JHolko Photography - Blog

ZODIAC PHOTOGRAPHY IN ANTARCTICA

jholko — Mon, 21 May 2012 11:20:04 +0000

One of the most exciting and enjoyable aspects of a photographic trip to Antarctica is the opportunity to climb into a zodiac with like-minded photographers and spend countless hours cruising amongst the spectacular icebergs and glaciers that line the Antarctic Peninsula. For the photographer with a penchant for icy landscapes it just doesn’t get any better, and the opportunities are virtually limitless.

Ice Sanctuary

Cruising in a zodiac is one of the best ways to photograph icebergs since it puts the photographer at sea level, enabling wonderful perspective opportunities that are impossible to achieve aboard a large ship. Zodiac photography also provides you with the opportunity to get very close to even relatively large icebergs, thus enabling you to create dramatic photographs through the use of wide and ultra-wide angle lenses. If your zodiac driver is keen and fearless enough then in many cases you can even get close enough to touch some of the more stable icebergs (as I did on several occasions). If you are super keen then you may even be up for a polar plunge, as one member of my group recounted from a previous expedition.

Ocean Nova moored in low cloud at Deception Island Antarctica

During my last Antarctica trip I spent over twelve hours cruising in zodiacs with other photographers, which provided ample opportunity to not only photograph icebergs, glaciers and penguins, but also to place other zodiacs and people in the frame to provide a sense of scale and context to some of the photographs. I normally work very hard to exclude the hand of man in my landscape photography, but in several instances it provided the perfect counter point to complete and balance the frame.

Zodiac Shooting Antarctica

Whilst the idea of wrestling with camera gear in a pitching zodiac on Antarctic seas with ten other photographers all jostling for position might sound like less than ideal shooting conditions, the reality is quite different. A zodiac provides a relatively stable shooting platform and can actually comfortably accommodate up to ten photographers (with equipment), a dedicated driver, and still provide ample room for everyone to shoot simultaneously. I never felt cramped or uncomfortable and was successfully able to share the space available with those around me. Usually those on the side closest to the subject kneel on the floor of the zodiac with their arms resting on the pontoon. This provides a very stable platform for handheld shooting. Photographers on the far side of the subject can then stand and shoot over the top of those kneeling in front of them. The zodiac driver would always do a few passes, thus enabling everyone to get the shot from several vantage points. Because a zodiac is a small boat and is constantly moving, it is important to keep shooting whenever the subject is in frame since the composition is constantly changing. There is very little time to properly compose a well-considered frame before the angle of view has changed. Instead, the challenge becomes one of selective editing later on.

Ice Tunnel

Photography from zodiacs does require some additional and necessary equipment, including thermal clothes, waterproof jacket and pants, self inflating life jacket, and rain covers for camera equipment. One of the biggest challenges is protecting camera equipment from salt spray, sleet and snow. During several of my zodiac sessions we were buffeted by high winds whipping up spray as the zodiac moved through the sea. We also experienced heavy snow, driving rain and sleet. During several trips I had my camera equipment completely soaked and was very glad of the weather sealing of my 1-series Canon cameras, which operated flawlessly. Several Canon 5D MKII cameras were not so fortunate and succumbed (albeit temporarily) to the harsh, wet conditions. I recommend carrying at least one cloth suitable for drying the front element of your camera lens and a separate bag in which to keep it dry.

On the way to the End of the World – Antarctica

In terms of positioning I found it generally best to sit toward the back of the zodiac to avoid the worst of the salt spray that is inevitably thrown up at the front of the boat. However, there is no free lunch at the rear either, where the fumes of the outboard engine’s exhaust can become somewhat nauseating after a period of time and gave me a headache on more than one occasion.

Ribbed Ice Antarctica

The choice of lens when shooting from zodiacs is an important consideration in your planning since it is quite difficult to swap lenses without ending up with a camera full of salt spray, rain or snow. In fact, even swapping out small SD memory cards can be a challenge in a pitching zodiac whilst wearing cold weather gloves. On top of this, Antarctica is an incredibly dusty environment and it is a good idea to try and minimize lens changes, or at the very least find a sheltered place to do so. I chose to shoot with both my 1DS MK3 and 1DMKV cameras, as I wanted to utilize prime lenses for the majority of my shooting and dual camera bodies gave me an additional focal length option without having to change lenses. I primarily shot with the 24mm F1.4L MKII and 17mm F4L TSE and occasionally with the 70-200mm F2.8L IS. I am comfortable shooting with prime lenses at the wide end and found these two lenses excellent for the task. Most photographers chose to shoot with zoom lenses when on zodiac excursions since they provide for increased framing possibilities. A zoom lens such as a Canon’s 16-35mm or Nikons 14-24mm will provide for more flexible framing.

A few tips if you are planning your first photography foray on a zodiac in Antarctica.

- Be sure to visit the bathroom before you climb on board. It’s amazing how the call of nature can hit you when you are in the middle of the Antarctic Ocean on a boat full of photographers keen on anything but heading back to the ship so you can relieve your problem.

- Don’t forget to put on your life jacket before you queue up to board. It’s amazing how difficult it can be to put on a life jacket over bulky thermals and wet weather gear whilst in a narrow ship corridor and juggling cameras.

- Carry a couple of dry lens clothes in an easily accessed waterproof bag for drying the front element of your lens. Use rain covers to protect your cameras.

- Carry spare camera batteries and spare memory cards in an easily accessed waterproof pocket. There is nothing more frustrating than being on a zodiac with a flat battery or full memory card.

- Wear sunscreen. Even in overcast conditions the reflected UV light off the icebergs will cook you in a very short space of time. The ozone layer is very thin over Antarctica.

- Wear plenty of warm clothes. Sitting on a zodiac, it is very easy to become chilled to the bone if the weather is poor or the wind is up. It is easy to remove a layer if you get too hot.

- Be considerate of those around you before you stand up or lean in front of someone else. Space is limited on a zodiac and everyone wants to take great photographs.

- Zodiac drivers are often keen photographers themselves and will do their best to put the zodiac in the best possible position for shooting. If you need to get closer or further away you can ask, and I have found they are usually very accommodating.

- Never carry loose pieces of paper or plastic. Antarctica is a pristine environment and it would be very easy to lose these items to the wind.

- Above all else, have fun. Shooting from zodiacs is an incredible experience and it’s important to put the camera down occasionally, have the driver switch the engine off and just appreciate the silence, rugged and raw beauty of Antarctica.

Andy Biggs and I will be announcing a new expedition to Antarctica in late 2013 in the coming months. If you would like to register your interest to be one of the first to be notified when the trip is announced you can email either Andy or myself at andybiggs@andybiggs.com or jholko@bigpond.com

Higher resolution versions of these photographs and others from this trip can be seen on my portfolio website at www.jholko.com

THE DIGITAL SHOW – PMA AUSTRALIA 25th – 27th MAY 2012

jholko — Tue, 15 May 2012 04:48:59 +0000

The newly renamed PMA Australia show; now known simply as ‘The Digital Show’ opens in Melbourne at the Melbourne Exhibition and Convention Centre on the 25th of May and runs until the 27th of May. I will be exhibiting a range of my landscape photographs on Moab Paper in conjunction with Giclee Media who are the Australian importers and distributors for Moab and Legion paper.

The 2012 Australian Professional Photography Awards are also being judged during the show and I will be floating around between the Moab stand and the APPA judging if anyone wants to say hello and chat about anything photography. Scott Conry from Moab USA will also be on the stand for any Moab paper queries.

Giclee Media Supplies, Stand 15 (behind the Canon stand)

‘LOOK FOR THE LOGO’ AIPP TELEVISION COMMERCIAL

jholko — Sat, 12 May 2012 01:00:39 +0000

The AIPP Australian Institute of Professional Photographers is for the first time running television advertisements supporting the message of ‘Look for the Logo’, in an effort to educate the photography buying public about the importance of using an AIPP Accredited Photographer. I am very honoured to have been selected as one of only three photographers to be featured on the commercial which will begin to go to air this May and June on Foxtel. A higher resolution copy of this commercial can be downloaded from my portfolio website in the media section at www.jholko.com

HMAS PENGUIN POOL – ANTARCTICA

jholko — Wed, 02 May 2012 11:08:56 +0000

I have a strong fascination with icebergs and glaciers and have been privileged to have seen a good many during the course of my travels in the last few years. From the base of Mount Cook, Fox and Franz Josef Glaciers in the South Island of New Zealand to Europe’s largest and mighty Vatnajokull glacier and stunning Jokulsarlon glacial lagoon and black sand beaches in Iceland, to the countless glaciers that dot the Antarctic peninsula and the multitude of icebergs that lie festooned in the myriad of bays and iceberg graveyards that make up the great white continent. I have witnessed and photographed icebergs in a dizzying array of forms and states under a wide variety of light and weather. Many of them have been spectacular and beautiful and all have been unique creations and sculptures of nature. This particular iceberg however, rates as the most unusual I have yet had the pleasure to photograph. An iceberg I have christened ‘HMAS Penguin Pool’ and one that is my photograph of the month for May 2012.

HMAS Penguin Pool

This particular iceberg was spotted by our captain Alexey on my last trip to Antarctica at the end of 2011 somewhere around the Anvil Strait (I do not recall the exact location and the GPS plot I have does not link up with my RAW files). We cruised slowly up to the side of the berg in our ship the Ocean Nova during a heavy snow storm. I was standing on the Port side of the ship only metres from the iceberg as several penguins were making their way along the length of the berg. I was able to take around 60 frames as we cruised slowly past what is the most unusual and unique iceberg I have ever encountered. I recall at the time one well known photographer who shall remain nameless standing too my right lamenting how it was such a pity it was snowing. All I could think of as I continued to press the shutter was how pleased I was that it was snowing and that it wasn’t brilliant sunshine. The overcast conditions, dark clouds and heavy snowfall add to the drama and speak to a more evocative primordial nature. A higher resolution version of this photograph can be seen on my portfolio website at www.jholko.com under Antarctica.

CAPTURE MAGAZINE TOP EMERGING PHOTOGRAPHERS 2012

jholko — Thu, 26 Apr 2012 04:32:32 +0000

I was very pleased to learn yesterday that I was selected as a finalist in the 2012 Capture Magazine Top Emerging Photographers in Australia in the Landscape category. This is Capture’s fourth annual awards showcasing the very best of Australia’s emerging photographic talent as chosen by some of Australia’s preeminent professional photographers. Over 4000 images were received this year for judging and I am very honoured to have had my portfolio of six photographs amongst them and to be selected as one of only three finalists in the Landscape category. Capture Magazine is Australia’s top selling pro-photography magazine and has also previously featured my work in 2011.

Well of Life

ICELAND 2013 WINTER WORKSHOP II – REGISTRATION OPEN: ‘LIMITED PLACES AVAILABLE’

jholko — Sat, 21 Apr 2012 06:45:53 +0000

Due to there being quite a few people who missed out on securing a place on the winter workshop I am leading to Iceland in early March next year with my friend Andy Biggs, we have decided to run a 2nd trip directly after the first sold out expedition. This will give those who missed out or that are currently on the waiting list another opportunity. I am therefore very pleased to announce a 2nd jointly led winter photographic expedition to Iceland with fellow Moab Master photographer Andy Biggs and pro nature photographer Daniel Bergmann. This expedition is from the 22nd of March until the 31st of March 2013. This trip will also focus on the southern coast and Snæfellsnes peninsula. A copy of the information, registration and booking form can be downloaded HERE. Due to pre-registrations from the existing waiting list and bookings already received there are already only a few places remaining.

Auroa

If you are interested in photographing in the amazingly geologically diverse country of Iceland then now is the time to register. At the beginning of March the darkness of the Icelandic winter is starting to lift and the days are becoming longer. We will have up to ten hours of good light during the day and with a little bit of luck the spectacular Northern Lights will increase our photographic opportunities well into the night. Winter conditions in Iceland can be stunningly beautiful: the glacial lagoons freeze, some of the waterfalls are partially frozen, the glaciers appear more blue with fresh snow on top and with fewer visitors, the black sand beaches of the south are more pristine. With true darkness in winter comes the possibility of seeing the awe inspiring Northern Lights (Aurora Borealis). We plan to make photographs of them whenever there are clear skies and intense Aurora activity.

Godafoss - Waterfall of the Gods

If you would like to join us then please contact either myself or Andy Biggs with your registration of interest. This expedition is strictly limited to a maximum of twelve participants, plus leaders and guide and places are reserved on a first come, first served basis – there are currently only a few places remaining. For members of the AIPP Australian Institute of Professional Photography this workshop is CPD accredited and accrues 15 points toward your annual target of 50 points. For further queries please contact me directly.

ICELAND 2013 WINTER WORKSHOP – SOLD OUT: ‘WAITING LIST ONLY’

jholko — Tue, 10 Apr 2012 04:05:28 +0000

The 2013 winter expedition I am co-leading to Iceland with Andy Biggs is now SOLD OUT. If you are interested in photographing in the amazingly geologically diverse country of Iceland then you can still register your interest and be placed on the waiting list. The expedition is from the 9th of March until the 18th of March 2013 and will focus on the southern coast and Snæfellsnes peninsula. At the beginning of March the darkness of the Icelandic winter is starting to lift and the days are becoming longer. We will have up to ten hours of good light during the day and with a little bit of luck the spectacular Northern Lights will increase our photographic opportunities well into the night. Winter conditions in Iceland can be stunningly beautiful: the glacial lagoons freeze, some of the waterfalls are partially frozen, the glaciers appear more blue with fresh snow on top and with fewer visitors, the black sand beaches of the south are more pristine. With true darkness in winter comes the possibility of seeing the awe inspiring Northern Lights (Aurora Borealis). We plan to make photographs of them whenever there are clear skies and intense Aurora activity. A copy of the information, registration and booking form can be downloaded HERE. Please just email me with your details if you would like to be added to the waiting list.

Shades of White

ICELAND 2013 WINTER WORKSHOP – OPEN FOR REGISTRATION: ‘LIMITED PLACES AVAILABLE’

jholko — Fri, 06 Apr 2012 01:46:44 +0000

I am very pleased to announce a jointly led winter photographic expedition to Iceland with fellow Moab Master photographer Andy Biggs and pro nature photographer Daniel Bergmann. The expedition is from the 9th of March until the 18th of March 2013 and will focus on the southern coast and Snæfellsnes peninsula . A copy of the information, registration and booking form can be downloaded HERE. Due to pre-registrations and bookings already received there are already only a few places remaining.

Burning Berg

Auroa

If you want to be able to take photographs like this then please contact either myself or Andy Biggs with your registration of interest. This expedition is strictly limited to a maximum of twelve participants, plus leaders and guide and places are reserved on a first come, first served basis – there are currently only a few places remaining. For members of the AIPP Australian Institute of Professional Photography this workshop is CPD accredited and accrues 15 points toward your annual target of 50 points. For further queries please contact me directly.

TASMANIA 40° SOUTH FEATURES ‘COLORS OF ICELAND’ EXHIBITION

jholko — Wed, 04 Apr 2012 01:23:05 +0000

Tasmania’s 40 ° South magazine – issue 64, features a multi-page spread on the Wilderness Gallery at Cradle Mountain in Tasmania and includes my current exhibition ‘Colors of Iceland‘. A high resolution PDF of the magazine excerpt can be downloaded HERE (download is around 40MB). The Wilderness Gallery is a ‘must see’ for the many visitors who travel to the world famous Cradle Mountain World Heritage park. The gallery is an important part of the Tasmanian Federal Group company; which has a long history of supporting the arts and is the largest wilderness gallery in the Southern Hemisphere.

THE GREAT OCEAN ROAD DEBRIEF REPORT

jholko — Fri, 30 Mar 2012 09:18:24 +0000

A few days ago I returned home from a whirlwind trip down the Great Ocean Road and I have now sorted through the roughly 600 frames which I shot while travelling down the coast photographing some of the mightiest icons of Victoria. For those of you who may not be aware, the Great Ocean Road is still one of the leading tourist attractions in the world. As a result of the increasing tourism, the area is now quite busy over the weekends, with regular busloads of camera-toting tourists and back-packers scurrying over the usual tourist hot spots. Shooting at the iconic Twelve Apostles at sunset can be like rush-hour. And yet, for the intrepid and dedicated landscape photographer, there are many other rugged and beautiful locations to choose from that are just as spectacular and more secluded from the tourist throngs.

The Cauldron

We were fortunate during this trip to have some dramatic light on the evening of our arrival, as well as some truly beautiful pre-dawn glow on the final morning before our departure. As a landscape photographer, I am always chasing dramatic light in order to create photographs that are unique, powerful and expressive. Whether it is through curtains of rain or stormy clouds, I seek out that special light that usually lasts for only a few seconds. And, it is not often I am fortunate enough to experience dramatic storm-light in combination with sunset, a combination that is truly magical and quite rare.

The conditions under which this occurred last Friday evening were challenging, with pelting rain, hail and powerful winds all conspiring against the rigidity of my camera and tripod which were perched precariously on the edge of the limestone cliffs. Standing near the edge of a 35 metre cliff above the broiling ocean, with the winds threatening to toss me into the sea with each gust certainly gets the adrenalin flowing. I was very thankful for the weather sealing of my 1DS MK3 as it was exposed to several hours of intense rain and pervasive salt spray from the storm breakers smashing into the cliffs. The waves that were crashing against the coastline were 6-8 metres high, tossing spray over a hundred feet into the air as they slammed into the rugged cliffs – it was both awe- inspiring and intimidating to be on the edge of that precipitous cliff.

Rogue Wave

One of the joys of storm photography is how often and how quickly the light changes. You have to move quickly and instinctively in order to make the most of it if you are to capture the best light. Balancing composition with light in weather conditions that are conspiring against you can be a real challenge. Even keeping the camera lens free of rain spots can be problematic. Also, having an instinctive understanding of your camera controls is essential to being able to work quickly to make the most of the changing light and conditions. Likewise, understanding shutter speed and the effect it will have on moving water and waves is essential to creating photographs that are artistic and capture the feeling of motion and drama in the sea. Being able to combine your skills as a photographer whilst battling the elements takes some practice.

Brewing Storm

The Great Ocean Road is an astonishing but challenging location to photograph. The coastline is truly spectacular between Apollo Bay and Warrnambool, but to convey a sense of scale, place and context is difficult. Most photographs I have seen of this part of Victoria fail to do justice to the rugged beauty and grandeur of this coastline – a lovely sunset just isn’t enough. Although calm seas and a perfect sunset will always result in a pretty picture of this Victorian coastline, the area offers so much more for photographers willing to put in the hard yards and exercise their patience in search of the right light and the best composition.

London Bridge

Landscape photography in Australia is an exercise in patience and frustration followed by final fulfillment. Australia’s often harsh daytime light works against good art photography of the type I am pursuing, as does the flat light caused by overcast conditions. The golden hours of perfect light are fleeting. As I have said before, landscape photography in Australia is like a long-haul international flight – hours of boredom followed by a few seconds of sheer panic during landing, when the light is at its best. It is an exercise in patience, which, in the end, can be extremely rewarding. This is not known as the Shipwreck Coast for nothing.

Nearby, the dense and mysterious Otway forest offers many opportunities for daytime photography, including several waterfalls, a forest of giant Californian Redwoods, the Cape Otway Lighthouse, and countless coastline images, including a multitude of abstractions in the coastal cliffs, as well as the myriad of possibilities in the many rock pools.

I will shortly be offering a multi-day workshop down the Great Ocean Road designed specifically for photographers who are keen to work hard for their images and who want to take their photography to the next level. Like my international workshops, this trip will be strictly limited in numbers to ensure we can operate quickly and cohesively in the field. Bookings will be taken on a first come, first serve basis. Stay tuned for further details over the coming weeks.

The Wall - Great Ocean Road

Higher resolution versions of these photographs can be seen on my primary portfolio website at www.jholko.com under Australia.

It is worth noting that I was travelling with a good friend of mine who owns and runs a successful portrait studio on this trip. It was very interesting to hear about the needs of a professional portrait photographer in contrast to my own camera requirements. Surprisingly, our needs proved to be more in step with each other than we might have first assumed, and I will have more to say on this in a future blog post.

GREAT OCEAN ROAD ICONS – WEEKEND PHOTOGRAPHY IN VICTORIA

jholko — Fri, 23 Mar 2012 00:11:14 +0000

I am taking a couple of days off this weekend from home and office duties and heading down the Great Ocean road with a fellow photographer friend for a few days of coastal landscape photography. The weather forecast is for occasional rain showers and possible hail so I am hopeful of some really dramatic storm lighting. Right now as I look out my studio window its quite overcast and windy with occasional breaks of sunshine – a real mixed bag. There are many wonderful locations for photography along the Great Ocean road including the iconic twelve apostles (of which there are approximately only six left), London Bridge, Gibsons Steps, Lochard Gorge and more. The Great Ocean road is a location in my backyard only a few hours drive from where I live that I have long ignored and I am looking forward to shooting along its spectacular coastline again. See you in a few days.

A friendly reminder: If you are in Melbourne this weekend, my new exhibition is currently on display at Source Photographica in Brighton. The exhibition includes some of my personal favourite images from Antarctica, Iceland and New Zealand over the last three years. Source Photographica is located at 1A Rose Street in Brighton, Victoria, Australia and is open seven days a week. Entry is free.

MELBOURNE WEEKLY BAYSIDE NEWSPAPER – ‘SOURCE OF INSPIRATION’

jholko — Tue, 20 Mar 2012 03:29:52 +0000

The current March 21st edition of the Melbourne Weekly Bayside newspaper has an introduction to my new exhibition opening tonight at Source Photographica in Brighton.

SUNDAY HERALD SUN EXHIBITION NEWS – THIS WEEK YOU WON’T WANT TO MISS…

jholko — Mon, 19 Mar 2012 01:01:39 +0000

This week’s Sunday Herald Sun newspaper (yesterday – Sunday the 18th of March 2012) included news of my new exhibition opening tomorrow evening at Source Photographica in Brighton in their weekly ‘This week you won’t want to miss…‘ column. Opening drinks are tomorrow evening Tuesday the 20th of March between 6:30 and 8:30pm. I hope to see some of you there and please drop me a line if you are able to stop past during the two week showing. Source Photographica is located at 1A Rose Street in Brighton, Victoria, Australia and is open seven days a week. Entry is free. Please come and say hello if you are able to make it for the opening.

EXHIBITION OPENING NEXT WEEK

jholko — Wed, 14 Mar 2012 23:22:14 +0000

My new exhibition is opening next Tuesday the 20th of March at Source Photographica in Brighton. Opening drinks are from 6:30 – 8:30pm. The exhibition includes a number of my personal favourite works from Iceland, the South Island of New Zealand and Antarctica. The exhibition includes multiple award winning photographs including: ‘Blue Berg‘ which won Gold at the 2011 APPA awards and was World Extreme Environment Photograph of the year People’s Choice 2011, ‘Well of Life‘ which won Silver at APPA 2011, GOLD at the International Loupe Awards and was a finalist in the World Extreme Environment Awards 2011, ‘Highway to Hell‘ which also won Silver at APPA 2011 and was both a semi-finalist in the 2011 Windland Smith Rice awards and travel photograph of the week at National Geographic magazine. All of the photographs were taken within the last three years and all are printed on my two favourite papers Moab Somerset Museum Rag and Moab Entrada Rag Natural. Source Photographica is located at 1A Rose Street in Brighton, Victoria, Australia and is open seven days a week. Entry is free. Please come and say hello if you are able to make it for the opening.

THE IMPORTANCE OF PATIENCE AND CONDITIONING IN WILDERNESS PHOTOGRAPHY

jholko — Fri, 09 Mar 2012 04:19:09 +0000

It occurred to me about a week or so ago (when I was forced to drop down into an ‘Everest gear’ to grind out one of the big hills on the mountain bike trail that I ride near my house) just how out of condition I am after my time in Antarctica (over-indulgence in good food during the Christmas New Year period has not helped either). During my time in Antarctica, on board ship, I never really did any exercise; yet I regularly stowed away three square meals a day (large three-course meals at that). Since I didn’t suffer from sea sickness, I was able to keep all those meals down (thankfully). My cardiovascular fitness has really deteriorated and it feels like I am missing a lung as I drag myself up the hills on the bike. After 20 kilometers on the trails, my body feels quite battered and broken. Overall, my time off the bike over the Christmas-New Year period has left me feeling quite unfit and out of condition. Subsequently I have actually managed to crack my bike frame and am undergoing a forced hiatus while I wait for my bike to be rebuilt.

The connection to photography may not be apparent at first. But physical fitness plays a major role in successful wilderness photography. A good level of physical fitness enables you to hike faster, further and arrive at your destination ready to shoot, in better condition. It can be the difference between arriving at the top of the hill and getting the shot before the best light is gone and arriving on location exhausted and disappointed. It can even mean your not making it to the top at all. This is not to say the best shot is always at the end of an uphill hike. However, you will never know if you don’t make it up there to see for yourself. You don’t have to be an elite athlete to be a wilderness photographer, but I find a good level of physical fitness certainly helps.

Whilst I was puffing my way up the hill on my mountain bike, I also got to thinking that mountain biking is like photography in that to get good at it you have to do a lot of it. To stay in peak condition you have to be persistent. I have observed this many times when I am out on my photography excursions. My shots continue to improve as the days roll past and my ‘conditioning’ improves. It takes time to get into the ‘groove’ —the right frame of mind that enables me to recognize the good images from the bad. Antarctica was like that: it took me time to assimilate. After extensive international travel, the few days I had in Buenos Aires and Ushuaia gave me the opportunity to wind down, leave the stress of daily life behind, and start to focus on photography. This time was crucial because I had the chance to relax, which is just as important as being fit for the task. Buenos Aries itself didn’t turn me on photographically. It is a crowded and polluted city, quite unlike my expectations of Antarctica. But, at least, I was in the right frame of mind—relaxed—when we eventually left for Antarctica.

Before I arrive this July for my 2012 workshop in Iceland I am going to be spending a couple of weeks travelling through France and Italy (specifically, driving down from France to Venice) photographing the countryside as a precursor to the workshop. I am hoping to use this time to get my eye in, as it were, and ensure my state of mind is at or near its peak when I arrive in Iceland.

Landscape and Nature photography requires a serious commitment. You must be prepared to spend countless hours outdoors, frequently in inclement weather or harsh environments. It also requires hours of patience to get the best possible light. I have spent many hundreds of hours in the wilderness waiting for the right conditions. Nature and landscape photographers who are truly committed are a rare breed; we have to put up with a lot—fitness, patience, vigilance, and an eye for the main chance. It takes a certain mindset and dedication to stand around in freezing conditions and rain for hours, waiting for the right light when what beckons is a nice dinner and a glass of wine in a warm hotel somewhere. You need commitment and dedication to get the shot.

Pot of Gold

One thing I have learned through experience is that it is always worth sticking it out to the bitter end when waiting for the best light, no matter the prevailing weather conditions. Generally, brief moments of special light don’t fill the bill; you have to see it out to the end. All too often, the light changes in the last few moments and in these instances the light is often at its most spectacular. I recall a very poignant example of this, which I have blogged about before in Iceland in 2010 when I arrived at the top of one of the highest mountains in Landmannalaugar in Iceland, more than three hours before sunset. They skies were dull and grey and we were exposed to the full force of the Arctic winds. My friend Dmitry and I decided to hunker down and wait out the 3+ hours before sunset. I just wanted to hike back to the 4-wheel drive to warm up with a hot cup of coffee and a piece of cake, but the wait proved worthwhile. The shoot provided some of the most spectacular light I have ever experienced anywhere. We had distant rain showers, rainbows and light that can only be described as sensational. Lesson learned – Never Give In. Above all, patience!

ANTARCTICA – MADE OF STEEL

jholko — Sat, 03 Mar 2012 10:35:32 +0000

One of the interesting and fascinating locations I visited on my Antarctic expedition late last year was the geothermal Whalers Bay area at Deception Island. Located off the Antarctic Peninsula in the South Shetlands, Deception Island has one of the safest harbors in Antarctica, sheltering it from prevailing weather. However, the entire island is the caldera of an active volcano; it previously erupted in 1967 and 1969, causing serious damage to scientific stations on the island. Despite several countries claiming sovereignty, the island is thankfully administered by the Antarctic international treaty system and is now mostly visited by tourist expedition ships only. The bay itself steams with rising sulphur along its black sandy shoreline and is home to some fascinating geology. It is also the location for an abandoned whaling station that contains many wonderful artifacts for photography.

Whalers Bay is a strange and eerie location with otherworldliness to the landscape that evokes a remote and strange atmosphere. Apart from the intense oranges and reds of the rusted steel remains, there is a muted tonality to the landscape that is at odds with other active volcanic areas I have visited in Iceland and New Zealand, making it a location that is in many ways a photographer’s dream. The natural beauty of Antarctica is perhaps nowhere else so strikingly contrasted with the hand of man than it is at Deception Island.

The regular reader will note that this style of photography is different to my normal output. I usually avoid the hand of man from my images because it is pristine wilderness that I take delight in photographing. However, in this instance I found myself drawn to the dichotomy of the rusting steel hulks and structures near the shoreline with the rising sulphur and the desolate surrounding ice and snow environment. There is a story to be told here of man’s influence on our environment. The rusted metal speaks of our past whaling practices and our contempt for the natural world. They now stand as a reminder of the preciousness of Antarctica and its environment.

MARCH PHOTOGRAPH OF THE MONTH – THE FORTRESS

jholko — Wed, 29 Feb 2012 05:29:25 +0000

I have a penchant for icebergs, the more wild, rugged and castellated the better. This iceberg, roughly the size of a sports stadium and around six stories high in the Gerlache Strait in Antarctica rates as the most spectacular I have ever encountered and is a very worthy candidate for the March Photograph of the Month. I shot this with the Canon 17mm TSE lens on my 1DS MKIII from the deck of Ocean Nova. Additional information on the making of this photograph is available on my blog HERE. A higher resolution version of this photograph can also be seen on my portfolio website at www.jholko.com under Antarctica. In addition, A 20 x 30 inch Fine Art Limited Edition Print printed on Moab Somerset Museum Rag paper will also be on display at my new exhibition in Brighton which opens next month at Source Photographica.

The Fortress

EXHIBITION ANNOUNCEMENT: MARCH 20th at SOURCE PHOTOGRAPHICA

jholko — Thu, 23 Feb 2012 23:04:24 +0000

I am very pleased and excited to announce my upcoming exhibition of landscape, nature and wilderness photographs from Antarctica, Iceland and New Zealand’s South Island at Source Photographica in Brighton Melbourne. The exhibition will open on the 20th of March 2012 and will run for a strictly limited time of two weeks. The exhibition includes a number of my personal favourite works from Iceland, the South Island of New Zealand and Antarctica. The exhibition includes multiple award winning photographs including: ‘Blue Berg‘ which won Gold at the 2011 APPA awards and was World Extreme Environment Photograph of the year People’s Choice 2011, ‘Well of Life‘ which won Silver at APPA 2011, GOLD at the International Loupe Awards and was a finalist in the World Extreme Environment Awards 2011, ‘Highway to Hell‘ which also won Silver at APPA 2011 and was both a semi-finalist in the 2011 Windland Smith Rice awards and travel photograph of the week at National Geographic magazine. All of the photographs were taken within the last three years and all are printed on my two favourite papers Moab Somerset Museum Rag and Moab Entrada Rag Natural. Source Photographica is located at 1A Rose Street in Brighton, Victoria, Australia and is open seven days a week. Entry is free. I hope you can make it and please drop me a line if you enjoyed it.

ICELAND WORKSHOPS NOW CPD ACCREDITED BY THE AIPP

jholko — Wed, 22 Feb 2012 03:41:08 +0000

I am very pleased to announce that my 2012 and 2013 Iceland Workshops are now CPD (Continual Professional Development) accredited. For AIPP (Australian Institute of Professional Photographers) members this means that you can now accrue CPD points toward your required annual target by attendance at one of my workshops. It doesn’t get much cooler than photographing in the land of fire and ice and accruing CPD points in the process. :-)

CAFFEINATED PHOTOGRAPHERS – PHOTOGRAPHER OF THE WEEK

jholko — Sun, 19 Feb 2012 22:38:34 +0000

I am pleased to have been asked by the good folks who run and operate the Caffeinated Photographers Facebook page to be their Photographer of the Week this week. Upon receipt of the invitation my interest was immediately peaked by the use of the word ‘caffeinated’ in their title since I consider myself somewhat of an amateur coffee connoisseur. The morning cup of coffee is part of my indispensable daily routine and the interesting mix of caffeine and photography in their title gave me cause to smile since a cup of coffee is invariably the first thing I reach for on an early sunrise shoot. I am fortunate in Melbourne where I live that we have some of the world’s best coffee. Our reputation (at least in Australia) precedes us in this regard. I am doubly fortunate that Iceland (one of my favorite destinations for photography) also has outstanding coffee. The opportunity to be featured on a page that mixes Photography and caffeine was instantly appealing. Caffeinated photographers feature a different photographer every week and their list of photographers includes such well-known names as Art Wolfe. I am pleased to be counted amongst their photographers of the week.