ANTARCTICA EXPEDITION 2013 – REGISTRATION NOW OPEN

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.

KEY FEATURES OF THIS EXPEDITION

  • Strictly Limited to a maximum of 50 participants (much smaller than most other trips to Antarctica, more personal space and the ability for everyone to go ashore and work from zodiacs simultaneously)
  • Ice Hardened Expedition Class Ship
  • 15 Day Trip (Most trips are only 10 days), which means more time for photography
  • Access to areas of Antarctica dedicated to scientific research
  • The expedition is dedicated to photography first and foremost; which means we will be spending the maximum amount of time possible shooting from ship, shore and zodiac.
  • Added experience of Wildlife in the Falkland Islands and the ability to stay on after the trip in the Falklands.

PRICE

Prices quoted are in US Dollars, per person, twin share. Single Occupancy is 1.7 times the twin share price. No single supplement applies if you are willing to share your cabin (triple and twin cabins only).  Deposit to secure your place is $1,250 USD with balance not due until 90 days before date of departure.

  • 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

Iceland 2012 Workshop Debrief

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 2nd 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.

ICELAND 2012 WORKSHOP EXPEDITION COMPLETE

I have just returned from my 2012 Iceland expedition and am currently recovering from jet lag after the more than 34 hours of travel and layovers (including 4 plane rides) from Iceland to Australia. This was an extremely successful workshop trip and it was wonderful to again be photographing under the midnight sun in the spectacular Icelandic landscape. I shot over 3000 frames on this trip and plan to tackle the extensive editing and processing of all the images over the coming weeks. In the meantime, this particular photograph for me summarises the beauty of the Icelandic rural landscape along the main Highway One ring road and is my photograph of the month for August 2012. I will be writing up a complete ‘what worked and what didn’t work’ debrief report over the coming days.

ZODIAC PHOTOGRAPHY IN ANTARCTICA

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.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.

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.

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.

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.

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.

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.

Daniel Bergmann 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 send me an email at info@jholko.com

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

HMAS PENGUIN POOL – ANTARCTICA

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.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.