the dan milner photography blog: tales of an adventuring photo chimp

September 19, 2015

Behind the Scenes of Nikon’s Behind the Scenes..

Filed under: Uncategorized — Tags: , , , , , — danmilner @ 11:53 am

Even in today’s selfie-saturated world, most photographers prefer to stay behind the lens. But last month Nikon turned their film cameras on me for 2 days to make a short #IamDifferent film about what goes into a real mountain bike shoot.

The film concept is less about Nikon gear and more about the process of capturing the kind of images that adorn the pages of magazines, decorate websites and shout from advertising spreads  -you know the kind of stuff that makes you go “ooooh”.

Photography is now more accessible than ever before, and I love that, at least as a concept. Only by taking pictures do people learn how to spot photo opportunities and how to take better pictures.

Of course I’m less excited by the inevitable consequence of the popularly blurred distinction between true photographic talent and mutton-dressed-as-lamb snaps. Understand that this has nothing to do with elitism, but is more a concern over the increasing failure of popular culture to recognise a truly good image among the tsunami of flotsam that is smothering peoples visual cortex (wow, that was a heavy sentence). Instagram filters can make pretty crap snaps look good, at least for a few seconds of someone’s attention (but isn’t a few seconds the attention span we’re encouraged to have nowadays?) but maybe if they are taking photos at all they can see the potential of more creative photography, where decisions about light and composition are taken at the moment you lift the camera?

But whatever. Despite the abundance of aspiring photographers out there, there is still a mystery to how action sports photo shoots happen, how they come to be, where the inspiration comes from. There is a mystery behind the process, the communication, the decisions, the choices that make that final shot rise above the immense Sea of Mediocrity.

If truth be told, this wasn’t the typical shoot for me. In fact I rarely go to one spot to nail one image I have in mind. More usually my shoots are either a full day of capturing a brand’s images, working several different spots as the light changes and we dip deeper into a bulging bag of product that needs to be shot, or it’s a day of facing unknowns during a remote, multi-day expedition, while trying to capture the physical and mental challenges of what we have ambitiously taken on. They are very different fish.

So when Nikon’s agency asked me for a location that would both be visually stunning and easy of their film crew to reach on foot, I racked my brain and came up with this spot – a vast, aggressive looking glacier that would make for a breathtaking backdrop to the action, about an hour’s walk from the top of a cable car. I’ve only shot here twice before in my 17 years as a pro, but knowing the trail in the foreground was loose, steep and exposed, it also meant finding a rider confident to make the shot work. I asked Benoit Lasson from the local bike shop.

I planned an early start that would backlight the glacier, adding a dream like ephemeral quality to the ice, that would bring out its blue tones, rather than the pure white that most people associate with great big lumps of ice. I took my D750 to lighten my F-stop bag of kit a little, and I mostly used my 70-200/2.8 lens to pull the glacier into the shot and flatten the image to add more drama and intimacy (I also had the 24-70/2.8 and 16-35/4 with me to cover any eventuality). And with my old Motorola radios failing we shouted a lot to communicate to get timing and angles right, and pinnacle the action at the right spot on the trail, where I could place Ben against the full majesty of the ice.

For me the film works great. It not only shows what goes into a shoot, but the thought processes behind the shot I’m aiming for, and how you can move photography away from Instagram filters and into the real attributes of photography -composition, light and timing. It also gives an idea of what goes on inside my head -but that’s a scarier place than perched on the side of a skinny trail 50m above a sharp, spikes of ice, believe me.  Enjoy the film.

You can see some of my favourite images from the last few years with my backstories to them in a supporting Mpora interview here.

Nikon D750, Nikkor 70-200 f2.8 @ 1/1000, f5.6

Nikon D750, Nikkor 70-200 f2.8 @ 1/1000, f5.6

August 10, 2015

hey, are road bike models supposed to get frostbite?

Filed under: Uncategorized — Tags: , , , — danmilner @ 4:15 pm

I’m guessing few people out there know what really goes into creating a photo for a bike company’s marketing needs. That’s understandable; I don’t really know what goes into a doing heart transplants (other than maybe cutting, swapping and err, stitching up?), or brewing fine micro-beers (although I’m hoping they dont share much, if any, of the same technologies or techniques).

KinesisUK ad, Cycling Plus August 015.

If they could fit refrigerated handlebars you’d get a feel for what James is feeling when you test trde this bike. KinesisUK ad, Cycling Plus August 015.

So my recent Alps shoot for KinesisUK road bikes and Reynolds wheels could be that magical eye opener for anyone wanting a true behind-the-scenes glimpse of it all, though I only realised this as we (rider James Brickell and myself) woke in the back of my VW Transporter camper-fied van for our planned sunrise shoot. instead of heavenly rays of golden light bursting through the windscreen, rain was lashing its windows and the mercury was still sitting at a very unappetising 4C.

Nikon D750, 16-35 f4 @ 1/1000 f5.6

I’m guessing James’ thoughts lie somewhere between “hot coffee, soon” and “would anyone notice if the photographer didn’t come back from this shoot?” Nikon D750, 16-35 f4 @ 1/1000 f5.6

Making images that “pop” with aspirational grandeur is what makes everyone happy. The client is happy and thinks you are a lens-god (which of course I am). The public thinks you are great for making the product they really, really want to buy seem even more irresistible and justified. And the model/rider thinks you are great… eventually (usually only long after the shoot when sensitivity has returned to their extremities and they get to see how ruddy good you have made them look on a bike.)

And to make images pop means invoking atmosphere to the scene. Usually by sacrificing something to the weather gods.

Nikon D750, 70-200/2.8 @ 1/1000, f6.3.

“Yes that hill climb, yes do it once more please. OK, and just once more again please..” “Nikon D750, 70-200/2.8 @ 1/1000, f6.3.

Considering we’re in the Alps surrounded by majestic mountains, this all sounds easy. So to inject a little realism and dispel some misconceptions, here is how the recent KinesisUK shoot panned out:

Drive an hour to pick up rider.  Drive another 45 minutes to location and scout a bit, looking at the aesthetics of every possible corner of a long twisty road over a remote mountain pass.  Shoot some summery looking, dreamy images as the sun dips (one box ticked).  Drive over pass into land of pizza and eat.  Drive back to pass and camp in van in lay-by so to be ‘ready” and on location for planned sunrise shoot. Wake up at 5am to p*ssing rain and freezing temperatures that weren’t  forecast.  Go for a wee.  Wait another 90 minutes to see if the weather will break in time to still get a pop at some good morning light.  Wonder about life and the meaning of it all.  Leap out of van at first sight of clouds breaking.  Persuade rider that he isn’t cold, really, and tell him to stop shivering and to try to make it look like he is enjoying himself on an aspirational, ‘out there’ finding yourself kind of ride (you know, the sort everyone thinks they want to do, but don’t).  Wait for clouds to part again.  And again.  Allow rider to don warm layers in between hustled shots.  Shoot as for as long as possible at least until either a) rider can still feel his hands to use the brake, or b) the light is still making those images pop.  Finish when either of these give up on you or you’re having to resort to Sellotaping down rider’s nipples flat and invisible through the jersey in an act to convey some kind of warmth to the shots.  Go grab some breakfast.

Reading that back I guess my job isn’t as glamorous as some would think. But I dont think I’d have it any other way.

Nikon D750, 24-70/2.8 @ 1/1000 f5.6

Somewhere at the end of this road is a warm cafe and breakfast. Possibly. Nikon D750, 24-70/2.8 @ 1/1000 f5.6

August 1, 2015

All in the detail – shooting the Zurich Ironman

Filed under: Uncategorized — danmilner @ 10:25 am

Last year I shot the Zurich Ironman event for Mens Fitness magazine. As the feature has long been out,  I thought I’d post some shots from an interesting day of memory card abuse

My brief was to capture the event in all its glory and its pain (mostly pain), as well as nailing shots of the then mag’s editor Nick Hutchins participating. I’ll be straight; I’m no triathlete. Yes I ride bikes, but I don’t run (unless I have to, say, when my bus is leaving, or the pub is about to shut or chased by a polar bear) and I don’t swim that much (unless chased by a polar bear), but these kind of jobs are pretty interesting opportunities.

So as a photographer that is used to photographing radical, extreme sport nonsense, I saw this as an opportunity to not only capture the “extreme” angle (that’s a 3.8Km swim, 180 Km ride, 42 Km run), but also capture what I saw as a kind of weird juxtaposition of immense physical exertion and unlikely dress code in an oddly urban setting, against a backdrop of everyday normal Swiss city life. It proved an unlikely mix and like much of our human existence presented plenty of photo op’s if you looked at these shenanigans through objective eyes.


Lycra, aero helmets and elephants. When else can you caption like that? Nikon D3s, 16-35/4 @ 1/1000, f4.


Old meet new. Now go play nicely. Nikon D3s, 70-200/2.8 @ 1/1000, f4.


The most vociferous supporters were on “heartbreak hill”, the one meaty climb in the bike stage. These blokes were the most enthusiastic, helped along by a plentiful hoard of beer. They made my day. Nikon D3s, 16-35/4, @ 1/1000, f5.


I can never resist photographing people with flags on their head. Don’t know why. Nikon D3s, 16-35/4 @ 1/1600, f4.

What gets a lot of competitors up the hill for the 3rd time is the support from family. Nikon D3s, 70-200/2.8 @ 1/1000, f3.2.

Family support, shrieking loudly and waving life-size pictures of their face is what gets competitors up the hill climb for the third time. Probably. Nikon D3s, 70-200/2.8 @ 1/1000, f3.2.


The storm hits the calm. First lap of the 3.8Km swim breaks the still lake surface at about 7 am. Nikon D3s, 16-35/4, @ 1/1000, f4.5

Nikon D3s, 24-70/2.8 @ 1/1600, f5.

I’d give 10 Euros to know what she was thinking. Probably: “I wonder if I left the  oven on?” Nikon D3s, 24-70/2.8 @ 1/1600, f5.

Get in. Nikon D3s, 70-200/1.8 @ 1/2000, f3.2.

Get in. Nikon D3s, 70-200/1.8 @ 1/2000, f3.2.


Ironman widows. Hey, thats what it says on their shirts. Nikon D3s, 16-35/4 @1/200, f4.


Sponge. Nikon D3s, 70-200/2.8 @ 1/1250, f4.

Getting in close sometimes means getting wet. While other photographers use da long lens, getting in close puts you right in the action. I spent 2 hours in wet shoes afterwards. Nikon D3s, 16-35/4 @ 1/1000, f5.

Getting in close sometimes means getting wet. While other photographers used a long lenses and shot from 20m away, getting in close put me and the viewer right amongst the action. I spent 2 hours in wet shoes afterwards. Nikon D3s, 16-35/4 @ 1/1000, f5.

Foil-blanket, beer, enough said. Nikon D3s, 70-200/2.8 @ 1/640, f4.

Foil-blanket, beer, enough said. Nikon D3s, 70-200/2.8 @ 1/640, f4.

May 15, 2015

From Afghanistan to London without passing ‘Go’

Filed under: Uncategorized — Tags: , , , — danmilner @ 5:59 am

It’s a weird thing being an ‘adventurer’. Expeditions to remote, far-flung places can take months or more of planning but too often once I’m home again, washed my filthy clothes and (just about) got my digestive system back on track my attention turns to planning the next, without giving enough time to reflect on what we just achieved or on the experiences of what just happened. It’s like pulling a “Go straight to next adventure, and do not pass go, and certainly do not collect £200” card in Monopoly. Often I only revisit those experiences when I edit my images from a trip, or am invited to deliver a slideshow or talk on my adventures. This latter is one of the most enjoyable sides to my niche job – getting the chance to really share the experiences of pushing bikes over snowy 5000m passes or huddling in a tent through days of Alaskan blizzards, and doing it in the luxurious comfort of a warm auditorium.

Next week I’ll be one of the 4 adventurers sitting on a unique Q&A panel at a London screening of the mighty best of Kendal Mountain Film Festival. You can get tickets here, and the money goes to charity.

The kids of Robot settlement, Afghanistan try riding bikes, for the first time. Nikon D600, 50/1.4 @ 1/2500, f3.5

The kids of Robot settlement, Afghanistan try riding bikes, for the first time. Nikon D600, 50/1.4 @ 1/2500, f3.5

Last November I was back at the Kendal Mountain festival, to introduce Anthill’s new film edit from our Afghanistan MTB expedition at the festival’s dedicated Bike night, and then next day to do a 45 minute slideshow talk on the same trip at the KMFF Adventure and Exploration session. My talk balanced nicely with one from ‘micro-adventurer’ Al Humphreys, who will be chairing the Q&A next week.

New experiences are what drives me to head to new places. Adventure is just a tag to the experiences that arise. Of course I know that my kind of adventures sit off the radar for most people, but public speaking events like these are a real way to give people a vicarious taste of what is involved in hauling bikes through places that have never been touched by a bike tyre before, in that first person way that magazine articles and films can’t. Hearing about tough trips is compelling, but I also like to add a little ‘really, you could do this too’ empowerment and aspiration for the audience.

So come and ask awkward questions about photographing awkwardly ambitious bike trips in awkward places to travel and do it from a comfortable, warm seat with a low-fat soy chai latte in your hand. London May 21st.

Screen Shot 2015-05-15 at 06.42.17

April 23, 2015

One Hit Wonders – shooting skiing.. again

Filed under: Uncategorized — Tags: , , — danmilner @ 6:03 pm

This week I shot the last of this winter’s shoots, this one for Animal, making the best of some, err, pretty “tricky” conditions (read: hiking slopes at 3400m to scratch a mere whiff of some pretty scant powder) and it’s occurred to me that winter has finally come to an end.

But I’ve got to fess up here. Winter doesn’t have the same appeal as it once did for me, and my winters now include a lot of heading off to dusty climes to shoot mountain biking (more about those trips to follow) in between powder fixes. After photographing wintery antics professionally for over 15 years, sometimes it can be hard to get animated about the prospect of shooting more of the “same old”. So when Voelkl skis asked me to shoot for them again in January, you might think I would have passed it up. After all, how much has skiing (and snowboarding) really changed in the 20 years I’ve pointed a lens at it? How many times can I shoot the “same old”?

Nikon D3s, 70-200/2.8 @ 1/1250, f9

Nikon D3s, 70-200/2.8 @ 1/1250, f9

But then I remember the creativity of photography, the side that got me into this hobby that became my profession, and that’s the key: creativity.  I accept that at times I’m guilty (?) of focussing on the aesthetics of a scene than perhaps creating an in-depth portrayal of an athlete’s personal ability, but hey, that’s what has given me a name in this field.

So when I headed out with the Voelkl team in January, it wasn’t so much the fact that I’ve been headhunted, or the fact that I am shooting prototype ski hardware that the public hasn’t seen yet, or the ridiculously talented skill set the athletes exhibit that left me feeling fulfilled, as coming home with some (in my view at least) aesthetically banging images.

Nikon D3s, 24-70/2.8 @ 1/1000, f6.3

Nikon D3s, 24-70/2.8 @ 1/1000, f6.3

So shooting the “same old” never gets tiring when you realise that the play of light, the way the snow has fallen, or is thrown up, will be like that only once. Just once. You only get one shot when shooting powder, after that it’s tracked and spent. You only get one shot at making it work, at getting creative, at seeing the potential in a scene. Tomorrow it will be gone. And if you seek the creativity in a scene, however much leg-work and muttering to your self like a nutter while everyone else waits patiently it involves, it will pay off.

January 22, 2015

Behind The Scenes – my 2014 Year In Pictures

New places, new challenges, new clients, and a new website. That’s been my year in 2014. So, a little late I accept, here’s a snapshot of what goes into 12 months as a world-roaming, pro photographer.

Leica M9, Zeiss 50/1.5 @ f2, 1/30.

Peanut kernels, Gran Canaria, Feb 2014. A lot of my time is taken up working out fresh story angles. In Feb I ticked off a couple of months of planning by riding and shooting a 3-day MTB traverse of the island of Gran Canaria. We climbed 5000m and descended the same, and we finished each day of riding in the dark. This was our end point, at dusk, pulling up on the west coast where, still sweaty, grimy and tired, we dived straight into a bar for beer. The peanuts came free. Leica M9, Zeiss 50/1.5 @ f2, 1/30.

Leica M9, Zeiss 18/3.5 @ 1/500, f3.5.

The challenge of simultaneously being both adventure photographer and participant is finding the energy to keep shooting when you’re running on empty. 15 minutes before nightfall at the end of a long day 1 during our traverse of Gran Canaria, Feb 2014. Leica M9, Zeiss 18/4 @ 1/500, f3.5.

Leica M9, Zeiss 18/3.5 @ 1/1000, f6.3

In a first for me, I went somewhere with the main reason to GoPro film a video episode in my regular EpicTV series. Of course I threw my Leica M9 camera in my bag too, and yes, at the end of the week the lure to shoot some still images was too hard to ignore. But this new turn of events made me think how the video is currently re-shaping my job. At the end of it all though, shooting stills is still my lifeblood, helped by the importance of creativity on location, at the moment you press the shutter. That’s when the story gets told, not later in the editing suite. Photo: James Richards and Lucy Martin, Sierra d’Espuna, Spain. Leica M9, Zeiss 18/4 @ 1/1000, f6.3

Nikon D3s, 70-200/2.8 @ 1/1000 f7.1

I’ve been shooting snowsports for 18 years and to be honest the safety issues involved have taken their toll on my eagerness to keep hitting the backcountry. Years spent shooting in some of the worlds most demanding places on some of winter sport’s most demanding expeditions have delivered me an increased awareness and knowledge of backcountry safety issues, but sometimes nature can have other plans outside of our control. Its the main reason my work has slowly been refocussing away from winter sports. After all, in ski and snowboard photography you don’t get published, or hired, shooting photos of people on pistes. I like to think that I am more cautious now than ever before, an approach that has kept us out of trouble and one that still lets you nail shots like this –end of day home run in Courmayeur, Italy as part of the Voelkl ski shoot. Nikon D3s, 70-200/2.8 @ 1/1000 f7.1

Nikon D3s, 70-200/4 @ 1/1000, f9

Backpack shoots like this one for regular client Osprey Packs is all about showing the backpack. Hide the pack and you might as well be shooting holiday snaps.  It means thinking about how your models orientate themselves while doing what they do. Making it work is helped by using people who understand this need while being able to make the action look authentic and effortless. Patagonia pro Dave Rosenbarger is one such athlete. Nikon D3s, 70-200/4 @ 1/1000, f9

Nikon D600, Zeiss 18/3.5 @ 1/6, f3.5

It’s taken me 30 years riding bikes in remote places and adjusting to living out of a single bag to work out that actually 3 days is the perfect duration for a tough bike adventure. Yes a month lets you immerse yourself in the wilds, but three days means you can be ambitious and still get out alive. And so it was with our Argentina trip in March, shooting two unique and separate 3-day stories, that both involved some serious physical and mental commitment. Our second night during a three-day traverse of the high mountains to the jungle in Northern Argentina left us in this “hotel” – a family’s spare room crammed with slumping beds in a village of three houses that could only be reached by footpath. Here Hans Rey and Tibor Simai enjoy a hard-earned early night at the end of another long day. Nikon D600, Zeiss 18/3.5 @ 1/6, f3.5

Nikon D600, Zeiss 18/3.5 @1/8 f3.5

When you’re tired and up against another tough day ahead, being served a breakfast composing only dry bread and black tea can leave you digging deep in resources that are already strained. It’s at times like this that you have to look on the moment as a unique learning experience, rather than a bitter challenge. Of course in the grand scheme of things this is no biggie, but it ain’t always easy. Here Hans ‘enjoys’ a quite moment of breakfast contemplation with our quiet host. Watch the film from this adventure here. Nikon D600, Zeiss 18/3.5 @1/8 f3.5

Nikon D600, Nikon 50/1.4 @ 1/1000 f4.

The second Argentina story was probably one of the most ‘out there’ ideas for a story I have ever had – to try to follow a disused, 100 year old railway line through the desert north of the country. While the concept sounds simple enough, the challenges on the ground -from 30C heat to battling headwinds at 3500m altitude- were diverse and made this 3-dayer as tough and as interesting as any others I have shot. Belgrano Norte railway, Argentina. Watch the film from this trip here. Nikon D600, Nikon 50/1.4 @ 1/1000 f4.

Nikon D600, 50/1.5 @1/1250 f3.5

Seeking shade from the 30 C heat in the only place available –a parked police truck in the mining village of Tres Cruces– we consider our options. Riding a decaying railway line means not only seeing a side of a country that escapes most visitors, but also gambling on accommodation options, and on this day we were unlucky. Riding lightweight and unequipped to rough the night in freezing temperatures we decided to jump a local bus back to our start point for the night and hire a local pick up truck to deliver us back to Tres Cruces next morning to continue our ride. It was a frustrating moment. Nikon D600, 50/1.5 @1/1250 f3.5

Nikon D3s, 70-200/2.8 @ 1/4000 f9.

Olympic snowboarder Dom Harington waits for the fog to clear to get a photo done as part of the Animal catalogue shoot in late March. Waiting is a big part of shooting snowsports. A very big part. You learn how to deal with cold, numb extremities. Nikon D3s, 70-200/2.8 @ 1/4000 f9.

Nikon D3s, 70-200/2.8 @ 1/1000, f10.

Patience finally pays off. Dom Harington and the flip side of waiting. Nikon D3s, 70-200/2.8 @ 1/1000, f10.

Nikon D3s, 70-200/2.8 @ 1/1000 f7.1

Somewhere near the Ligurian coast, Italy, became the location for the Endura road shoot. With clients like Endura wanting images earlier and earlier in the year, the classic cols of the Alps are no longer a possibility for a road bike shoot as early as April. Getting client pics is a mix of showing the product and capturing ‘aspirational’ images that can make billboard size images for trade stands. Nikon D3s, 70-200/2.8 @ 1/1000 f7.1

Leica M9, Zeiss 50/1.5 @ 1/125 f2

Loch Morar, Scotland. May 2014. It seemed like a good idea, or at least an original one: to use sea kayaks to haul ourselves, bivvi gear and our bikes across the water in search of mountain bike trails. Needless to say, adventure was guaranteed, even if it was only for 3 days. While I’ve been ticking off exotic locations for the last 30 years, this trip and story (to come out in MBUK mag very soon) showed that adventure is not about going exotic. It can be just as good on your doorstep, if you’re willing to think differently. It’s something I was reminded of by micro-adventurer Alistair Humphries, the other speaker at my November Kendal Mountain Festival speaking engagement. Leica M9, Zeiss 50/1.5 @ 1/125 f2

Leica M9, Zeiss 18/4 @ 1/740 f5.7

This trip was a definite leap of faith. Towing inflatable dinghies loaded with gear is no easy going, at least if the wind picks up. It was only half an hour into our 3 days paddle, that my 2 co-adventurers admitted that they had very little kayak experience. I quickly racked my brains for my own kayak rescue technique know how. Luckily we didn’t need it. Watch the film from this trip here. Leica M9, Zeiss 18/4 @ 1/740 f5.7

Nikon D3s, 70-200/2.8 @ 1/1000 f5

Back in Chamonix, France for a Keela trail running shoot meant working hard to preclude the normal, and over-shot, classic Chamonix background of Mont Blanc. This is one of my favourite “different” backdrops, that makes me think of Peru for some reason. Nikon D3s, 70-200/2.8 @ 1/1000 f5

Nikon D3s, Nikkor 16-35/4 @ 1/320 f4

2014 was the year I started shooting for Yeti cycles. I’ve ridden their bikes for 6 years now, and they made me an ambassador early in the year. My job was to shoot with their 2 top pro racers Jared Graves and the incredibly named Richie Rude. Their brief needed an Alps location that we could shoot pre-launch bikes without inviting the attention and iPhone pics of a busy mountain bike resort. I took a punt on La Grave, a little ridden, hard core village, where  we could get on with what we needed to do without being noticed. The shoot sat immediately after the Valloire race, and early starts on the gondola to get up the mountain at 7 am for a sunrise session didn’t always go down best with Richie. Nikon D3s, Nikkor 16-35/4 @ 1/320 f4

Nikon D3s, Nikkor 16-35/4 @ 1/1250 f6.3

La Grave resort is a tough place to ride and shoot, with narrow, steep, loose technical trails proving hard to get much flow on for the riders. After one or two sessions up the mountain we turned our attention to neighbouring valleys. While the riders trained during the day, I recon’d the area and by late afternoon, we could set out on an afternon-evening shoot, on what proved to trails that leant themselves better to aesthetics. Nikon D3s, Nikkor 16-35/4 @ 1/1250 f6.3

Nikon D3s, Nikkor 50/1.4 @ 1/400 f2.2

A garage courtesy car in La Grave. Says it all about this little village. Nikon D3s, Nikkor 50/1.4 @ 1/400 f2.2

Nikon D3s, Nikkor 16-35/4 @ 1/1000 f6.3

Summer was a wet one in the Alps in 2014. Our shoot in La Grave was a tough one, dodging bad weather and rain. We climbed to this spot with the idea of a sunset shoot on the mountainside. We were greeted by cloud and a strong cold wind. We cowered in the grass for over an hour, hiding from a bitter, biting wind, before the clouds began to move and we could grab the shots we needed. The photo feature from this shoot is currently up on Pinkbike here.  Nikon D3s, Nikkor 16-35/4 @ 1/1000 f6.3

Nikon D3s, 50/1.4 @ 1/250 f2

Abandoned Merc, North Carolina, June. Trek bikes took me to North Carolina for the annual shoot of the launch of a new bike for two. It’s a unique place and one that is turning its attention towards mountain biking tourism as relief from its post-coal mining recession. Nikon D3s, 50/1.4 @ 1/250 f2

Nikon D600, 50/1.4 @ 1/125 f1.6

Hard to believe, but one of the tastiest things I have tried for a long time. I spotted this sign from a quiet roadside and needed to investigate. Its too easy to just keep on driving and remain ignorant – and miss a shot. To get the lowdown meant talking to the peanut vendor, something that not only means learning something new, but also breaks down the barriers to getting the shot. Too many “travel photos” are just sniped with a long lens. Nikon D600, 50/1.4 @ 1/125 f1.6

Nikon D3s, 70-200/2.8 @ 1/1000 f3.2

Mens Fitness magazine took me to Zurich to shoot their editor, Nick Hutchings, competing in the Ironman event. During a 12 hour event that involves a 2.5 mile swim, a 116 mile bike ride and a full marathon run to finish, needless to say opportunities to capture Nick in action were rare. But my brief included capturing the event, from pro-athletes to Ironman virgins suffering. Here a Brit competitor enjoys support form family during the climb up ‘Heartbreak Hill’. Ironman, Zurich. Nikon D3s, 70-200/2.8 @ 1/1000 f3.2

Nikon D3s, 70-200/2.8 @ 1/2000 f.3.2

I’ve raced some of the toughest mountain bike races in Europe including the 135Km one day Cristalp and the 6-day Trans Alp, and I’m happy to say I’m glad racing is behind me. I know though that the support of locals and spectators is often key to keeping going at times during these endurance races. Encouragement, whether it be from a family member or in this case, an unknown enthusiast imbibed with beer, is always appreciated. Anywhere. Nikon D3s, 70-200/2.8 @ 1/2000 f.3.2

Nikon D600, 16-35/4 @ 1/1000 f4

Zurich Ironman competitors and elephants. Nikon D600, 16-35/4 @ 1/1000 f4

Nikon D3s, 16-35/4 @ 1/125 f8

With only 1 bike-friendly lift still open in Chamonix in late October, I knew doing a 2-day shoot for DMR was going to be a challenge. But if a brand wants to move its focus from dirt jumping to all-mountain riding, then carrying the bikes up a chimney like this is all part of the game, at least Milner-style. Only half an hour later Ollie Wilkins, one of the world’s most recognised dirt jump riders admitted this was the first time he’d carried his bike. I laughed, but he shot me down with the quite understandable “.. why the hell would I ever carry my bike?”  Nikon D3s, 16-35/4 @ 1/125 f8

Nikon D3s, 50/1.4 @ 1/2500 f2

I love the Peak district, UK, and need little excuse to go there, for a shoot or not. This was a shoot for Kinesis bikes to capture winter riding and commuting. Rain made some of the traffic-jammed locations in Sheffield we had in mind dangerously unsuitable, but added realism to the shots elsewhere in the town.  Nikon D3s, 50/1.4 @ 1/2500 f2

Nikon D3s, 24-70/2.8 @ 1/800 f3.5

The Peak in all its autumn glory. Worth numb fingers for? Definitiely. Nikon D3s, 24-70/2.8 @ 1/800 f3.5

Nikon D3s, 70-200/2.8 @ 1/250 f2.8

With a late afternoon shoot planned we set out onto the moors unaware that we’d be treated to a full moon. Staying on, despite the cold and wind of a late October evening, meant adding a few opportunistic lighting product shots to the folder, and pushing the ISO capabilities of the Nikon D3s to the max. People rate the low noise, high ISO capabilities of this camera, but I’m not 100 convinced. Nikon D3s, 70-200/2.8 @ 1/250 f2.8

Nikon D3s, 50/1.4 @ 1/400 f1.8

Shooting my annual 3 days at Eurobike, the worlds largest bike trade show, for Future Publishing’s MBUK and What Mountain Bike mags, usually includes grabbing a portrait or two. Stuck inside the same sprawling but packed show hall every year means turning to props to get an original portrait. Fox suspension’s Mark Jordan enjoys a little ‘me-time’. Nikon D3s, 50/1.4 @ 1/400 f1.8

Packed in between the many shoots and trips my existence has been punctuated by producing regular bike film episodes for Epictv. To get an idea of the last 2 years of insanity involved in making this work, and get an idea of what drives me to some of these places, here is the latest, a “Best of ” Episode – the falls, fails, scary bits and expletives, that somehow all combine to make quite a solid ‘feel-good’ film.  Click on the image below to redirect to the film.

Screen Shot 2015-01-22 at 14.57.00

November 11, 2014

Come to the Dark side – the Kinesis bikes Peak shoot

Filed under: bike, photography — Tags: , , , , , , — danmilner @ 9:05 am

I’ve been riding mountain bikes since 1985. My first story ran in MBUK in 1993 —a feature about riding in Majorca, complete with dodgy action selfies, taken by balancing my camera on a nearby rock, while I balanced a trackstand in between some boulders, again. Although happily published, it made me realise I needed to get better at taking photos (and do trips with other people). Mountain bikes are, and have always been a big part of my life. I don’t ride a road bike very often. But to me bikes are bikes. They are amazing things. They are tickets to adventure. They are mobility marvels. They are part of the only transport solution that sort out our cities properly.

On reflection - Scott Purchas and the T2. Nikon D3s, 24-70 2.8.

On reflection – Scott Purchas and the T2. Peak District. Nikon D3s, 24-70 2.8.

So when I get asked to shoot a road bike session, I have no problem with that, at all. Especially if it’s in one of the most beautiful, and one of my favourite, places of the UK —the Peak District National Park. Last month’s shoot for Kinesis UK was all about showing their latest T2 bike as the do-anything machine that today’s everyday rider needs: commuter / winter hack / mile-munching tourer / summer sportif. But mostly winter hack on this photo brief, which is where the Dark Peak in late October comes in.

Moody, brooding, up against the elements. Thats the Peak District I’ve always know, from childhood day trips to hike over Kinder Scout, to wet camping and mountain bike weekends riding hardtails with 35mm of elastomer suspension up front. And I’ve got to say, even after all the incredible places in the World I’ve shot, this one place in the middle of the UK is still right up there. I think it always will be, whatever bike I’m shooting.

Wet roads, dry stone walls.

Wet roads, dry stone walls.

Alive and kicking – my new website is up

Filed under: bike, life, outdoors, photography, snow — Tags: , — danmilner @ 8:34 am

It was meant to be down for 2 weeks. Three months late my new website is finally up, using a completely new format, look and a fresh set of images. A lot of them.

A thousand of a second to shoot, three months to get up online.

A thousand of a second to shoot, three months to get up online.

What was meant to be a simple task  -dropping in a decent set of images into a photoshelter template and putting back online- turned out to be quite a lot longer process than I’d anticipated. When I start digging, I seem to have, err… quite a lot of photos that would look great full screen bleed on the smart new site, and narrowing my selection down to a manageable, less bewildering but representative edit was more than could be done in my tea-break. Throw in a few select ‘special projects’ galleries, add a sprinkle of more recent commercial work and still keep time aside to actually go out and shoot, and.. well you get the idea.

And then there are the captions. Every single image has a caption of some sort – from simple athlete and/or location details to a little background story to the pic. I guess I need to get quicker at typing.

Whatever, it’s up and live and kicking. All you have to do is make a cup of tea, grab a biscuit (hell, make it a packet) and sit back and enjoy it.

September 1, 2014

I went mountain biking in Afghanistan and all you got was this lousy video

Filed under: bike, video — Tags: , , , , , — danmilner @ 12:47 pm

Here’s my moving image take on the Bikemag trip I photographed.  For your enjoyment. Or maybe mine. Click on image to watch on EpicTV.

Screen shot 2014-09-01 at 1.43.39 PM


July 31, 2014

Grave Decisions on the Yeti Cycles shoot

Filed under: bike, photography — Tags: , , , , , — danmilner @ 3:52 pm

Chuffed to be now shooting for Yeti cycles and my artistically licensed ’employment’ with them kicked off with a week-long session in La Grave, French Alps. It’s the latest layer of involvement with the brand since hauling their legendary 575 bike along various expeditions for the last 6 years and this year becoming an ambassador of Yeti.

Late light on a trail we didn't know. Sometimes the 2 hour wait in the wind at the top waiting for the clouds to part seems worth it.  Nikon D3s, 24-80 /2.8 @ 1/500, f5.6

Late light on a trail we didn’t know. Sometimes the 2 hour wait in the wind at the top waiting for the clouds to part seems worth it. Richie getting rude. Nikon D3s, 24-80 /2.8 @ 1/500, f5.6

Yeti is one of the early mountain bike brands. It is the name we all wanted emblazoned on our frames back at the end of the 80’s and early 90’s (and since), if we could get hold of/find/afford one in the UK. It’s the name that still turns heads, and summons forth coo’s of admiration on the trail. So to land the job of shooting their two top pro Enduro racers  -Jared Graves and Richie Rude-  for a week was kind of being given the keys to a wind-powered, fair-trade, organic chocolate shop and being told to ‘go make yourself sick’.

With 6 days on location and two top shelf riders to work with, you could think that this shoot was served to me on a plate, but that’s not the whole story. Mountain bike shoots, or at least those that intend to nail authentic riding shots rather than product-test shoots in the local woods, involve a lot of leg work. They mean serious climbs on and off the bike, getting up early and being out late. Try telling the race winning pro racer that his interval, sprint and turbo-trainer schedule needs to accommodate this kind of on-hill antics and see what you get as a reply. Its all about tact and working together.

There is nothing about La Grave that seems easy. Period. Nikon D3s, 70-200/2.8 @ 1/640, f6.3

There is nothing about La Grave that seems easy. Period. Nikon D3s, 70-200/2.8 @ 1/640, f6.3

With the lads aboard the new SB5c bike not yet released to the public, the choice of location was paramount. I took a gamble and chose La Grave. The impossibly steep resort isn’t hallowed as a mountain bike Mecca, and it threw us some issues, but it has trails, and incredible scenery, and just as importantly is away from the prying mountain bike masses with their iPhones and Instagram accounts. Take these bikes to nearby Les 2 Alpes or Alpe d’Huez and they’d be all over the social media in less time than it takes to pump up a tyre.

I have wanted to shoot up at this road pass for years and we scheduled the hour drive there into our shoot. When we got there  hoping for late sun, it rained. I actually think it turned out for the better. Jared and Richie riding fast and loose. Nikon D3s, 16-35/4 @ 1/800, f5.6

I have wanted to shoot up at this road pass for years and we scheduled the hour drive there into our shoot. When we got there hoping for late sun, it rained. I actually think it turned out for the better. Jared and Richie riding fast and loose and better than I ever can. Nikon D3s, 16-35/4 @ 1/800, f5.6

So to cut a long rambling story short, we did the shoot, planning early morning lift-accessed sessions (that are still too late for sunrise at this time of year) and late light rides into the encroaching night, while trying to juggle an impossibly changing weather forecast to our advantage, and allow an ongoing serious training program to happen. Decisions made, Locations found. Shots taken. Peace prevailed.

Watch out for a full online gallery from the shoot next week at and

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