally different approach (not necessarily different equipment) to make the most of the photographic opportunities.  I did not pack a flash for this trip, a deliberate decision as I wanted to see what the Canon 1DX was capable of at high ISO in real world shooting. More to come on this in future blog posts. Suffice to say for now that I foresee my flash gun gathering significant dust over the coming months, or more likely making its way to eBay.

This expedition workshop to Iceland included several locations that I had not visited on previous trips (as well as some favorite locations) and really ticked the remaining boxes for me in terms of Iceland’s major landmarks. Location highlights included the Snæfellsnes Peninsula, Landmannalaguar, Hveravellir, Jokulsarlon and Veiðivötn, to name just a few. In order to ensure we maximized our time in the field when the light was good, we camped or stayed in hotels, depending on the location. This combination of accommodation worked very well and is a departure from the usual hotel-only trips. I may well run future workshops that include a mixture of both hotel accommodation and camping. Not only does it help with being in the right place at the right time but it also reduces costs – Iceland in summer can be very expensive.As was to be expected, Iceland served up a mixed bag of weather and light on this trip. With fickle and constantly changing arctic weather, Iceland’s climate is never stagnant or boring. We encountered the best light of the trip one early morning (2:00am) in Veiðivötn (the crater lake area) where a fog was hanging over the black volcanic tephra craters. For a period of around 30 minutes the light was magical as the rising sun slowly burned off the fog, revealing a wonderful play of light (those photographs will come later). We also had beautifully soft light on the Snaefaelsness Peninsula late in the evening, around midnight, and a fiery sunrise at the geothermal Hveravellir. This was a nice contrast for me because my last visit to Hveravellir was under overcast skies in windy conditions.Although I packed both the Canon 1DX and 1DS MK3 on this trip, I shot exclusively with the 1DX throughout my travels in Europe and Iceland. The 1DS MK3 never made it out of the bag. I am ecstatic with the quality of the files from the 1DX and it has surpassed my expectations as a camera in all respects. The auto focus is blisteringly fast and accurate and the metering is as good as anything I have previously encountered. Technologically, the Canon 1DX is a tour de force game-changing camera that not only allows for shooting handheld in virtual darkness with near noiseless files, but also produces superb results for landscape and wildlife at more moderate ISO ranges. I was skeptical when Canon announced the 1DX as a direct replacement for both the 1DMKIV and 1DSMK3 but will happily eat my fill of humble pie, because the results speak for themselves. After shooting with the 1DX in Europe and Iceland, my 1DS MK3 has now been relegated to a back-up only body and may well be replaced with another 1DX in the future. When I get time I will update my equipment page as I have added a number of different lenses since the last update.

In terms of lenses, I used almost everything I bought with me (which was considerable). The exception was the 90mm TSE, which was a last minute inclusion and, in the end, not needed. My most utilized lenses were the 24mm F1.4L MKII and the Canon 35mm F1.4L, closely followed by the 70-200mm F2.8L IS. I also shot quite a lot of frames with the 17mm F4L TSE and the 300mm F2.8L IS. Other participants shot with the Zeiss 21mm, Canon 24mm TSE MKII, 70-200mm F4L IS and other similar focal length lenses on their Canon 5D MKIII’s, 1DsMKII’s and 1DMKIV’s.  After hauling my 70-200 F2.8L IS all over Europe, I am now considering selling it and replacing it with the much lighter F4L IS version. Since I rarely shoot this lens wide open it makes little sense to carry the extra weight. In terms of image quality the two lenses are virtually identical when they are stopped down to F5.6, so the decision is purely a matter of weight.

The inclusion of a Leica M9 and Nikon D800E by one participant proved quite interesting. The Nikon seemed to require fairly regular battery drops to reset it after what can only be described as ‘irregular activity’. At one point the camera displayed a ‘rainbow’ across its LCD screen when switched off. Fortunately, none of these glitches proved fatal and all were easily rectified by dropping the battery. These hiccups did not fill me with confidence in the camera and hopefully Nikon can resolve them with future firmware updates. It was interesting to compare the LCD screens of the Canon 5DMKIII and 1DX against the Nikon D800E. There is no question that the Nikon is decidedly green in tinge and not in the same league as the Canon screens. This really made a big difference when using ‘live view’ to compose and frame. The Leica is now a generation or two old and its LCD screen is the worst of the bunch, good for little more than histogram exposure confirmation.On the trip through Europe I travelled with both the Gura Gear Kiboko and Chobe camera bags and never had any issues with carry-on luggage on any of my long haul or short hop flights. In total, I took eight international flights, using carriers such as Cathay Pacific, Qantas, British Airways, and Iceland Air. My thanks to both British Airways and Iceland Air for the upgrades to Business Class – very much appreciated!

Considering my Kiboko fully loaded with camera gear weighed in at nearly 24 kilograms and my Chobe at just under 8 kilograms, I consider this a significant achievement and a testament to Kiboko’s ability to hold copious amounts of equipment in a compact, unobtrusive size. I did quite a bit of hiking at Landmannalaugar and the Jokulsarlon glacial lagoon with the fully loaded Kiboko and never found the bag uncomfortable. Most hikes averaged around 5-6 kilometers over rough, uneven and steep terrain. It is worth remembering that the Kiboko is first and foremost a bag designed for travel and not hiking and therefore its harness system (although excellent) is perhaps not as good as those found in dedicated mountaineering and hiking packs. Nevertheless, it is a testament to the quality and design of the bag that it can be worn and carried as a backpack full of gear on long hikes without discomfort. I am confident that this bag would serve just fine for all but multi-day hikes.I shot over 4000 frames on this trip and hope to start editing and processing over the coming weeks. I am currently putting the finishing touches on a very exciting expedition to Antarctica in November 2013 and will be formally announcing the trip very shortly. This has been a trip more than eight months in the planning and includes some really unique features about which I am very excited.

In previous reports I have neglected to mention that the quality of food in Iceland is outstanding. Having been fortunate to spend time in many parts of the world, I have found that Iceland consistently serves up the best quality fresh foods I have experienced anywhere. Whether it’s lobster bisque, hamburger, or the local delicacies of smoked puffin or Minke whale (if that floats your boat), it is always excellent. The only other country I know of that can match Iceland for consistency and quality of food is my home city of Melbourne.

As is typical for me, I required copious amounts of coffee plus my favorite energy drink Magic (its probably just as well this isn’t available in Australia) to keep me pepped and focused during the long shooting hours. I would estimate we averaged a total of 3-4 hours sleep per day, which was squeezed in between photography, grabbing a meal, and driving to different locations. The hours of a photographic workshop expedition to Iceland are punishing, but the rewards are well worth the effort under the spectacular midnight sun.

Overall, this was a wonderfully successful trip to both Europe and Iceland. As always, special mention to my good friend and guide Daniel Bergmann for his guidance and local knowledge during the expedition. With Iceland 2012 now complete, my attention is turning to March next year when I am leading two Winter workshops to Iceland for frozen waterfalls, ice covered geothermal areas, the Aurora northern lights and with a little luck (OK, a lot of luck) perhaps even an erupting volcano. For anyone who is interested there are only two remaining positions on the 2^nd Winter trip that kicks off on the 22nd of March until the 31st of March with Andy Biggs and myself. [Edit - Both trips are sold out]

I also wish to make special mention of those friends and colleagues who took the time to meet with me in Reykjavik before the expedition including Dagur from my favorite outdoor clothing label 66 North and A’sgeir from press photo www.pressphotos.biz.