some people believe that landscape photographers are solitary creatures
that prefer their own company and there may be some truth in that but when
photographers work together they can sometimes accomplish great things and
enjoy a few chuckles along the way found what looks like to be the composition in
it white bleak landscape where at 50 yards that way but it's off piste so I
need you to trail a laser off piste yes off the path I need you to trailer blaze
with snow from the from the path it's about 50 feet is it worth it look
haven't been there but can it looks like it's worth it is it just a picture of a
tree no it's you have to come and see for yourself it's worth it all right
I'll have to shoot it together cuz I can't get to it without you guys let's
do it and so begins the farcical journey in. the snow.
I nearly got skewered! In the unmentionables...
I can't get any purchase!
We haven't even had a beer yet!
I would help but it's more effort go back down. Oh guys could be dark before we get to
this composition oh nothing worse and having to bend over
to tie you snowshoes when you can't even breathe yeah you don't have this problem. all
the air just like leave your body. It's terrible, it's like asphyxiation by shoelace!
I've given up and I'm just lying down.
Oh yeah! Who needs snowshoes when you've got knees?
At this point Gibbs has finally started to take a little bit of interest
in what we're up to and you can see the exact moment right here where he decides
I'm gonna I would have gone to see what these guys are doing maybe they've got a
nice composition I'm just gonna lumber over and check out and then Bosh.
He face plants!
believe that uncle grumpy is actually a comic genius and I just hope he still
remembers me when he gets his movie deal with Warner Brothers or whatever and
he's rich and famous well Tom's idea paid off he made this hike all the way
through here bitters bushwhack or Trey's abuela trades through all this snow
without snow shoes but it's totally worth the hike because this is
absolutely juicy I think it's it's it's so good even that I think Adam may even
get his camera out is it good is it good enough I'll take a picture end of the
show that
how's hit tastes mortal like a popsicle just what I need on this hard trail that
we've blazed did you check if there was any yellow snow yeah, lemon flavour..
Well there it is. Bow Lake. This scene really sucks!
I just came here because these morons dragged me up ere!
Well we made it through this, what would you say five feet of snow?
with our snow shoes, there's the snow shoes there yeah I've got a given credit
this was Heaton's idea and I reckon it was just cause he wanted to watch us
flounder in the snow which we did and Gibbs managed to do an absolutely
exquisite faceplant which I did catch on camera and I'm going to repeat over and
over again and sync it to the beat of the music.
Nick used this really good term something like boundary Patrol or something like that and basically it's
it's watching your footsteps because once you move into the scene to
investigate or where's my comp well you've now made it impossible to move
further back and shoot a wider scene so we've we've been very very careful about
not ruining the scene and I think we've got this perfect little platform and
it's just it's just stunning how all this thick heavy snow is weighing down
these branches these gorgeous leading lines and that white nice light on the
peak there so this is this is very promising but it's so good I reckon if
we don't get good light I think we should come back tomorrow
oh it blazed the trail blazed it we've traced the playoff race the playoffs so
we might as well combat multiple times till we get
perfect light okay what I love about this shot is I love this curve that
comes in from the bottom right there and of course all of this heavy snow on
these trees making the branches sag and like this foreground interest where
you've got this river that comes in it cracks it's carved through the snow and
you've got the snow that's kind of broken off and a car
the peak there so we just need a bit of light to come in and light the mountain
from the side it's a lovely comp but we just need that line now if it's not if
we don't get that today I think we're all in agreement we might well come back
tomorrow it's so gorgeous
so what's your favorite lens and it probably 1635 oh yeah
it's a ie9 either 16 to 35 or 100
I like the 24 to 105 if you had to just crack one trap okay I just have any
focal length but I think 16 to 35 is as close as you can get to what you see
with you your eyes like what you see with your eyes if you want to get that
comp you can get it with a 1635 the thing I don't like about like 24-105 or
like 24seven is like all of those medium focal with ranges like you know 50
millimeters but you've got a boring I think like kids it's so similar to what
you see every day that it's like to me that's the challenge though see I used
to base the thing like that but then you see everyone shooting me with these 60
not even 40 mil lenses it's all this super distortion it looks really
impressive but then everyone's got the same stuff and I think it takes a lot
more effort and ingenuity to compose up much longer focal length and not like
you said not get boring and then when you do get the poor shit then amazing
well that's why I like the 100 and 400 it's like I feel like I get I get my big
you know epic landscapes with the wide angle but I get my most original
that's the stuff you got yesterday was beautiful oh I don't know the cool thing
about 100-400 is you can you can do landscapes you know you can just them
out and peace and stuff but you can also do the little details yeah especially
what about going people eyes like no you can really just sorta know what's not a
nickel yeah it's not very good lens it's my favorite thing hopefully you know I
think it depends where you are as to what you know so I said you can take one
lens I always say well where am I so on the beach along 1635 yeah and that's
probably why I say 1635 let's use a seascape yeah what was that inner
absolutely killer frozen wave shot that I love but what was that there's 70 to
300 what were you at it that at that
probably like 250 yeah that's shot I was so inspired by that shot I thought I
have to go there and I have to buy a big lens origin for yours but that's the
thing about telephoto is they're like the further you zoom in on something the
less likely you are to be recreating somebody else's photo or somebody else's
a less likely to recreate your own all unique yeah that's a good point and you
think about actually I always feel like my telephoto shots are always my more
original ones yeah but they're also most difficult to
sometimes it's hard to get a sense of three dimensionality like you have a
mountain peak you zoom in I it's just like well I think you've definitely
talked me into it I will let you lend me your lens he'll
how come you're not find it the drug you can't fly drone in national parks
people's Adam Gibbs is all about the yeah you'll be very strict about that
you showed me the other day of okay well we didn't quite get the epoch like that
we were hoping for but it wasn't a total dead loss and I had kind of low
expectations when we got here because the light was totally flat anyway but I
think if you can hike in somewhere and discover a new composition that works
for one two three four four photographers in a row well that's
that's a good day even if you didn't get the light because there's always
tomorrow so I reckon we're gonna head back get some breakfast on some coffee
and then hand out to our shoot this afternoon and maybe we'll see this place
again
have you ever seen such grace the composition over there quick