CARRYING AND TRANSPORTING PHOTOGRAPHIC GEAR IN THE WILDERNESS – PART ONE

GURA GEAR AND THE XTRA-HAND PHOTO VEST

I will endeavour to never again make the comment to my wife that she owns too many handbags for the simple reason (as she so eloquently pointed out to me; while I was busy pointing the finger) that I own more camera bags than she does handbags. That was quite a head scratching moment for me – just how did I end up with so many photography bags?

The answer is a combination of trial and error and horses for courses. Over the years I have purchased different camera bags for different applications and uses. They all seemed a good idea and ‘must-have’ accessory at the time; but oh, for the benefit of hindsight! All of them have been used at one stage or another and some more than others and as of the last twelve months one more than any.

When I got back from my expedition to Iceland a year ago (where has the time gone…) I decided I was ultimately fed up with my current and then bag of choice the Lowe Pro Nature Trekker II. For a multitude of reasons it was no longer fulfilling my needs. After reading some reviews I went ahead and purchased the Gura Gear Kiboko camera bag and subsequently commented on how happy I was with it in my ‘Iceland – What worked and What Didn’t‘ article. Now, nearly a year on from the purchase and many photographic trips later (both local and international) it seems a good time to reflect on my travels with the Kiboko. And on my latest acquisition; which I hope will be the perfect photographic shooting partner to the Kiboko – the XtraHand Photo Vest from Vested Interest.

Kiboko on the West Coast of New Zealand's South Island

My Kiboko is as fantastic today as the day I purchased it and I cannot imagine my life now as a landscape and nature photographer without it. For storing and transporting my photographic gear, getting in and out of vehicles, through airports, negotiating international travel and shooting out of the boot of the car or relatively close by  there is nothing that works better in my experience for my style of shooting. ‘My style’ for what its worth is to cart as much of my photographic kit as I can physically manage to my destination. I just don’t like to leave anything at home in case I might need it. The Kiboko is the ideal camera bag for me in that it comfortably holds all of my photographic equipment that I like to take with me on a landscape and wilderness shoot. But this is a double edged sword…Because the problem with the Kiboko for me is that it holds ALL of my photographic equipment (except my laptop); which means that it is heavy; really heavy. Fully loaded and ready to depart on a dedicated landscape and nature shoot my Kiboko weighs in at over 28 kilograms and that makes it just too heavy for any serious wilderness trekking. Even with the Kiboko’s excellent backpack harness system I can hike for no more than a few hours over steep terrain before I am pretty trashed. But, the Kiboko is the best means of getting all that gear to the start of the hike or for any type of shooting for that matter that does not involve extensive hiking. So what is one to do?

I have tried taking a 2nd smaller backpack with me and just repacking what I want for a given hike into that; but this approach causes more problems than it solves. For starters it necessitates packing a 2nd pack; which takes up a significant amount of space when flying or travelling and I am already juggling another laptop bag, my tripod and a suitcase (assistants really should be mandatory for nature photographers!). The other problem I seem to constantly run into is that when I finally get to the position I want to shoot from there is frequently no where to put down my bag that isn’t either soaking wet, muddy or otherwise less than ideal to plonk an expensive bag full of expensive cameras and lenses. Hanging the bag from a hook underneath the tripod is not a suitable solution as it makes accessing the bag problematic. Plus if shooting in the mud or snow or at the beach the extra weight often causes the tripod to slowly sink into the soft ground causing blur. Even when I do find somewhere to put my bag down I frequently wander afar in my search of subject and composition necessitating the need to occasionally jog back to my bag for a filter or alternate lens. Or, as happened in New Zealand’s South Island a couple of weeks ago to rescue my bag from the incoming tide.

I have also tried and used my Domke photography vest over the years with mixed success. Whilst it somewhat alleviates the requirement for carrying a camera bag into the field it is extremely limited in its carrying capacity and to be totally honest isn’t that great at carrying those items it can hold. Lenses in the large lower pockets tend to dangle low below the waist and bang into objects. Its made of cotton so the moment it rains it acts like a sponge soaking up the water and adding weight. And when loaded up with a few lenses its uncomfortable for any length of time and gives me no end of neck discomfort. It might be fine for a photojournalist walking the city streets with some small Leica lenses, a mobile phone, passport and wallet; but its not much use to me in the inclement weather of the wilderness with big heavy equipment. I recently replaced my Domke with a similar style of vest that is not quite so overtly ‘photographer in nature’ for international flying and believe this is firmly the best use for this style of vest. They have no place in the wilderness.

I could of course half empty my Kiboko bag into the boot of my car before embarking on a trek; and I have done so on numerous occasions. This approach is relatively successful most of the time as it lightens the bag significantly to the point where I can comfortably hike for most of the day. It does not solve the problem of where to put the bag when I am shooting however or of being caught short a lens I left in the boot of the car. I like to shoot with Prime Lenses so I am almost always changing lenses. Nor is it an ideal solution when shooting in foreign countries as there is frequently no safe place to leave gear behind.

Enter the Xtra-Hand photo Vest from Vested Interest. Now right off the bat let me be clear that you dont really want to walk into the local cafe at the end of a days shoot wearing this vest. It is about as ‘tactical’ as a Navy Seal and about as subtle as a house brick. Wearing this vest in a public place is going to get you a lot of unwanted attention. However, when I am standing in a swamp trying to set up a shot with no where to put my bag; well.. it ‘aint a fashion contest out there’. It took me a long time to finally get around to ordering one of these vests.  I just didn’t think I needed something that appeared so overtly Rambo. I needed to mentally get over the ‘look’ of the vest and focus on its function.

Custom Vested Interest Khumbu Model

Now that I have finally ordered and received my Xtra-Hand vest I feel somewhat silly for having waited so long to purchase one. Or possibly, I just needed to go right through the suite of options out there before I finally got to it. Irrespective I now own one and am very happy with it – even though I have only been on a couple of shoots with it. I headed up to the mountains and snow this weekend past for a couple of days shooting and put the vest through its paces in the field. I did several quite arduous hikes to remote locations that saw this vest put to the stress test. But for now as Part One of this article I want to further elaborate on the vest itself as well as the extensive modifications I had done to it and why. Part two of this article will follow on in the next week or so once I have had more of a chance to consider my impressions after using it in the field.

After much pondering I finally decided on the Khumbu model from Vested Interest as the base for my ideal vest. I chose this model for the extra large pocket that is included on the back of the vest to enable me to carry a large telephoto lens like my Canon 300mm F2.8L IS or my Gitzo Carbon fibre tripod, or even a thermos or food. I also liked the addition of the two sewn on side pockets for both by 70-200 F2.8L IS lens and a small coffee thermos I like to carry in the field. I frequently find myself scrambling over rocks needing both hands to keep my balance so a large pocket that can hold my tripod is a very welcome addition. I hope this pocket will also serve as a great place to store my tripod when shooting from zodiacs in Antarctica later this year before we go ashore (where I will want and need my tripod).

In order to ensure a custom vest is properly fitted you need to provide Vested Interest with your measurements. There is a downloadable and printable order form on their website to complete with all of the required details. Even though measurements are important to ensure the vest is properly sized the side straps on the vest provide a huge amount of adjustability meaning this vest can be worn over a t-shirt in hot weather or over multiple layers in colder weather. There is a choice of colour including Tan, Camouflage, Black, Navy, Grey, Green, Desert Camouflage and Digital Camouflage. I went with the very non descript grey and I feel it was the right choice to minimise unwanted attention. Wildlife photographers may want to consider a Camouflage if photographing skittish subjects or shooting from a hide.

A few other brief points – The Xtra-Hand vest is predominantly made of nylon; which means its pretty much waterproof and does not absorb water. This is a very important consideration for me as I often find myself shooting in the rain or snow. As I have stated above, cotton and non waterproof materials just don’t work for me. The vest itself is designed to carry a huge amount of equipment into the field and to spread the weight strategically for long term comfort. The shoulders and neck are extensively padded to ensure that when loaded up with heavy cameras and lenses discomfort is kept to a minimum.

There are some standard options available when ordering any of the Vested Interest models and I chose to include some of them; the first of which was the Padded Hip Belt. The padded hip belt is simply an additional waist belt that is designed to help get some of the weight off the shoulders. It is both adjustable and removable. I would encourage anyone considering acquiring one of these vests to include this option. It is relatively inexpensive at $40.00 US and provides a greater level of comfort. I also included the optional shoulder pads at $20.00 US and again would consider these mandatory to avoid discomfort on long hikes.

I cannot take credit for the following modification to the vest that was first devised and implemented by Art Morris who runs the website Birds as Art. Art also has an extensive article on is website that is well worth a read. Although Art chose to use the Magnum as the base for his vest (I used the Khumbu) the alterations applied are the same. The first of these modifications is the inclusion of a bright orange handle so that I know where to safely grab the vest to lift it up and put it on when its full of camera gear. The handle is stitched into the actual frame of the vest to hold the full weight and is the safest place to pick up a fully loaded vest. Something I have not yet mentioned is that Vested Interest who make these vests are actually a division of a parachute manufacturing company so as you would expect the quality of construction and stitching is absolutely first class. The only other place I have seen stitching of this standard and quality is on rock climbing harnesses and slings.

Custom Grab Handle

I had both the front large bottom pockets sized the same as those on the Magnum vest as these are a size that comfortably  holds a Canon 1DS MKIII or MKIV with a Really Right Stuff L Bracket attached. The Khumbu normally comes with one front pocket that is even larger and I had no requirement for a pocket this size.

Both the top pockets were modified to have zips in lieu of velcro as I often store my mobile phone, wallet and keys in my top vest pockets and didnt want there being a chance of anything falling out accidentally. Zippered top pockets added around $20.00 to the overall total.

A very welcome addition is the inclusion of a detachable ground cloth. When shooting in the snow, mud or wet there is often either nowhere to sit down for a few minutes or nowhere clean and dry to place objects. The detachable and waterproof ground cloth gives me somewhere clean and dry to sit or place equipment. I also included the optional camera straps.

In part two of this article I am going to report on how this vest performed in the field and on long hikes. I spent last weekend up at Mount Buffalo photographing out into the wilderness with my new vest and have some strong initial impressions. More to come soon.

Shooting Hoar Frost at Mount Buffalo with the Xtra-Hand Photo Vest


SEARCH FOR THE ULTIMATE PHOTOGRAPHY GLOVES – PART TWO ‘THE VERDICT’

One of my recent purchases that I was very keen to test out in the South Island of New Zealand in Winter was the new Seal Skins gloves I purchased online just before I left Australia. In Part One of this mini-review I made mention that it has been a constant search for the perfect winter photography glove. I won’t restate the story thus far; suffice to say the search has been ongoing. Before I dive into it I just want to make a comment on the fingerless glove with the optional slide over mitten that many outdoor sports people and hunters use. These types of gloves don’t work for me. Although they provide plenty of tactile feel (because they are fingerless) they are not waterproof and far from warm enough in the sort of environments I sometimes shoot in.

The Seal Skins gloves on face value appeared to tick all the boxes for me. They are waterproof, warm (at least around the house!) and yet retain enough tactile feel that I can still operate my camera equipment effectively in the field. So how did they perform?

The result is a mixed bag. Firstly, the gloves are in fact waterproof as advertised. I spent several hours clambering over Fox Glacier in cold and wet conditions. Experience has shown me that my previous thermalite gloves (which were warm when dry) would have been totally saturated after half an hour of this kind of activity and thus totally useless. The Seal Skinz on the other hand remained totally dry; even when I was fumbling around in puddles of glacial water adjusting my crampons. They shed water beautifully and remain dry on both the inside and outside. Just on the subject of glaciers – I almost came to quite a nasty end at Fox Glacier. I am always extremely careful when traversing glaciers for obvious reasons.I have quite a bit of glacial experience; but you can never take them for granted. They are riddled with hidden dangers; falling ice, wave surges and crevasses are but some of the potential dangers. Glacial ice is pound for pound about the same weight as structural concrete and there have been several very unfortunate deaths over the years at Fox Glacier from falling ice. Fox Glacier is currently receding and this makes it more dangerous than an advancing glacier since it is shedding ice (at a fairly rapid rate). I was keen to get a photo of the terminal face of the glacier so had hiked up the side of the glacial river with a wide angle lens to get close to really give a sense of scale to the photograph. Getting close to the terminal face meant skirting the edge of a very large overhanging piece of glacial ice – not something I would normally do. I could see large boulders and rocks perched precariously on the ice flow 30 odd feet above. However, ‘photo fever’ got the better of me and I chanced it; I scrambled forward against the ice and river; set up my tripod and prepared to take a frame just as several rocks the size of basketballs came hurtling over the top of the ice landing only a few feet in front of me in the river. Needless to say that was enough for me. It was a timely reminder that no amount of experience on glaciers is worth a pinch if you find yourself somewhere you shouldn’t be . I beat a hasty retreat and decided it was far wiser, safer and more enjoyable to photograph the glacier and alps by helicopter.

I have photographed the Southern Alps and Glacier by Helicopter before in winter in 2009. I had chartered a small mountain helicopter with two other photographers. We had the doors removed and spent a couple of glorious hours shooting thousands of frames over the alps. The ambient air temperature was -19 degrees celsius during that flight plus whatever the wind chill factor was and even with several thermal layers I was frozen by the time we got back to the helipad.

I chartered another helicopter this trip and with the door off and harness on spent another hour photographing the alps and glaciers shortly after breakfast. It was not quite as cold this time at -9 degrees celsius; but it was still a good test for the Seal Skinz. What I found was that my fingers still got very cold (almost totally numb after an hour shooting); however, even with near numb fingers, the chopper door off and wind I was still able to change both CF and the tiny SD cards in my 1DSMK III with relative ease. In fact, I was really quite surprised at just how good the tactile feel is in these gloves. I never felt like I was going to drop any of the small cards; even when I had several between different fingers in an effort to ‘speed-change’ the cards. Helicopter charter is $1500 an hour – so you don’t want to waste to much time playing with camera cards and settings. In this respect the Seal Skinz gloves are nothing short of brilliant; giving all the tactile feel required for even the most difficult shooting environments. The downside is they are not quite as warm as I had hoped they would be and I can only rate their thermal protection as average at best.

In summary the Seal Skinz are the best gloves for cold weather photography I have yet tried and are therefore my current choice when I am shooting in these environments. They are waterproof, and give wonderful tactile feel and grip. They are not as warm as other thicker gloves; but I am willing to trade some warmth for ‘feel’. I suspect that in temperatures down to around -5 celsius they will do just fine for quite long periods of time. In colder temperatures I will want to have a warmer over mitten that I can put over the top after an hours shooting to re-warm my hands. This is the best current compromise/solution I can come up with. Seal Skinz do make a version of this glove that is lined with a polar plus material; which would undoubtedly make it quite a bit warmer. However, I suspect that one would trade quite a lot of ‘feel’ for ‘warmth’. The Seal Skinz will be accompanying me to Antarctica later this year so that is a pretty solid recommendation. The caveat is I will also be taking a pair of 66 North over mittens just in case it gets really freezing and I need to re-warm to carry on shooting.

SEARCH FOR THE ULTIMATE PHOTOGRAPHY GLOVES – PART ONE ‘THE FIND’

For as long as I have been into landscape, nature and wilderness photography I have been searching for the perfect gloves for outdoor winter photography. The problem has been that I have struggled to find gloves that are waterproof, yet are thin enough to retain enough ‘feel’ to enable me to use my camera equipment unhindered. I have a drawer full of potential candidates that have all ultimately disappointed for one reason or another; usually because the gloves ultimately lack enough tactile feel for camera operation or are not waterproof. Believe me when I say it has been quite a search.

Up until recently I had settled on a thermalite glove liner; which was both warm and thin enough to enable me to use my camera equipment relatively unhindered. The problem is that they are not waterproof and every time I have been shooting with them in the snow I have ended up with wet and subsequently freezing fingers. It also necessitated having multiple pairs (since one pair always ended up wet). Last weekend I was shooting up at Wallace’s Hut at Falls Creek at sunrise in a sleet and snow with the thermalites and yet again ended up with wet and freezing fingers. I told myself at the time I just had to find a better solution before I leave for New Zealand in a few days and before Antarctica later this year. I have no desire to find myself shooting from a zodiac amongst the icebergs in Antarctica with wet and freezing cold fingers.

Later that morning when I was getting a late breakfast / early lunch in Bright I popped into a couple of outdoor stores just to see what they had in the way of gloves. Amongst the usual assortment of skiing gloves (which are just to thick), woollen gloves (which are to slippery and not waterproof) I found a pair of ‘Seal Skinz‘. On first inspection these gloves ticked all the boxes: Waterproof – Yes, Thin for tactile feel, Yes, Grippy and non-slip, Yes. The Seal Skinz are very similar in appearance to the Lowe Pro gloves (I have never really liked the Lowe Pro gloves finding them still too thick and not waterproof), however, they are slightly thinner for better tactile feel and completely waterproof. Only problem was they were just shy of $70 a pair and they did not have my size in stock. Unperterbed I decided to try and order a pair online when I returned to Melbourne; which I did and the gloves arrived late last week just in time for my trip to the South Island of New Zealand. As an aside, I was also able to find them significantly cheaper online. I ordered the standard version of the Seal Skinz glove. Seal Skinz also make a chill blocker version of this glove; which although warmer again with its fleece lining is too thick for photography for me. Time will tell if these gloves prove their worth. The South Island of New Zealand in the dead of winter should certainly be a good test. Last time I was there I experienced -19 Degrees celsius while shooting from Helicopter above the alps with the doors removed (and that was cold!).

As an outdoor photographer whose favourite season is winter I am willing to accept some degree of finger discomfort (cold) to keep good tactile feel with my camera equipment. I can put up with being quite cold as long as I am not also wet. The trick is finding the right balance of warmth and tactile feel and I am hoping these new Seal Skinz finally fit the bill. I will see how they fare in New Zealand as a precursor test to my Antarctica trip and report back.

VAPOURWARE – THE NEW CANON EOS 1DS MK IV

Those of you who follow any of the internets Camera Rumours websites (some of them make quite entertaining reading with liberal sprinkling of salt) will have read everything from a proposed release date of tomorrow to never for the hotly anticipated Canon 1DS MKIV. The proposed specifications are as varied as the theoretical release dates with everything from 28 mega pixels to more than 40 mega pixels being touted  as the cameras resolution and everything from the inclusion of RAW video capability to the inclusion of a larger than 35mm sized sensor (AKA: Medium Format). The rumours are a liberal melting pot of wish lists. There are rumours of the 1DS and 1D being merged, rumours of the next 1D having a full frame sensor and the next 1DS being a larger sized sensor (sort of like the Leica S2 I guess) and rumours of there being no direct replacement at all. In short, if someone has thought of it there is a rumour for it. In fact, the rumour list is now so long and varied that it is likely someone somewhere must have it right – only question is who? Or, more importantly who actually knows?

I do not normally get involved in the rumour side of photography equipment. It is not that I don’t find it interesting; it is simply that there are already many people reporting on rumours across the web (and doing a good job of it) and well… the internet really does not need another. However, I find myself somewhat between a rock and a hard place. I both want and need to purchase an additional camera body as a back-up for my New Zealand trip and Antarctica later this year. I don’t really want to purchase another 1DS MKIII at this point in the cameras life cycle (although I dearly love the camera); so I started a little of my own digging into when we might actually see a replacement; which inevitably lead me to the rumour mill. I will preface this by saying that although I read pretty much all of the rumours I could find I ended up ignoring them all and instead focused on my own industry contacts and my own common sense. The net result is my gut feeling is that “there will not be a Canon 1DS MKIV this year“.

Firstly, Canon has a number of already announced products which have not yet seen the light of day. These include the new 8-15mm Fisheye and 500mm F4 lens. Both of these were announced months and months ago now and Canon really needs to get them out before it focuses (pardon the pun) on any other products.

Secondly, the earthquake that rocked Japan would have (and has) inevitably delayed everything  – end of story. Canon Rumours has reported that Canon Japan is already reporting that it is close to normal operations; however, there has already been significant delay since the earthquake. Any announcement of new product (regardless of the product) is bound to have been pushed back – most likely to an unspecified date. As an obvious aside, it is far more important that the devastated people of Japan focus on their own recovery efforts rather than feeding the rest of the world with new cameras.

The real scoop on the Canon 1DS MKIV is that those who actually know when it will be released  (I suspect this is a very short list) and what its final specifications will be are all under NDA (Non Disclosure Agreements). And guess what? That means they cant tell you! (or me). Are there 1DS MKIV (or whatever the new name will be) prototypes in the field? The answer is undoubtedly yes – thats simple common sense. Canon has always provided a select few with prototypes for testing long before an official product announcement. For those lucky few they will enjoy some beta field testing; but even they may not know what the final specifications will be since Canon may well have different prototypes out there.

In conclusion, I can offer no accurate information on if/when the 1DS MKIV will be released other than it is unlikely to be this year. As to what its final specifications will be I suggest throwing a dart at a board; since that is likely to be as accurate as any recent rumour you are likely to read. The same applies to the 5D MKIII.

As to the question of what to buy as a back-up body – I have decided to simply rent a 2nd 1DS MKIII for the time being from Borrow Lenses on an as needs basis.A boring solution I know – but a safe one nonetheless since any purchase I might make would simply ensure an invitation to Murphy who would no doubt spoil my party with an immediate announcement of a replacement camera. Until then the 1DS MKIV is just vapourware.

New Kit – The Singh Ray 3-Stop Reverse Graduated ND Filter

My apologies if updates have been a bit few and far between over the last few weeks. I have been pretty snowed under at the office and have not had much time for photography (I can feel the withdrawal creeping up on me); either out in the field, or behind my computer processing images. That is going to change over the coming weeks with Easter now close at hand and some free time on the radar. I even have a new bit of kit to try out!

Singn-Ray Reverse Grad Filter

I recently purchased another filter to add to my seemingly ever expanding collection – the Singh-Ray 3 Stop Reverse Graduated Neutral Density Filter. This is the first Singh-Ray filter I have purchased and I am extremely impressed at the quality of the filter and the packaging – not to mention their customer service; which deserves an honourable mention. To wit, I ordered the filter online directly from Singh-Ray and payed using my credit card in full like any online transaction (some $230 including shipping) and then sat back and waited for the goodies to arrive. Within a few hours I received an email from a very polite customer service person informing me that if I preferred they would send my shipment by an alternative shipping method which would save me more than $30 in freight and save me from Fedex’s own internal fees. ‘Of course’ I said, that would be fine and within a few hours the shipping credit of $30 was credited to my American Express card. I don’t know of many other companies that would pass this saving back to the customer, but I can think of quite a few that would probably just have pocketed the difference. Sing-Ray’s customer service in my experience is first class. I already own an extensive collection of LEE filters and have used them for many years. They have travelled all over the world with me and have been my workhorse filters. My collection is more or less complete when it comes to varying densities of graduated filters; however, LEE do not make a reverse graduated neutral density filter and I have found myself wanting one more and more of late. For those who are interested you can read what a Reverse Graduated Neutral Density Filter is and how they work on Sing-Rays website here Sing-Ray Reverse Grads.

The Singh-Ray Filters are expensive (even more expensive than the LEE filters). At around $230 Australian dollars including shipping for a piece of glass measuring around 6 x 4 inches it seems almost absurdly priced. However, one has to take into account that the filter is dead neutral with no colour cast to the photograph. A quick test with and without the filter in place show no discernible shift in colour and that is a very important advantage for my style of photography since I do very little work to my photographs in post processing. Having to remove or otherwise deal with a colour cast because of a poor quality filter is not something that interests me.

I have not as yet had a chance to use this new filter in the field – But, I am looking forward to putting it through its paces in the South Island of New Zealand in June this year.