Photography News Issue 29

Photography News Issue 29 absolutephoto.com

29

Technique

Lights in the

darkness

Although traditionally thought of as a phenomenon of the Arctic Circle, the Northern Lights have been visible from the UK this year, and they make the perfect accompaniment to a winter landscape, as shown in Daryl Pederson and Calvin Hall’s new book, The Northern Lights: Celestial Performances of the Aurora Borealis (Sasquatch, £14.99). This 128-page book showcases a period of unusually high solar activity in the Northern Lights, across 160 images by Hall and Pederson, two dedicated ‘aurora borealis hunters’ who have endured truly frigid nights in remote locations to get the best shots. Find out more at thegmcgroup.com .

wind and water resistant, and with just enough insulation to avoid losing dexterity. They also have a touchscreen finger section so you can use your phone or camera dials. Although their shortness helpswith the light, winter days can also lead to dangers if you’ve sought out winter scenes in the wilderness. “The slightest delay,” points out Charlie, “often caused by an unexpected and fortunate nice bit of light, can end up with a descent of an icy path in the dark. Therefore it really is essential toplan carefully, have basic emergency equipment with you and to let someone know where you are going andwhen you expect to be back.” Cameras in the cold The cold can also take its toll on your gear, and while no special filters or particular lenses are actually needed to shoot winter images, the way you operate that gear does need to change. “Many years ago,” says Charlie, “I remember an advertisement about the Olympus OM‑1, along the lines of its successful ascent and operation on Everest, where it was used by mountaineer, Chris Bonington. That camera operates mechanically, without a battery and so the shutter can still function at very low temperatures. What’s important here is that batteries don’t like the cold and don’t hold their charge as long inwinter conditions.” What’s more, any long exposures you shoot will compound this; and of course with landscapes, these can be numerous. So, always make sure you have a spare or two, and keep themwrapped up close to your body heat. If you don’t have a spare, a winter expedition is a good excuse to invest in one, and getting a respected third-party model will save you a few quid, too; for example, a Hähnel HL-EL15 is £20 cheaper thanNikon’s own EN-EL15 at £39.99. When it comes to using your tripod, you’ll certainly feel the benefit of wrapping that up, too. If you have a carbon fibremodel, you at least won’t have to suffer the nip of cold aluminium on your hands, but more of a problem can be the ice crystals that get into leg locks and the collar mechanism, causing it to freeze up and slowdown operation. If you can, use a dedicated tripod bag like Manfrotto’s MBAG80PN (around £50) which is padded and can fit a set of legs up to 76cm long (including the head). Remember, you may also need to drive the feet into the snow to keep it steady and avoid sinking and a loss of sharpness during long exposures. The transition from cool to warm can also play havoc with your camera, such as fogging the lens and viewfinder, so don’t bring your gear straight into the warm of your house, or car – leave it towarmnaturally, in a cool spot, or in the boot (alternatively keep your car windows open when going from location to location, if you can take it!).

Be prepared The Manfrotto MBAG80PN, Hähnel HL-EL15 and Sealskinz Fairfield Gloves are all ideal kit for shooting winter landscapes.

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