Photography News Issue 40

Photography News | Issue 40 | absolutephoto.com

18

Technique

How to kit up for winter conditions

(£145) as a mid layer, with either my Halcon (if rain is likely) or Torres Alturo (in colder conditions) over the top. On my bottom half, I’ll often combine Grid Long Johns

Staying warm and dry in winter conditions is paramount. It’s not just about safety in the cold; if you’re not comfortable, you won’t be able to enjoy all the winter goodness and may cut your shooting short. So it’s a good idea to invest in respected brands like Páramo, which offer highly engineered, lightweight kit, that, treated properly, will last decades. For instance, Páramo waterproofs use a combination of two fabrics, which insulate and keep you dry from the inside, so it doesn’t matter if you’re exerting energy while hiking, or stood still waiting for the light. With conventional waterproofs, the garment gets clammy as water can’t escape and you end up clammy, then chilled, but with Páramo’s Nikwax Analogy fabrics water is pushed away from your body. This is evident on jackets like the Enduro (£370) and Halcon (£330), which has fleece-lined pockets, while the Torres Alturo (£150) is designed to be worn over waterproofs, even when they’re wet; its synthetic filling being ideal for times when you’re stationary. Twin this with comfortable, winter trousers like the Cascada IIs (£135) and you’ll be able to wear them next to your skin, eliminating the hassle of putting waterproofs on when it rains. To get more info on dressing correctly for winter shooting we caught up with specialist outdoor photographer Ross Hoddinott, an ambassador for Páramo, as well as Manfrotto and Nikon UK. Whenwas your last winter shoot, Ross? Only recently, actually; it was a week in the Highlands just before Christmas. I was shooting at Glencoe where conditions are often harsh in the winter months, so decent outdoor kit is absolutely essential. Let’s face it, if you’re cold, wet and miserable, you’re unable to operate properly or efficiently. Your priorities switch from wanting to take photos, to just needing to get somewhere warm. For that reason, outdoor kit is as essential an investment as your lens or camera. An early morning visit to the Old Man of Storr, Isle of Skye springs to mind. I walked up in the dark to reach my viewpoint for sunrise. It was freezing, with a dusting of snow on the ground – lovely conditions – and the temperature wasn’t a problem as I was dressed appropriately. The brutal wind chill was more of a concern though. Therefore, it’s important to wear garments that are not only water repellent, but wind proof. It’s situations like this where you reap the rewards for investing in top-quality garments and thanks to my kit, I was able to make the most of the beautiful light. Are there specific items in the Páramo range that stand out for you? I’ve been wearing Páramo for around ten years; the first garment I bought was a Halcon Jacket, and it remains one of my favourites. It’s hard-wearing, lightweight, comfortable and keeps me dry. Its oversized pockets are perfect for holding kit, particularly filters. And when I run workshops, half the group will be wearing Halcons – we must look like clones! Can you pick us an ideal winter outfit then? It really depends on the conditions and temperature. In wintry weather, I tend to wear a Grid Technic Baselayer (£55) for insulation, an Enduro fleece Are there any occasions in particularwhen you’ve been glad of being kitted out with proper outdoor gear?

with Cascada II trousers. All items have great ventilation and moisture control, so it’s easy to regulate your temperature and keep dry. This is important for photographers, as you often walk for a distance to reach a viewpoint, but then stop and remain static for (potentially) hours as we wait for the right conditions.

paramo-clothing.com

Right The Páramo Enduro Jacket is perfect for long periods of outdoor shooting in a variety of conditions. Its efficient Nikwax Analogy fabric controls moisture and temperature and it stretch panels allow unrestricted movement.

Benefits of the weather Of course, winter needn’t be so hard on your sleep, as the simplest benefit of the season is in the shortened hours of daylight; there’s so much more good light at accessible times of the day. The sun stays lower, giving the warm glancing light that landscapers love, and on cold, dry days views are often at their clearest. “Sunrise in the Lake District at this time of year is almost 8.30am,” says John “and by the time mist is forming over lakes, it can be anything from 9-10.30am, so it’s hardly early. But climbing higher and longer, and when daylight is so short (sunset can be as early as 3.30pm), you still need to get out early tomake the most of it. It’s never a chore though; to see the sunrise over clouds from halfway up a mountain is so much better than sitting on the morning commuter train into King’s Cross.” Simply scene Winter weather can also simplify a scene in ways that nothing else can, as John points out: “the weather always changes the way you look for pictures, from one season, one day, or even one hour to the next. Coverings of snow or mist, not only simplify your scenes, in terms of highlighting certain details, but also do it in terms of tonally.” The tonality of winter is worth exploring further, because as you take in a reduced colour palette and often lower contrast if you’re shooting in misty conditions, scenes

look less busy and become more relaxing. This means that, even where there’s no snow around, don’t neglect shooting in the gloomy weather that we often face in the UK – it’s really just an opportunity to see a location in a different way. “I always say there’s really no such thing as bad weather,” explains John, “there are only different types of lighting, which create different atmospheres and moods. Rain and fog can create a fabulous feeling of recession and depth in a landscape, allowing foreground elements to stand out from a high-key, pastel- coloured background.” In this way, the changing weather reveals new opportunities in places you’ve shot before, so try to always keep a log of spots that might work well, in an app like Google Maps, or by doing it the old fashioned way. “There are some places I know, perhaps with isolated trees or dry stone walls,” says John “that work superbly when covered in snow or by mist. “Also, remember it’s not all about the bigger views in winter; I’m always on the lookout for ice patterns and details, which you can find in something as simple as a frozen puddle. Those patterns can be just as interesting as a panoramic view, as can a few delicate blades of grass poking from the snow.” Mist and frost can be idyllic, but not always for your camera, and when you’re shooting in those conditions, or snow-covered ground, remember that your metering system can be

Above In this shot of John Gravett’s, the heavy frost hanging from the trees is side lit by the low sun, giving an excellent seasonal flavour. Extra interest is added to the scene by the subtle colour of the trees which lifts the highlights away from the monochromatic shadows.

Powered by