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

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

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June 24, 2014

Come to the dark side -shooting Trek bikes in North Carolina

Filed under: bike, photography — Tags: , , , , — danmilner @ 8:02 am

I’ve never been to North Carolina. At least I hadn’t until last week when my annual session shooting for Trek bikes came through. Two years ago it was the Italian Dolomites, last year Arizona and in 2014, North Carolina the venue. All three couldn’t be more different, and all throw up challenges for the photographer (dodging hail storms in the Dolomites, 100F heat in Arizona, mosquitos and poison ivy in N. Carolina). My job: to shoot the launch of Trek’s new Fuel EX bike and in so doing, shoot the image needs of the assembled worldwide editors (and Trek’s) and well, just capture the feel of the bikes in this location.  Cue: high ISO.

Nikon D3S, 70-200/4 @ 1/640, F4.5, ISO 3200.

Nikon D3S, 70-200/4 @ 1/640, F4.5, ISO 3200.

I flew in expecting moss-bedragled trees and old dudes chewing tobacco sitting in rocking chairs on porches . But of course that’s the deep south. North Carolina just isn’t quite that far south (idiot). So no moss, but it still has the the kind of animals that kill you -copperhead snakes, big spiders, bears, and it has a lot of deep, dark woodland coating the flanks, summits and troughs of the Pisgah National Forest (Pisgah is one of those words that has always had resonance in mountain biking and at last I got to see what it was all about.) And Pisgah is one helluva dark forest to shoot in.

Nikon D600, 50/1.4 @ 1/3200, f2.

Nikon D600, 50/1.4 @ 1/3200, f2. You’re never far from a church in N. Carolina.

Shooting editors during a guided ride is all about leapfrogging ahead of them. No fuss, set up the shot, shoot and move on. It means moving fast without flashes, and so shooting natural light (which lets face it is my thang) however dark it is. But thanks to the current low-light able DSLRs this is possible. Shooting landscapes in the forest is one thing, but when you need a shutter speed of 1/1000th too, then even shooting f4 or wider, means ramping the ISO up to 4000 (or more). No the shots are not perfect (I’m not sure I agree that 12,500 ISO is quite as noise-less as they claim), but they work fine for a double page spread in the print mags (hey, remember print mags?) and would probably stand up to some billboard abuse, and they are more than good enough for that digital mag resolution.

So thanks Trek for the chance to push my D3S’s ISO to meltdown, and the opportunity to ride, see and experience the Pisgah forest in all its darkness (it is really good riding BTW). And eat hot boiled peanuts. Now that’s something I never thought I’d say.

Nikon D3S, 16-35/4, 1/1000, f6.3. ISO 6400.

Nikon D3S, 16-35/4, 1/1000, f6.3. ISO 6400.

 

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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June 29, 2013

If it’s Friday it’s 100F out there: Shooting the new Trek Remedy 29-er

Filed under: bike, photography — Tags: , , , , — danmilner @ 6:05 pm

Arizona has dodged my riding and shooting radar to date. At least it had until May this year, when I landed in Phoenix for a 4 day shoot for Trek bikes. The shoot, to capture the image needs of various assembled global mountain bike magazine editors, sounds like child’s play, but is in fact a tough call. Think: sunrise-to-sunset days, trying to juggle the artistic needs of both a company launching 2 new bikes and various magazine styles alike while attempting to stay hydrated in 100F desert heat, and you have an idea of what’s entailed. Something has to give. This time it was the hydration.

AMB cover designed and original shot, for your perusal. Nikon D3S, 70-200 f4, 2 speedlites & Pocketwizards, 1/1250 sync.

AMB cover designed and original shot, for your perusal. Nikon D3S, 70-200 f4, 2 speedlites & Pocketwizards, 1/1250 sync.

Great trails, great guiding and great catering back-up (thanks Skratch!) helped, but for myself and photographer Stirling Lorence the workload is heavy -joining breakfast after a sunrise shoot, then leapfrogging the group editors’ ride to try to capture the bulk of editor’s action needs before heading back out on a sunset shoot to nail the last of a specific cover shot hit list means packing in more hours than even the Arizona sunshine will allow in a day. But whatever.

So my first editorial from the job to land in print is this, the cover of Australia Mountain Bike mag, shot while on a planned 7pm sunset shoot. The shoot involved hiking/riding up a trail for an hour to capture the legendary Arizona golden hour of light. And whaddayaknow? As soon as the sun got low, the clouds moved in. My faved natural light approach had to be replaced by 2 speedlights, to add drama to a drifty corner, backlighting the rooster of dust and adding some sidelight to the subject. So the art guy at AMB has tweaked the light & contrast a little to suit their style, but my employees on this job, Trek, landed the cover. And none of us, me included are gonna complain about that. Now where’s my water….?

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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September 29, 2012

Shooting stars: Fisher.

Filed under: bike, photography — Tags: , , — danmilner @ 6:19 pm

Leica M9, Leica 90/2.5

One of the highlights of my recent Trek bike shoot in Italy this year was being asked to go and shoot some current stock portraits of Gary Fisher. Actually it was a pain the arse.

The request from the Trek guy who was paying my mortgage that month came right on the last day I’d be there, after getting back from an overnight epic shoot with the assembled world bike mag editors. I was bushed. My camera gear was bushed, and I am sure Gary was bushed.

I’ve shot with Gary before. He’s an enigma.. and is someone who is largely misunderstood, or at least misinterpreted. Larger than life, he’s been played that way for years by his own (Gary Fisher bikes) brand and Trek who now make the Gary Fisher collection. However you perceive him, he’s a legend and is one of the names behind the whole MTB thing we love so much.

With a 90 minute window between showering (not to be missed) and dinner time (equally not to be missed) we headed out to the legendary Passo Giao in driving rain, hoping the weather would break long enough for me to grab the portraits of contemporary Gary. I imagined (hoped for) golden light bathing the epic mountain backdrop that I’d recon’d as a photo spot up at the pass a few days earlier. We arrived to mist and rain, Gary impeccably dressed in an electric blue suit and polkadot “King of the Mountains” tie. He told me he chose it for the shoot because he knew the fabric could withstand a soaking if it came to it. A pro indeed.

In the end we ran out of the car, with just long enough to grab the portraits needed. Gritty natural light works for me and for my Leica M9. And by the look of the Trek website’s Gary Fisher Collection homepage, works for Trek too. Did I say pain the arse. It was an honour.

August 18, 2012

P.O.M July ‘012

Filed under: Uncategorized — Tags: , , — danmilner @ 11:35 am

Photo Of the Month July 2012: Pete Gaston, Cortina, Italy.

Exposure seems to be part of most of this years shoots it seems and shooting the 2013 launch for Trek bikes last month in the steep Italian Dolomites was no different. Trails here are not the easiest, but this one probably takes the gold for challenges. Scouting for new photo locations Big Mountain Bike Adventure guide Pete Gaston follows along a typical section of a trail we were exploring to access another great, and rideable, photo trail. This via-ferrata trail took us two hours to cross, bike in hand, raising eyebrows from harness-wearing climbers along the way. Sometimes to get adventure shots you have to immerse yourself in adventure. Leica M9, Zeiss 18/f4.

For more on the Trek launch with more images see here.

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