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

December 15, 2015

A Tale of Two Covers

It’s like being stood at a Bristol bus stop waiting for the quarter-hourly no. 49 into the city centre: you wait half an hour and then two come at once. And so it is with magazine covers. Despite the apparent demise and “slow death” (I’m told) of print, the kudos of landing a front cover is still something we photographers kind of enjoy. After all it’s the one image that people have to look at for a whole month, unlike the ephemeral online photo-of-the-day. And I landed two last month – both on leading UK mountain bike mags. But the two cover images couldn’t be have two more different stories behind them.

MBK_322_Ethiopiacover

Kamil Tatarkovic, Simien Mountains, Ethiopia. Nikon D600, Nikkor 50mm/1.4

Magazine covers are a political animal. There are rafts of self-justifying PR companies and media researchers responsible for ‘important’ ideas of how they should look to better sell a magazine – action left to right, subject positioning on the cover to allow cover line text, colours and vibrancy, size of the subject, coming towards or going away (when do you see covers of people riding away from the camera?), and sometimes (dare I say it) the make of bike and clothing the rider is wearing and its connection to potential advertising revenue.

Obviously the cover image is meant to first grab attention and then draw the reader in to want to splash some cash and take the mag home to read instead of racing family pressures to go and eat some junk food while trying to scan read as much of the mag as possible among WHS’ shelves. So while the editorial teams of both these mags thought these images ticked the appropriate cover boxes, these two photos come from very, very different backgrounds.

mbr dec15

James Brickell, Finale Ligure, Italy. Nikon D3s, Nikkor 70-200/f4.

MBR wanted a shot from the Italian riding Mecca of Finale Ligure, to link with an editorial inside the mag. Having just done a shoot there for my regular client Endura, and with Endura’s blessing, I passed over some of the shots that I thought might work for an MBR cover (it helps to know the style of the magazines you work for when you submit images). It’s shot on a trail I know well and this section has a little wall-ride kind of feel to it. OK its not a real wall ride, but it’s enough of an off camber rock slab to be able to throw some shape to the riding. Its surprising how much more ‘dynamics’ can be added to the shot by simply turning the bars instead of riding straight. And so cover number one is from a “catalogue” shoot. Ok, so bike catalogue shoots aren’t exactly a BHS knitwear shoot – we do actually have to go and ride bikes, which means getting to a trail, lugging in the camera gear and riding and re-riding, and usually riding again, sections of trail until the pedantic photographer has nailed the shot they want (i.e., showing the product in an authentic way). Job done. A colourful cover with solid action and a happy client to boot.

November’s MBUK cover is a different fish. Shot during an 8 day traverse of Ethiopia’s high, rugged Simien Mountains, this natural berm was just one corner among a hundred on our descent during day two. It’s refreshing to see MBUK run a ‘real riding’ cover like this -backpack and all- especially knowing where and when it was shot and the adventure side of just reaching that point in our journey. There was no shuttle to the trail, no “let’s just wait for the light to be right” and no “let’s session this a dozen times” kind of luxury for this cover shot. On a genuine point to point ride across some very unforgiving terrain, you have little time to stop and play or to re-shoot. On rides like this there are simply too many time-absorbing unknowns ahead to have that kind of freedom. You have to make assessments on the hoof, to decide if something is worthy of stopping and shooting, to set up quickly and get the shot and move on. It’s a set of pressures that are very unlike the catalogue shoot.

The one common denominator is working with riders that can ride and look good on a bike. It’s not something that comes naturally to most (believe me), but it sure helps make a cover easier to score.

 

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January 3, 2014

Another 12 months of firsts – 2013 in pictures

Doing what I do, you’d think it’s easy to get blase about travelling to new places. You know,  “what a job… another month, another remote but beautiful location to shoot”. But in reality, it’s the unknowns of new places, their challenges and unexpected rewards that keep me doing what I do. And 2013 was one of those years –  a series of first time experiences, most unique, some incredible, some insane and some I’d rather not repeat. Whatever their lasting impression on me, whatever the pain, the scary-bits, the ‘too many hours in airport departure halls’, I’m glad I got the chance to go and shoot them all, from Arizona to Afghanistan.

So here’s a little look back at the places, people and things that through 2013 helped me continue becoming the worldly-wise, level headed pro-photographer I am today. Or maybe they just made me go a little more crazy. You decide. 2013 was also the year I started Twitter (follow: @danmilnerphoto) and got an iPhone, which can do most of the things photographers do. Apparently.

The year kicked off with the Voelkl team ski shoot. Epic snow always helps. Getitng the balance between aspirational, inspirational and just showing what the product can do is the photographer's challenge. Nikon D3s, 70-200 f4.

The year kicked off with the Voelkl team ski shoot. Epic snow always helps. Getting the balance between aspirational, inspirational and just showing what the product you’re there to shoot can do is the photographer’s challenge. Is there an app for powder landings? Nikon D3s, 70-200 f4.

Tales from the dark side. Nothing beats working with light like this. It's a popular misconception that today's photography is all about computer work, processing and instagram-like filters. Who needs them? Nikon D3s, 70-200 f4, @ 1/1000th, f1/8.

Tales from the dark side. Nothing beats working with light like this. It’s a popular misconception that today’s photography is all about computer work, processing and instagram-like filters. Who needs them when you have January winter light? Nikon D3s, 70-200 f4, @ 1/1000th, f1/8.

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March 9, 2013

Milner announces collaboration with GoPro

Filed under: photography, The Mangina chronicles — Tags: , , , , — danmilner @ 7:01 pm

It may or may not be a reflection on my photography, but it turns out that my talents have been recognised as worthy by a video camera company before either Leica or Nikon could hook me up. Maybe the latter two haven’t been following my blog enough. Whatever. I’m happy to announce a relationship between the photochimp that is me and GoPro.

An inside leg view of Finale's epic trails

An inside leg view of Finale’s epic trails just before it got dark and the goblins came out

Now don’t get all flustered and start worrying that I’m about to lay down my Leica M9 or D3S (I just got back from 10 days shooting for Transworld Snowboarding mag in the Dolomites, Italy… more about that later). But so as to dance to the tune of increasing demands for video content from the many expedition-like forays into far-flung lands atop bike or splitboard, you now get to see more of my face *squinting/wretching/wincing (*delete as appropriate to expedition’s destination, diet and temperatures) and not just lovely pictures of other people doing radical things.

If you’ve kept an eye on this column, you’ll know that little video insights into some of the ruddy hard trips I’ve been shooting of late have been creeping onto my radar –India, Morocco, Arctic Svalbard, Dolomites– all have been given the moving image treatment, with resulting edits appearing on websites of clients such as The North Face and Osprey packs.

And now with the formal backing of GoPro sitting hand in hand with my new MTB Trail Ninja series for EpicTV, you can expect to see more of this kind of nonsense, perhaps a little more directed, a little better edited and, well just better. And expect you should. I have some insane locations for original trips happening this year…. watch this space. You can bet that none of them will be easy. I’ll be pushing the GoPro 3’s capabilities too as a still camera.

Next stop: learning to ride pump tracks with Mark Weir in California. That’s going to hurt. And you’ll see it all at 60 Frames-per-second, full 1080 HD.

December 31, 2012

A lot of legwork: 2012 in pictures

Another 12 months. Another set of blinding adventure shoots, my busiest year yet.  One that included camping through -20C temps and shooting for a handful of new clients and one that squeezed in 100 days on the bike. Here’s a look at 2012 through my lens…

January kicked off with the Volkl ski shoot while most were still heavy headed from new Year revelries. Heavy storms meant most of the Chamonix valley was closed due to avalanche dangers and we had to get creative for the shots.

Nikon D3S, 70-200 2.8 @ 1/250, f5.6. 2x speedlites

Nikon D3S, 24-70 2.8 @ 1/250, f5.6. 2x speedlites & Pocketwizards TT5.

I  had this statue jib (above) in mind for 3 years, waiting for conditions to shoot it. I finally managed to get the shot I had envisaged for so long.

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

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

Meanwhile on the mountain, amazing low January light (above) delivered side-lighting that helps render any scene a beautiful aspirational image, while shooting from an elevated vantage point means you get to see the ski graphics. That always keeps a ski client happy. I start shooting for Volkl again next week.

February saw the coldest weather hit Europe for 50 years. It was the month I teamed up with Jeremy Jones and TGR for the Further project, meaning camping for a week through -20C temperatures in Austria, followed by a week in a remote refuge. Both backcountry forays involved 5 hour access approaches, dragging all our gear needed for surviving and filming/shooting, forcing decisions on what kit (which cameras? lenses?) was really essential. It was one of the harshest winter sessions I, or any of the TGR film team, have endured during the 4 years of filming Deeper and Further. The Further movie came out in the autumn. It’s a banger.

Nikon D3s, 70-200 2.8 @ 1/1000, f8.

Nikon D3s, 70-200 2.8 @ 1/1000, f8. This image has become O’Neill’s prime advert image for 2012/13 season.

Nikon D3s, 24-70 2.8 @ 1/250, f6.3. Our camp in the cold Karwendel range.

Nikon D3s, 24-70 2.8 @ 1/250, f6.3.  Our camp in the cold Karwendel range. The sun never reached camp and 2 of our athletes never changed out of the same set of their outerwear even in their sleeping bags.

Nikon D3s, 24-70 2.8 @1/200, f4.  Shooting with Jones always means early starts. No time to warm boots; just get on with it.

Nikon D3s, 24-70 2.8 @1/200, f4.  Time: 6.30am. Shooting with Jones always means early starts. No time to warm boots; just get on with it.

The cold continued during a shoot for Mens Fitness magazine on Biathlon (below). Shooting in -17C meant trying not to touch any of the bare metal of camera or lens while trying to dodge frostbite.

Nikon D3s, 70-200 2.8 @1/1000, f4.5.

Nikon D3s, 70-200 2.8 @1/1000, f4.5. Our MF journo chases his instructor into the icy wastelands of a very cold winter.

March delivered a return to winter tent life via a trip to Kyrgyzstan (below). If truth be told I didn’t want to go to Kyrgyzstan, having been misled by 3 previous trips to Russia as to how testing such trips to ex-Soviet countries can be. Sometimes even the ‘dream job’ can seem a nightmare. Camping in a traditional yurt at 2600m for a week and splitboarding the mountains around it had its scary moments but the whole trip proved to be enormously rewarding. A great country. Very friendly people. I am planning to go back, with the bike.

Nikon D3s, 14-24 2.8 @1/1000 f8. Stentiford lays out before a stunning Kyrgyz backdrop, only a few miles from the China border.

Nikon D3s, 14-24 2.8 @1/1000 f8. Stentiford lays out before a stunning Kyrgyz backdrop, only a few miles from the China border. Snow instabilities meant a lot of the steeper lines stayed out of reach.

Leica M8, Voigtlander 40 1.4 @ 1/20, f2. The Leica always seems less intrusive when it comes to capturing local colour. We stayed with a Kyrgyz family for a night, and kept their little girls entertained with our western habits.

Leica M8, Voigtlander 40 1.4 @ 1/20, f2. The Leica always seems less intrusive when it comes to capturing local colour. We stayed with a Kyrgyz family for a night, and kept their little girls entertained with our western habits.

Nikon D3s, 24-70 2.8 @1/30, f10, tripod. Our home for a week. No TV, no cellphone. Perfect.

Nikon D3s, 24-70 2.8 @1/30, f10, tripod. Our yurt home for a week. No TV, no cellphone. Perfect. People seem less willing to disconnect from the obtrusive technology  that seems to dominate our lives now. If they did they might appreciate being alive.

Hit the more button below for the rest of the gallery….

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