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


ICELAND LANDSCAPES – BY DANIEL BERGMANN

A couple of weeks ago I received an email from my Iceland friend and photographer Daniel Bergmann that his new book ‘Iceland Landscapes’ was now finished and available for order. I was just passing my laptop on the way to bed when I saw his email but could not resist the temptation and ordered a copy then and there on the spot. I have subsequently been eagerly waiting for it to arrive; which it did yesterday and I have now had a chance to sit down, read, and absorb the wonderful photographs contained therein.

I spent a couple of weeks travelling through Iceland with Daniel Bergmann in July and August, Summer 2010 and have visited many of the locations photographed in this new book. Indeed, I feel a personal connection to some of the photographs as I was standing alongside Daniel (or, was at least in the nearby vicinity) when they were taken. As such, I have a wonderful emotional connection to the photographs that is for me at least quite visceral. Photographs of locations I have not yet visited – well; they inspire me to return to this amazing country to seek out the light and subject captured by Daniel.

Iceland Landscapes

Iceland Landscapes includes 110 landscape photographs from Iceland, mostly taken during the last five years. The book is in English and covers both the locations photographed along with technical information and thoughts on photography. Renowned English landscape photographer David Ward wrote the introduction and an Icelandic author, Pali Asgeir Asgeirsson, wrote the preface. The book is 144 pages long and is 24 x 28cm. It was printed in Iceland on high quality semi-gloss paper. It is self published by Daniel Bergmann. The print quality is extremely high and the colours and beautifully reproduced. This is an extremely well produced book.

Iceland Landscapes is not yet another tourist book on the amazing geological landscapes of Iceland. It is rather a successful effort to capture the essence, soul and stunning light found in Iceland. It is a book that is going to appeal to photographers and those who appreciate fine art photographs on many levels. It will serve as an inspirational guide to those wishing to travel to the remarkable country of Iceland for Photography and inspire them to visit some of its many wonders. It will also fill the cup of those who want to experience Iceland through the pages of a fine art photography book.  David Ward eloquently sums up Iceland Landscapes better than I can in this excerpt from his introduction –

… More extraordinarily, the photographs reveal that Daníel can find new perspectives in subjects that are familiar to him. This requires a particular openness of mind that, as I know from my own struggle, is extremely hard to achieve. American photographer Wynn Bullock wrote, “Mysteries lie all around us, even in the most familiar things, waiting only to be perceived.” The photographer needs a desire to explore, a yearning to look in new aesthetic directions as well as to tramp all points of the compass. Only by prolonged and in-depth observation can a photographer begin to see beyond the expected and reawaken a childlike sense of wonder. In this way one might begin to see one’s homeland, as Daníel does, with the eyes of a stranger. And imagine what a gift that is…

Daníel Bergmann’s images in this book succeed as both distillations and revelations of his country’s amazing landscape. Both beauty and the sublime are evident in his photographs, and his work even manages to transcend Iceland’s amazing subject matter.

I encourage any photographer (or non photographer for that matter) who may only have even a passing interest in the amazing, varied and often primordial landscapes of Iceland to purchase a copy of Daniel’s new book ”Iceland Landscapes. The photography and print quality are wonderful and having spent time in Iceland can say with some degree of experience that Daniel has captured the soul of his countries amazing landscapes in this new work.

I already had plans in place to return to Iceland in July next year 2012 for a couple of weeks with Daniel. Now that I have read Daniel’s new book I feel totally re-ignited to get out in the amazing landscapes of Iceland.

Iceland Landscapes can be ordered online at HERE and shipping is available worldwide. I highly recommend this book.

Conclusion: **** You should own this book and consider it an important part of your photography library.

COPYRIGHT AND PHOTOGRAPHY – PROTECTING OUR RIGHTS

There is a relatively new feature in the ever more powerful google  search engine that I only became aware of earlier this morning thanks to a forum thread on the Luminous Landscape and a blog post by a fellow photographer – Graham Mitchell. This feature allows you to either upload an image to google or direct google to a link on your website with the chosen image and google will then trawl the web for all instances it finds of the photograph. This new feature allows photographers to scan the web on an image by image basis for unauthorised use of their photographs. Here is how it works:

1 – Go to http://www.google.com and click on the images link in the top left hand corner

Step 1

2 – Now click the small camera icon in the search bar

Step 2

3 – Upload a jpeg of one of your photographs or direct google to a link on your website where it can be found and hit search.

Step 3

Google will now search the internet for all the instances it finds of this (and similar photographs). The search is not perfect or fool proof, but you may well find instances of your photographs on the internet that you had not authorised. I have found several instances after only a few minutes of searching of some of my photography being used by overseas commercial travel companies to promote travel destinations. These are instances of use without my permission or payment and are an infringement of copyright. One of the websites has even had the gall to remove my copyright logo (badly in Photoshop) and replace it with their own. Included below is the result of their photoshop work. I am refraining from linking to their website as I do not want to give them any more ‘google-fu’ power. Suffice to say that they have been contacted regarding the matter.

The Stolen Photograph
Bad Photoshop Work Remove of Copyright Logo
Addition of their Logo to the Stolen Photograph

I am hopeful that google will continue to develop and refine this tool further as it is a great asset to protecting a photographers rights. Of course, its one thing to find an unauthorised use and it is quite another to have it removed or to collect damages.

 

 

 

DRAGON EGGS – MOERAKI BOULDERS NEW ZEALAND

One of the locations I most wanted to visit during my recent trip to the South Island of New Zealand was the Moeraki Boulders. The Moeraki boulders are located on the East Coast of the South Island not far from Dunedin. The area is so named for the large and highly unusual spherical boulders which are grouped together on the beach. Wikipedia has a good explanation of how these boulders formed as well as additional information about them. The boulders themselves are only a short five minute stroll from the car-park making them a very popular tourist attraction. I was fortunate during my visit to the boulders that I had the entire location to myself at both sunrise and sunset on two occasions – one of the benefits of shooting in the dead of winter I guess.I took this photograph not long before sunset as the tide was going out on a very overcast stormy afternoon. I actually prefer sunset at the Moeraki boulders even though the sun sets behind the photographer and is lost behind mountains quite early in the afternoon. I found sunrise somewhat problematic as so many of the boulders are deep in shadow and the moment the sun rises it is hard to exclude the sun from the frame if shooting wide angle lenses. That said, I do have some photographs from sunrise that I like very much and will post over the coming days.

I used Canon’s 17mm Wide Angle TSE lens for this photograph. A higher resolution version of this photograph is available for viewing on my primary portfolio website at www.jholko.com under New Zealand.

MOAB PAPER – SOMERSET MUSEUM RAG FINE ART PAPER

The good folks over at Moab have an update on their blog about one of my prints that took out a Gold award at this year’s APPA awards (Australian Professional Photography Awards). The print (in fact all four of my APPA prints) were all made on Moab Somerset Museum Rag paper; which is my absolute favourite fine art photographic paper. I have two exhibitions opening later this year 2011 at Source Photographica in Brighton and at the Wilderness Gallery at Cradle Mountain in Tasmania and both will be printed on Somerset Museum Rag paper.

There are high resolution images of my APPA award entries on my primary portfolio website at www.jholko.com