Our U.S NYA-EVO ambassador Hudson Henry saw the need for the addition of a versatile pouch that can be applied to our backpack lineup and we together came up with this useful addition the the Fjord packs.
A handy accessory made with same ECONYL fabric as the backpacks it dons the trademark aluminium zip puller, NYA-EVO 'Y' logo, along with the YKK aquaguard zippers for maximum weather protection. Along with the main compartment the 1.5 Assistant pouch also features a stretch fabric zip pocket on the back side and a mesh zip pocket on the front side. Filters, sd cards, batteries, snacks and anything else you need to be close at hand can be placed in the pouch.
The backside is constructed with molle webbing so it can be firmly attached to the waist belts of our Fjord 36 and Fjord 60-C backpacks. The Fjord 36's waist belt has the molle webbing on one side meaning one assistant pouch can attach and the Fjord 60-C has molle webbing on both sides of the waist belts- therefore two assistant pouches can be attached there.
Furthermore, the pouch can also be attached to a belt or belt loops, and can also simply be thrown in your pack without attaching it. Lastly, The Assistant 1.5 can be paired with our shoulder strap to make a perfect body pouch that is convenient for travelling or moving around busy cities.
Priced at $29.99usd per pc, $49.99usd for the pair or one assistant pouch with the shoulder strap for $44.99. These are a great addition to your NYA-EVO system and are made with the quality that you have come to expect from NYA-EVO.
Available now!
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Louise Gilles-Compagnon is a photographer specializing in underwater photography. She lives in Moorea, a small island in the middle of the Pacific, where she photographs humpback whales every year. Come discover her story and dive into her world!
Originally from Alsace, France, my journey as an underwater photographer began at the age of 10 when I took my first dive. It was a transformative experience that exposed me to a whole new world. The feeling of weightlessness, the vibrant marine life, and the breathtaking colors captivated all my senses. From that moment on, a dream took root in my heart - the dream of becoming an underwater photographer.
During my five years of studying photography, I had the opportunity to do various internships, working with photographers like Tim McKenna, Sophie Delaporte, and Steve Josh. It was through these experiences that I developed a passion for fashion photography. I then decided to move to London, where I worked in the fashion photography industry for two years. However, despite enjoying my time there, I couldn't ignore my longing for the ocean. This led me to make the life-changing decision to leave everything behind and start a new adventure in French Polynesia.
Since arriving in French Polynesia, I've had the privilege of encountering humpback whales in the Pacific. These magnificent creatures return each year to give birth and continue their cycle of life in the warm waters. Their sheer beauty and commanding presence captivated me instantly. Over the past four years, the ocean has become my greatest teacher, guiding me in understanding and connecting with its inhabitants. Through patience, respect, and an unwavering admiration for these gentle giants, I've been able to capture unique and awe-inspiring moments with the humpback whales.
My advice for those who aspire to become a photographer is to believe that every dream is attainable. While nothing comes easy, everything is possible. Despite being told that photography is not a career but merely a passion, I have always followed my own intuition and strived to surround myself with the right people. Whether or not you pursue formal education, I believe that determination and effective self-promotion are key. Don't shy away from taking risks and stepping outside of your comfort zone. Remember, every accomplishment stems from hard work and unwavering dedication. Never give up on your dreams and stay on the path to becoming the photographer you aspire to be.
I remember that day as if it were yesterday. I was surrounded by an incredible team, and after several hours of waiting, we got close to 3 whales playing together. They were very curious and genuinely wanted to interact with us.
Since I started photography, I've been using Canon gear, and currently, I have a Canon R5. As for underwater housings, it really depends on the subject I'm photographing!
Thanks to the Fjord 60-C backpack, I can fit all my equipment inside, including my underwater housing. I use it daily! It's perfect for hiking and taking it out to sea.
I have just created a jewellery brand called Atiha, which combines all my passions for the ocean and fashion. Each collection supports a different association, and the first one is in collaboration with Oceania, an organization that protects marine mammals in French Polynesia. https://atihabrand.com/
I am really happy to be an ambassador for NYA-EVO! Working with their bags on a daily basis brings me so much joy. They are incredibly durable and functional, making them an essential part of my adventures. I can't imagine going on an adventure without them.
To see what Louise is up please check out her instagram.
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We took a month off and in July 2010 we went to the Southwest USA, which in retrospect wasn’t the best time - it’s so hot over there in summer! - but nevertheless, I fell in love with landscape photography and it was right there and then that I decided I wanted to do landscape photography only, for the rest of my life.
You gotta love it, first and foremost. After so many years, I am still here and still doing it only because of the love for Fine Art photography, for the love of art, for the love of landscape and for the love of our amazing planet.
I should say the next :) Having been active for a long time, I have a few I like, which you can find here accompanying this piece.
In the second half of 2023, my wife and I will take off for a personal trip that I have been looking forward to for years: we will spend 4 months just working on my photography, no Workshops, and we will be going to Australia, New Zealand, Easter Island and the Oregon Coast. It’s a dream trip for me, and I hope to come back with some good images!
To see more of Vieri work please check out her instagram and website.
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Lara Jackson is a Wildlife Photographer of the Year, Nikon Creator, and Global Ambassador for 'Save the Rhino' - NYA-EVO is proud to welcome this multifaceted conservation biologist to the team. Read more about her fascinating backgound and projects below.
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From long hikes in the bluebell woods when I was little, to wrapping up an injured hedgehog and taking it to the local wildlife centre for treatment -- for as long as I can remember, nature and wildlife have been a huge part of my life. As I got older and this love and passion continued to grow, it was obvious to me that I had to work with animals in any capacity I could. When I began to learn about the negative impacts that human activities exert on the earth and its inhabitants, I realised I needed to work in a career that would help to conserve our planet. I studied Zoology (BSc hons) and then (MRes) Wildlife Conservation at the University of Southampton in the UK. Having the opportunity to learn about the natural world in such depth and complexity made me even more appreciative of our extraordinary earth. I loved the research aspect, the science behind the natural world and most of all the opportunity to complete field work as part of a career in scientific research.
I’ve been incredibly lucky to travel to numerous countries throughout my research and career as a wildlife photographer, so this is a tricky question to answer. Until I have the opportunity to visit the Arctic or Antarctica, I’ll have to say Africa. For as long as I can remember, Africa was the continent I was desperate to get to, purely because I’ve been inspired by its incredible wildlife for my whole life! Having said that, Madagascar, Belize, and Chile are definitely up there!
I’m delighted to have been part of the Nikon family, ever since my award in Wildlife Photographer of the Year. I’m currently using the ground-breaking mirrorless range and am predominantly shooting on the Z 9 and NIKKOR 100-400 f4.5-5.6. I’ve also recently got my hands on the NIKKOR Z 70-200mm f/2.8 and have really enjoyed capturing animals within their environment. Lately, I’ve also had some conservation journalism assignments to document both the positive and negative interactions between humans and wildlife. For projects like this, I use shorter lenses like the NIKKOR 24-70mm f/2.8.
We all have a different way of seeing the world and photography is the way we can show other people what our own eyes see. If we went to photograph the same lion on the same day at the same time, our photos would be vastly different to each other. Experiment, find your unique style, find out what’s important to you. Are you trying to raise awareness for an issue through your photography or are you trying to show wonders of the natural world that aren’t appreciated? Don’t forget to develop your story-telling skills, these are what bring your visual imagery to life.
There are several conservation projects that I’m keen to document, not to mention new ecosystems I’d like to experience, and wildlife I’d like to observe. I definitely want to focus more on conservation journalism. I want to capture some of those interactions between wild animals and humans, whether it’s covering a distressing topic like rhino poaching, or an uplifting event like a reintroduction project. I want to create images that directly show the impacts – both good and bad – that we’re having on the planet. I will always use my camera to give those who cannot speak, a voice.
For now, I have an upcoming trip to Kenya and then back-to-back photography workshops on my home: The Isle of Mull. Championing my native species and inspiring people to care for the wildlife close to home is also of the utmost importance to me.
Hopefully one day in the future, you’ll see me documenting the challenges that polar bears are facing, like reducing sea ice and therefore, hunting grounds, decreasing prey populations, and climate-related pressures.
To see more of Lara's work please check out her instagram and website.
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My name is Marcin Ciepielewski and I am climbing and adventure photographer from Poland. I started my adventure with a camera while still in university, but only when I have combined photography and climbing it turned into a real passion.
I have been climbing since I was 22 years old and that knowledge and skill helped me better capture the beauty of movement and dynamics of the scenes I was photographing on the rocks. In many cases, photography allowed me to experience climbs that I would never have been able to do myself, but I was able to document them by accompanying them with my camera. So you can say that thanks to photography I also got to know some areas of climbing that were previously inaccessible to me.
The camera is an inseparable part of my gear during trips to rock crags and mountains around the world. So far I have visited climbing crags in Poland, Austria, Czech Republic, Croatia, Greece, France, Spain, Germany, Morocco, Norway, Portugal, Switzerland, Turkey, Italy.
It is a very complicated activity, because you are merging many skills at the same time. First of all you do not have to be only the photographer but you also have to be a well-trained climber. It is a necessity to know how to work in rocks and in the mountains, how use the climbing gear and all the equipment that comes with it in order to work in a safe manner.
Climbing photographers almost always work hanging on the rope over the abyss. There is a good amount of team work involved. Climbers attached me to the fixed rope, then I go up with my photo gear using the special rope ascenders, after that the climbers whom I am photographing climb up.
Important things is to find a good location and the right moment of the day with the best light. When the scenery is looking ideal prepare the fixing ropes to get the best perspective of shooting, and in the end put yourself in the best position to capture the best moments, poses and emotions of the climber.
One way to think about it is that climbing photography often joins landscape and sport photography. I give great importance to the formal elements of the photo, trying ensure that my photographs are characterized by a strong formal discipline - especially compositional. I am always looking for a geometric order in the composition, leading lines and shapes to help me organize the frame.
It is also advisable to keep your camera gear focused and light. Sometimes getting to a location needs a lot of effort, especially in the mountains, where the ascents are quite long. For that reason I use Nikon Z7II mirrorless camera with only two or three lenses.
My favourite is wide angle lens Nikkor Z 17-28/2.8, I am able to get wide and dynamic perspective using it. During the ascent I use usually Nikkor Z 50/1.8 S lens, with its standard angle I can capture many reportage shots and backstage photos, when climbers prepares ourselves to the climb. The last but not least is longer Nikkor AFS 70-200/2.8 VRII, it’s the biggest and heaviest lens, but it is essential to capture the close up photos, which show the real emotions.
In climbing photography half of your problem is taking your photography gear with you and the other half is that you also have to carry your climbing equipment. The items I aways take with me are the harness, carabiners, helmet, ascenders, belay devices, rope. In winter it gets even more complicated, because you also have to take ice axes, crampons and a lot of warm clothes, then it's a real challenge.
Finally it is necessary to carry all this gear to the location, usually in high mountains. I used a number of photo backpacks during the years but now I am in love with my NYA-EVO Fjord 60C camera backpack.
The construction is very well thought out, I can pack all my photo gear in the RCI Unit and the climbing gear, clothes, food, water in the left over storage space. The storage space is flexible and the possibility to even expand even more on the Fjord 60-C gives me that little bit of extra comfort and security so I can math my needs.
I can take the same backpack for a fast photo session when its pleasant on the rocks and also for a real adventure in the high mountains carrying the winter equipment. The adjustable straps and waist belt allows to carry all this stuff in comfort, and when i talk about comfort my gear usually ends up weighing 20kgs!
But the best is removable RCI Unit with dedicated shoulder strap. Thanks to this solution I can carry the all stuff to the location, and when everything is prepared with the essential photo gear.
To see more of Marcin's work please check out his instagram.
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I got into photography through Skateboarding. As a professional Skater, I was in front of cameras a lot and really got interested in how photography works. I thought it would be awesome to document our skate trips so I bought myself a Canon AE-1 and took it everywhere with me, I was hooked. I am self-taught and have been shooting for 12 years now. For the last 5 years I have been working full-time as a commercial and portrait photographer, which still is surreal to me :)
I tried almost everything in the beginning, from landscape to architecture to documentary and I kept going back to portraits, it was simply my favourite. The thing I like the most in photography is to work with people. With portrait photography that is the main key element. I am fascinated by faces and human expressions, I think a good photo can show a lot about the person in front of the camera.
I would say: portrait as many people as you can. In certain situations it can be really uncomfortable to shoot people you don’t know yet. Little by little you get used to it and it gets easier over time. The most important thing is definitely to build a relationship (of any kind) with your subject. The person needs to trust you. Always practice and push the boundaries of your comfort zone.
It depends.I like to shoot both outside and inside. I definitely prefer natural light. I don't use flashes because the look never really appealed to me. A big bright window and a clean wall is what I need to create. Outside I ́m looking for open shaded areas or really low light like sunrise or sunset. An overcast day is also good for me. In terms of angles I mostly shoot eye-level, nothing too fancy.
Most of the time I ask through social media or in person. If you have a solid portfolio to show, people mostly say yes. Of course the person needs to like your style of photography and she or he wants to be photographed in the first place, but even after all these years I ́m still nervous to ask people so do not worry about that, it is just a part of the profession.
Because I mostly shoot film (at least for portraiture) I can never be sure. Most of the time it is just a feeling. A good number of times the feeling is right and sometimes the best shot is a photo I never expected to be good. So many
things need to come together. Focus, framing, expression, light and the overall feeling need to be right.
That's impossible to say :D There are only a few photos I shot that stand the test of time (at least for me). One of them is a portrait of Verena I took years ago (Its the BW one with the fucked up film borders and the windy hair). I asked her at a party if she wanted to have her photo taken. A couple of days later we met on an overcast day at the harbour. I like that one.
The analog setup I use the most is a Pentax 67 medium format camera and a Nikon FM2 with a 50mm lens. For digital I use a Sony A7RIII with some fast prime lenses (35, 50 and 80mm)
Definitely the 105mm 2.4 for the Pentax 67. It is incredibly
sharp and the shallow depth of field is one of a kind. I also sometimes use an old Canon 50mm 0.95, which also has a crazy unique look to it.
I ́m not gonna lie. I use the Fjord 60-C and I never had a backpack this good. There is a place for everything. Every feature is smart and thought through. If I have to pick one thing it ́s the durability, even when loaded completely with 20kg of equipment. And it looks really good, compared to other photo backpacks.
Check out more work of Erik's work here;
https://www.instagram.com/erikgrossphoto/
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We are proud to announce that our NYA-EVO ECONYL® backpacks are ready for market and we are celebrating that launch through KICKSTARTER.
As most of our customers know our approach has always been to strive to better NYA-EVO products with each production run. Better for us not only means functional improvements and correcting nuances our customers have but also making improvements from a sustainable point of view. With the RCI (Removable Camera Inserts) Generation 3 we have done just that.
The same top-notch usability is now made from recycled materials. Larger velcro strips, a cool new look and more manageable dividers all made to give the customer a better experience. They are customisable, collapsible and come in three sizes (small, medium or large), so you don’t have to compromise on packing what you need, when you need it.
NYA-EVO's integrated removable camera inserts (RCIs) system was designed alongside the Fjord backpack from the very beginning to offer superior compatibility, convenience and function.
The RCI Units work seamlessly across the whole backpack range making sure your gear remains protected against the harshest of conditions.
The the addition of the new materials plus the new look and feel of the RCI units we have also improved the divider offering for each unit for even more arrangement options. The RCI units now offers dividers with 8.5cm width which serve wider lenses and 7 cm when smaller items need to be organized. One divider with hinge is also offered that can encapsulate smaller items as it serves as a small lid.
To make sure that the dividers hold up the weight of heavier gear we have added an extra velcro flap at the bottom of the dividers so they not only velcro to the sides of the RCI but also the bottom of it for maximum stability.
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Since having partnered with Go Forest last year we are proud to announce the planting of 408 trees in Peru. Go Forest's mission goes further than just planting the trees and restoring the forest landscapes of the Amazon but also look to strengthen forest communities.
Spreading sustainability is the key. Go Forest's partner farmers are part of a growing supply chain enterprise implementing strategies that improve livelihoods for families and communities. This broad program which includes training and nursing seedlings while also connecting the farmers to markets throughout the Peruvian Amazon. This helps establish robust regenerative supply chains.
Sarah Parent, Go ForestCo-founder & Chief Ecological Officer with the NYA-EVO Fjord 60-C in Peru last year.
Reforestation can be used to undo the effects of deforestation and improve the quality of human life by absorbing pollution and dust from the air and rebuilding natural habitats and ecosystems.
Agroforestry refers to trees that can become productive as income-generating elements in the local economy such as fruit or nut trees. These types of planted trees provide food as well as non-timber forest products for markets. These trees are usually planted with smallholder farmers and native communities in the tropics, for the highest level of social impact.
Types of planted trees for reforestation:
• Chihuahuaco (Dipteryx micrantha)
• Moena Alcanfór (Endlicheria krukovii)
• Inga (Inga edulis)
• Bobinsana (Calliandra angustifolia)
Types of planted trees for agroforestry
• Rosewood (Aniba rosaeodora)
• Cacao (Theobroma cacao)
• Açaí (Euterpe precatoria)
• Aguaje (Mauritia flexuosa)
• Bamboo
We are proud to be a part of Go Forest's global efforts in making a difference in sustainability and in people's lives. We look forward to planting even more trees in 2022.
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How did you get in to the world of photography?
As far as I can remember, I’ve always wanted to work in video production, but didn’t know if it would be fiction, journalism or sports. At one point I was doing work in all three but I quickly realised that sports was what I was gravitating towards.
I grew up in Albertville France, which hosted the 1992 Winter Olympic Games. As a child I remember the many crew and cameramen around, thinking they were super cool people doing an amazing job. As a teenager I started watching plenty of free-ride ski and snowboard movies and fell in love with this alternative culture, which became mine. I have worked in this environment for years in fact I just married one of its heroes, the American freeskier Seth Morrison :-)
Screenshot from http://alpine-mh.com/
I started working in early 2000 on fiction movie which were shot on S35mm film. My mission as a camera assistant were to set-up the camera, load the film and after a few years pull the focus. The job of a camera assistant is really just a study in techniques, there is not too much creativity or storytelling at least when I was involved.
I moved to education and worked as a technical director and trainer at Sciences Po school of journalism in Paris, where I learned a lot about storytelling and business. I’m still a trainer now, certified Adobe and Apple, and do masterclasses in companies and universities.
In 2012 I left Paris and moved back to the Alps, where I gathered all the past experiences and focused them all into my passion - mountain sports video production.
A few months later I was hired as an editor for the Red Bull Elements event, where I met the producer David Arnaud with whom I collaborated with for many years. I joined the team of Freeride World Tour, the main freeride skiing and snowboarding competition, first to improve the production workflow and then to become editor-in-chief, slow-mo operator, and finally live director and head of video production.
I also share my experiences in masterclasses and tutorials, I wrote two books about editing with Premiere Pro and many articles in pro-video magazines. I take every opportunity that comes my way to get out of my comfort zone, because I’m very motivated by new challenges and they’re what makes me grow.
Grego Campi
What are your favourite areas in filmmaking and what are the most challenging ?
It's the chance of encounters that led me to work mainly in sports events. I love the positive pressure that comes with working so fast, directing a live, and being guided by the super dynamic flow which leads the competitions. I’ve been working on events like Tokyo Olympics and Paralympics, soon Beijing Olympics and Paralympics, Freeride World Tour, Climbing World Cup, etc...
Through the years I have acquired expertise in making all kinds of videos in a mountain environment, by collaborating with various people and learning from their experience and from the different situations. I’m often asked to do things that I haven’t done before, and I’m always keen for a new challenge which will push me and maybe open new opportunities.
These missions require a lot of depth in video techniques, and also mountain skills. That means it’s mandatory to be in a very good shape to be able to hike or skin up to access the venue, and it’s absolutely necessary to know how to identify the dangers of the terrain in order to try to minimize the risks as much as possible, as well as understanding the sports and the athletes. Their commitment is considerable, but ours as well.
There are so many things I enjoy about this work. I can mention skiing in the dark to access the position before the first light, enjoying a sunrise on top of a mountain, sharing these emotions with fantastic people, being thrilled by the stunning actions happening in front of our cameras… I feel in harmony with the place and with the persons, I give a lot of passion and energy but I get so much back.
What are the challenges in your behind-the behind-the-scenes work such as directing live events as oppose to filming regularly?
I like sports events a lot, because I like the energy of a big team pushing together to create something unique. First I think it’s very interesting upstream to think of what should be put in the program to create a good show, I like that story telling. But the most exciting part is obviously the live shots themselves.
I never experienced such an intense and positive mental tension as when I directed a live. You are carried by the collective energy of all those people collaborating together to put on a great show, you feel the presence of your team behind you, you constantly talk to some of them, and at the same time you’re alone because you’re the only one pressing the buttons to create what spectators will see. The focus is so intense, it’s like having several brains to be able to analyse all that’s happening and take fast decisions, and it lasts 4-5 hours. I often tell the athletes that when they’re in the start gate ready to drop in and it comes the 5-4-3-2-1 countdown, their pressure is the same as mine when we start the live.
Jonathan Viey
Last summer at Tokyo Paralympics an athlete was crying during her victory game, and I was as well in front of my screens while directing the show. When live is over I’m exhausted, I gave all my energy to it. I really love that feeling, it makes me feel really alive.
What gear you carry, and how it changes for specific projects
Because I have to hike, climb, or skin up to access the positions, I try to be as light as possible. If I’m tired before starting to shoot I can’t work well. I like the new hybrid cameras like the Nikon Z9, which are very powerful and compact at the same time. It has everything in it, so I don’t need many accessories. I chose a versatile lens and a long lens, I bring a lavalier microphone and a powerbank. That’s all for the filming gear, because on every mountain shooting I also need to cary skins, crampons, ice axe, shovel, probe, beacon, puffy jacket, thermos and food. In the summer bags are a bit lighter, but you always need the essentials for mountain safety which are not light.
RedBull Illume's Photography competition is the world's premiere imagery contest focused on adventure and action sports photography. We could not be more proud to share with you that NYA-EVO ambassador Yhabril has won 'Best of Instagram by Lenovo.'
Yhabril climbed 3000 meters to reach his ideal position to capture his winning image of a silhouetted skier and snowboarder in front of the moon. The shot is the result of 7 years chasing the moon.
We recently asked Yhabril 10 questions about the inception and execution of his winning shot and here's what he had to say:
DID YOU FIRST GET INTO PHOTOGRAPHY OR ADVENTURE SPORTS?
I first got into adventure sports, I’ve been hooked on snowboarding for the last 25 years and I discovered photography around 10 years ago but it wasn´t until 2016 that I started to get recognition for my work.
WHY IS THE REDBULL ILLLUME PHOTO CONTEST SO SPECIAL?
Well , anyone that’s in the game of adventure and action sports photography knows that the Redbull Illume is the biggest and most important imagery contest in the world. The most captivating and creative images in the world are showcased and if you’re lucky enough to get your photo recognized you’ll have immense exposure all over the world. The total value of prizes on offer to winners are more than €200,000. The actual prize is priceless –that’s the prestige associated with being a Red Bull Illume winner, and this is why this contest is so special.
WHEN DID YOU DECIDE TO ENTER THE COMPETITION AND HOW DID YOU KNOW WHAT KIND OF PHOTO YOU WANTED TO SUBMIT?
Ever since I heard of Redbull Illume, I've been dreaming of this moment and I set it as a goal and personal challenge in my photography. What is most interesting about this is that the person that first told me of this contest together with his brother Sebas are the ones that now appear in my winning image, Mr Jaime Rico, one of the best freeskiers in Spain. My first submission was in 2016 with the photo making it through the first few rounds but it wasn´t enough. I soon realized that what the judges were looking for was not easy to achieve. Then in 2019 I made it to the semifinals of the Best of instagram category with an image I’m really proud of, actually in my opinion this was my first photo good enough to get recognized by the Illume jury. The last 2 years I’ve been working hard to improve my skills and my vision of action sports photography, focusing in innovating and defining my own style, I assume that this is something that judges have taken into consideration.
WHERE WAS THE PHOTO TAKEN AND WHAT ORGANIZATIONAL CHALLENGES DID YOU FACE?
The shot was taken in our home mountain, the Malacara Peak in the Spanish Pyrennes, next to Villanúa which is the village where I live. The shot is the result of 7 years chasing the moon, I first planned a "moon shot" in 2015 and just kept going after it and working on improving the image but I always knew that I wanted to include action sports in the final image.
Getting to take this type of photo demands a lot of previous experience in planning moonshots. So the number of hours planning I cannot even count. I’d say that this is the most difficult shot I’ve ever planned. It’s also a challenge to get both of the riders and the moon decently on focus, and to have the moon with the correct relative size. I wanted to have them create their compositions inside the moon and that took a lot of time and calculations.
We worked for a week preparing the terrain, we had to build two kickers and two starters since the location was a high mountain ridge with limited room to get the speed we needed. This was maybe the hardest part of planning because if we fail in the location of the build the correct kickers will not be in the right place for the right shot.
Once you have the scene ready you just have to wait for the moment and pray for a bluebird sky that day, furthermore, being confident in the riders to synchronize the jump and the handplant is huge. That’s the real challenge.
On the day, we went for an epic sunset session, testing the kickers and training for the moon shot. Then, when the moon was rising I went to my place 300m away, communicating via walkie talkies. What’s really amazing is that we took the shot on the second try - the photo is the result of great teamwork.
DID YOU HAVE A FEELING THAT ON THE SECOND SHOT YOU 'HAD IT'?
I did, when I saw the photo in the screen I knew we had it, but the session didn’t finish then, we kept on shooting different tricks .
WHAT IS THE BEST TIP YOU CAN GIVE TO ASPIRING PHOTOGRAPHERS ?
The first advice I would give is to get out there and seek adventure, always be looking for new spots and new angles. Try and start to look at the world from a photographic point of view.
Then I would tell them to be themselves and work hard in defining their style. In these times where everyone has a digital camera it is really hard to stand out, and the key is to find your own style. It is also important to follow and analyze the work of the photographers you admire, I learnt a lot this way, and I’m very thankful to them.
WHAT IS YOUR FAVORITE PHOTO YOU'VE EVER TAKEN?
I named it “Oreo´s Wrath”, and I took it in 2016. I won a number of national and international awards with that image and made it to the semifinals of the Illume´s 2019 Best of Instagram Category.
We climbed the mountain very early in the morning looking for another shot we planned days earlier, however, when we saw that wind lip we decided to go for this shot. I studied the light and the composition while Iker Fernandez climbed to get some speed. I decided to include that angry face on the right of the mountain in my frame, so I had to climb the mountain in front of that one. Oreo is the god of the mountains in Scandinavian mythology, in the image the mountain is looking on with wrath to the human that profanes its sanctuary.
My this year’s winning image of the Moon is now also my fav of course :-)
WHAT GEAR DO YOU CARRY?
-2 Full Frame Bodies.
-Ultra Wide Lens 14-24mm 2.8.
-Super Telephoto Lens 150-600mm.
-50mm 1.4 Lens.
-Gopro.
-Compact professional camera. 25-250 mm 2.8.
-4 Speedlights + Transmitters.
SINCE YOU STARTED USING NYA-EVO WHAT IS THE BIGGEST THING NOTICED IN TERMS OF HELPING YOU IN YOUR CRAFT?
For me the peace of mind that you have, knowing your gear is as safe as it can possibly be. It makes no sense to have thousands of euros invested in your gear and not a worthy carry solution to look after it.
I often develop my work in harsh conditions and I found in NYA-EVO the answer to these needs. The quality of this backpack is unreal, the material in which it has been crafted is really water resistant and besides that it comes with a rain cover in case the weather gets really nasty. I also find the bottom amazing. It is really solid and stable when leaving the backpack on the ground and protects the gear from moisture and dirt.
WHAT IS YOUR FAVORITE FEATURE OF THE FJORD 60-C ?
I love the attachment net and compression straps a lot. I can place all my mountain gear finding it really easy to access to all of it. I even used the attachment net to carry my hide tent when going for a wildlife shooting. The compression straps are really useful to carry my snowboard, ice axe, poles, etc, offering great versatility of configuration. The multiple options to place the tripod is awesome too.
It is also really impressive how the Fjord 60-C can look so different when compressed or fully loaded and expanded. In both instances it fits very well to my body because there are different options to customize it. The load distribution is can be adjusted in a very comfortable way. With the RCI’s you can customize the bag according to the shooting you plan. For example with the Fjord 60-C if you choose to take the RCI- S and M, you’ve still got plenty of spare room in the pack and it is good enough to go for several day mountain mission.
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Check out the links below if you would like to see more of Yhabril's work. You can find him on Instagram or his website.
]]>Paolo Pettigiani (b. 1991) is a photographer and art director based in Turin, Italy. After getting a degree in "Design and Visual Communication" at Politecnico in Turin, he started to explore the theme of 'seeing the unseen' which lead him to his trademark Infraland style in 2015. By using infrared photography: a fusion of science and creativity, a play on colors, shapes and contrasts in order to question reality as we see it Infraland was born.
Paolo uses converted camera with the full spectrum along with some external filters to capture the invisible electromagnetic radiation of the infrared light which wavelengths are reflected by chlorophyll and not visible by the human eye. With Infraland, a photographic-artistic-social project, Paolo wants to put nature in the foreground, by emphasizing its hidden colors, which cannot be seen by the human eye.
With the Fjord 60-C with RCI-L I can say that I have finally found a photographic backpack that fit all my needs for my long trips, hiking and photographic adventures. The backpack is lightweight and the first and most important thing I noticed was that it fits perfectly on my back and I use it for 8 hours hiking without any problems or additional issue. With the RCI-L storage I can bring with me the drone, a camera, 4 lens without problems and the other pockets are perfectly designed to fit any other tool and accessories in addiction of the laptop and the tablet. I’m not joking… this is the best ever photographic backpack in terms of storage, comfort and security!
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Main objective- safe transportation of gear
Since I got my first job in high mountains (K2 in winter 2017/18), one of my main concerns was how to transport my filming gear during the whole expedition. I live in Poland (Europe) and making the whole trip around half the world by plane and then a 5-7 days trekking to Base Camp can impose serious threats to such delicate gear as cameras.
Trying out a new pack - the Fjord 60-C
I was pretty excited to test the Fjord 60-C NYA-EVO backpack. I got it before my K2 summer expedition together with an RCI M unit. My main goal was to fit in it all my filming gear but also my helmet (that’s quite important because during one of my previous expeditions it got damaged while flying in checked-in luggage). So yes, everything fit just perfectly – huge Canon camera with two lenses, sound recorder, microphone, drone, laptop, batteries, chargers. I was pretty loaded, but feeling safe.
How to organize the gear
Fjord 60-C NYA-EVO backpack has plenty of smaller pockets and divisions, and it helped me a lot to organize myself before leaving. I like to know where my things are, especially for the trekking because I may witness some unexpected situations and I want my camera to be ready to go and within reach so that I don’t waste any second of the shot. Also, having one place to store all the equipment in Base Camp is quite handy.
Overview of the trip
My main plan was to prepare a documentary about the climbers that lost their lives on K2 during last winter. I wanted also to meet with their friends and families that were supposed to arrive to K2 Base Camp at the end of July for a small ceremony. K2 summit wasn’t a priority, but of course I was there not only to shoot, also for some serious climbing.
Travelling with the pack
As you can imagine, packing for 2 month expedition with all the climbing and filming gear can be quite a challenge. But also how to transport it via plane to Pakistan. So what usually happens is I pack all climbing gear in two big duffel bags and then take a huge personal bag with cameras with me on a plane. This time it weighed (the personal one) around 20 kg. Good thing is staff on the planes usually allow me to keep going like this and do not cause any issues about the weigh. Although they made some problems while I was at one of the gates. So I started to unpack and show them everything that I had in the backpack, and at some point they just gave up and let me go. Curious thing, on the way back from Pakistan they didn’t want to allow me to take on board my helmet, but after my protest they finally agreed.
After landing in Pakistan, I had to fly to Skardu, then start 6 days trekking to K2 Base Camp. It’s around 75 km. I have to admit, I trust no one to carry my electronic equipment on my way to the expedition, so I had to carry the 20 kg backpack. Quite tough, but better safe than sorry. I made it to K2 Base Camp on June 29th.
K2
The Next day after arriving we went in a small team to Camp 1 (6050m). Both for acclimatization but also to check the conditions of the mountain and also help a little bit with rope fixing. It was a fast and light rotation, but it helped to get some footage and also “feel” the mountain. On my next rotation (8th July) I went directly to Camp 2 (6660m) and the day after that to Camp 3 (7300m) on K2. Camp 3 happened to be my altitude record and amazingly I was still feeling very strong and motivated. We knew bad weather was approaching so , so I wanted to make as much progress as possible before conditions would change.
We returned back down to Base Camp, and then I heard about people going for a summit push on Broad Peak on the next rotation. Furthermore, I thought it could be a good opportunity to take some good shots of K2 (it’s a couple of km in straight line from Broad Peak summit, and it’s very visible from its slopes). So I packed myself and went up. Directly to Camp 2 in one day, then Camp 3 in the following one, and on July 17th and 18th I found myself struggling in the front line of climbers trying to climb Broad Peak. It was tough because summit push was extended to two days in a row and I can say I was all the time in the front helping to open trail. I was the first one of the season to put my feet on the summit. It was extremely rewarding, I got very nice shots of K2 and it was also my first 8000m summit.
After getting back to Base Camp and having some rest, my desire to climb K2 was dashed but major bad weather and wind blew away my deposit so it was a clear sign for me to regroup and change course. I decided to spend more time with families and friends of the climbers that passed away last winter on K2 (they arrived to Base Camp on July 24th). A week later we finished our expedition, and it was time to return home.
The 60-C my portable filming office
Although I wouldn’t climb with Fjord 60-C backpack, it was very useful in Base Camp to organize my “filming office”. I would have all the cameras and filming gear stored in one handy back and could travel with it around the Base Camp, glacier nearby or to make some interviews.
What is next
For now, my main plan is to recover. I got quite hammered by this expedition, and it was my second visit to K2 in a 7-month period. I don’t remember when did I had some holidays last, so it is now time.
During the next 4-6 weeks I will be preparing my documentary, resting and eating. Of course, I have more plans and there are some interesting options for winter time, but first recover.
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Be sure to follow Oswald on instagram and check out his website.
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Below is her insight for optimal packing set-ups for different scenarios with the Fjord 36.
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There’s no doubt that NYA-EVO packs shine when carrying camera gear for outdoor adventure photography, but I would contend that the same traits that make these bags ideal in rough conditions make them excel for use in commercial, sports and portrait photography, too. Even with smaller mirrorless systems entering the market, professional photographers must carry a variety of larger, heavy gear to every type of shoot. NYA-EVO bags offer unparalleled protection, convenience and flexibility that make them a first-rate choice for all on-location photographers.
I was impressed with NYA-EVO’s Fjord bag the moment that I unpacked it – top quality padding and materials coupled with so many options to customize the bag signaled to me that this was a fabulous addition to my workflow. My test run with the new bag was for an interior design photoshoot, in a home that I had to walk a block to in pouring rain. I easily loaded two large pro bodies with L- brackets, four bulky L-lenses with hoods attached, and a slew of accessories (batteries, memory cards, remote switches, etc.) into the large-size insert. A Holdfast strap and two compact lights fit into the top compartment, providing direct access as needed. Other lighting accessories, my wallet and phone fit smoothly into the front pockets, while my required Yeti bottle of tea slid conveniently into the side pocket.
I could have lashed on my heavy-duty Gitzo/RRS tripod set, but found it was easy to carry them separately with all the camera gear neatly packed on my back. Especially remarkable to me was how easy this heavy load was to carry. The bag adjusted quickly to my slim 5’6”frame using six adjustment points, but also transformed to fit larger men in my studio. The weight felt balanced and secure, allowing me to move my gear deftly in one trip – something I’ve never been able to accomplish with multiple shoulder bags dangling. The gear inside was perfectly dry (even though I didn’t use the provided rain cover), and the bag sat open in a corner during the shoot providing me unobstructed access to all the gear.
I purchased the large, medium, and small Removable Camera Inserts (RCIs) to pair with my 36-liter bag. While I am likely to use the large most often, the others provide great flexibility in how I can use the bag, and allow me to set up dividers in each RCI for different types of photo shoots and have them ready to quickly pack. I’ve even left the other RCI’s packed with gear so that it’s super-fast to pack the NYA-EVO bag and dash to a different type of shoot. The small and medium fit the same space as the large insert, so can be used together or separately—albeit when together there is slightly less room in the top zip compartment due to the additional layer of padding. Packing only the medium or small inserts will be ideal for when I want to include non-photo items, such as clothing or food, in the top compartment. The RCIs are easy to swap, and conveniently can even be used inside other bags, especially with the included padded top zipped on.
Over the last couple of weeks, I also have tested the pack on a sports photoshoot, a commercial assignment, and portrait sessions. I was able to change out the gear I needed to bring easily, and in each situation the bag was comfortable to carry and work out of. For the sports assignment, the Fjord 36 easily carried long, hefty lenses and a monopod strapped in the side pocket. I was able to include extra lenses for unexpected shots and back-up gear all together for the portrait work. The netting on the front—designed to hold a helmet or jacket—is ideal for carrying pop-up product photography boxes, while diffusers and reflectors simply clip to the straps across the front of the bag. Side pockets hold water bottles, monopod, tripod or light stands. When I did need to bring backdrops and studio lighting to the commercial shoot, it fit easily on a rolling cart since all my photo gear was on my back.
What a treat to carry everything I needed to every session painlessly in just one trip from the car! The NYA-EVO backpacks deserve special kudos for their ability to carry both my 16” Macbook Pro and the largest iPad Pro securely in different compartments along with a full pack of gear. This is a game-changer because it also makes the bag a fabulous carry-on travel bag that will hold up to a week of clothes along with all my computer gear for remote editing work.
I will leave the details of the NYA-EVO bags to the many great video reviews online which outline all the features. Suffice to say that I am thrilled with the Fjord 36. It’s the first bag that I’ve found that is deep enough (more than 6.5”) to securely fit pro-caliber gear, is outfitted with the level of padding that I expect to protect expensive equipment, can carry the quantity of equipment that I need to bring, fits a large laptop, is comfortable to carry, has two water bottle holders (seemingly minor, but key for me on a long shoot), offers plenty of ways to organize for different needs, and looks sleek and professional. The responsive NYA-EVO customer service team and speedy shipping was an added treat – I ordered the bag on Friday and it arrived on my doorstep in New Jersey from Hong Kong on Monday morning! I’m convinced that this is a bag that I can count on for many years to come.
Intro
I was first introduced to the Nya-Evo line of backpacks starting with the Fjord 36. Prior to getting the Fjord 36, I had always been looking for the perfect camera bag that gave me the versatility and convenience of what I could pack and how I could pack it. Enter the removable camera inserts (RCI’s) and the Fjord 36 quickly became my ideal camera backpack that allowed me to pack as much or as little camera gear as I needed while also allowing room to pack other necessary items such as hiking gear, snacks, water, laptop, and/or a jacket. When I heard the Fjord 26 was announced, it instantly gained my interest and I was curious to know how it compared to the 36 I had been using for the last year. Long story short, the Fjord 26 instantaneously earned a spot as my go-to camera backpack (and general everyday backpack).
Materials and Construction
While I’m not too much of a technical guy on this kind of stuff, the Fjord 26 is made of the same high quality materials as Nya-Evo’s other packs. I enjoy the water resistant and durable, yet lightweight material for the main parts of the back which are easy to clean. It also features an aluminum frame (standard with other Nya-Evo backpacks) which gives the bag better rigidity. I really like this since it keeps the bag’s shape regardless of how little you have in it and also provides better support when filled up. The zipper pulls are high quality, feel like they’re built to last and the zippers themselves zip and unzip smoothly. I found the padding on the back quite nice and soft although, at times I could feel my gear through it which needed some adjustment to get a little more comfort. Another thing to note is that if you wear a down filled jacket, you’re going to get down stuck all over the pack padding (this also happens with my Fjord 36). It’s not easy to get all the feathers out even using a sticky roller and that’s super annoying for someone like me who likes to have my gear looking clean.
Versatility, Sports Package, City Mode & Adventure Mode
The Sports Package includes compression straps, an exterior mesh attachment panel and a padded waist belt (which features a fabric zipper pouch and molle webbing). Without these additional accessories, the bag is in ‘City Mode’ with the reason being that you wouldn’t necessarily need the extra attachments for additional gear while in the city - makes sense. The ability to remove the Sports Package accessories makes it easier to access what you need, slims down the bag and gives it a sleek look. It’s a great way to use the bag for everyday use, especially if you chose not to go with the Sports Package in the first place. Taking off the compression straps is a bit difficult as I found that the clips used to attach are somewhat difficult to undo. It’s one thing getting those clips on the bag but quite a different story trying to remove them.
So let’s talk about using the bag in ‘Adventure Mode’ with the additional gear attachments. Starting with the padded waist strap, I found this to make wearing the bag a whole lot more comfortable since the bag is already smaller and naturally fits closer to the body. The waist strap is added onto the bag by sliding it through the layers on the bottom of the backside of the bag, and is secured in place by hook and loop. A clever design but only downfall is that it makes opening the back compartment sort of clunky since the strap must move with it rather than be attached (built in) to the sides like the Fjord 36. Using the waist strap added so much more support to the system and felt like it significantly reduced the load. It’s great to have the extra little zipper pouch on the right which I like to stash some trail mix or other small snacks in. The other side of the waist strap has molle webbing which allows you to clip other gear or attach a molle compatible attachment. I have yet to use the mesh panel since it’s been extremely cold here where I live lately. It’s generally the same as the one on the Fjord 36 which I would use to hold an extra jacket or sweater (but since it’s so cold, I’m wearing that extra layer). You could also use the mesh panel to hold other gear such as a helmet. A clever design so that you don’t just have this hard plastic bucket swinging around. Without any problems, the mesh attachment panel is easily stowed away in the front pouch or removed completely for later use.
Exterior
The Fjord 26 has stretchy side pockets on both sides that you can hold water bottles or with the compression straps you can hold a tripod (or other gear similar in size or shape). These side pockets are great because they’re super stretchy and when not used, they are completely flush with the bag to slim it down and keep the bag looking sleek. The top, front zippered compartment is a great place to store small items such as sunglasses, the mesh panel, or in my case spare batteries for easy access. The sternum strap can be adjusted or removed by the clips and a little feature on the buckle contains an emergency whistle. There are also additional gear loops on the shoulder straps. Aside from that, the exterior of the bag is quite clean and minimal.
Interior & RCI’s (RCI’s Sold Separately)
My absolute favourite feature of Nya-Evo’s lineup of backpacks is their removable camera inserts. Being able to fit all three (large, medium and small) RCI’s makes the Fjord 26 the ultimate everyday backpack. At first my initial thoughts when I heard about the Fjord 26 is that it wouldn’t fit the large RCI. Well - I got that wrong. It’s able to sport any size of their RCI’s so I can customize my bag depending on how much camera gear I need. It’s great because sometimes I don’t need so much camera gear and then my bag has a ton of wasted space because of the padded dividers. Accessing the main top compartment opens up and gives you options for additional organization and storage with one large, flat pouch and a smaller pouch. The large pouch can fit up to a 16” MacBook and hugs my 13” MacBook Pro snugly. Alternatively, you can use a hydration bladder using the routing system through the top of the bag. This will be a very convenient option when the two outer mesh pouches are used and a water bottle isn’t able to be carried or if you need more liquid capacity.
Something I’d like to mention about the RCI’s coming from a mirrorless camera system user is how I set up my padded dividers to accommodate smaller lenses. Included with the RCI’s are these small padded dividers that fold. Now I’m not sure what the intended design of these dividers are meant to be used but I pressed down on the hook and loop flaps on one side of the divider. I then placed the divider inside the RCI where I would normally put a lens. This allows the divider to fold down 90 degrees which basically creates another spot for a lens to be stacked on top of another. This efficiently utilizes the space allowing for more gear and reducing negative space for the lens to bounce around.
Conclusion and Final Thoughts
Nya-Evo did it again with the launch of the Fjord 26. I feel that they knocked it out of the ballpark with this bag, packing it full of features and customizability. It’s a high quality bag that I can trust for almost anything and I can count on it to last me a long, long time. With only a few minor drawbacks for me personally, I’d recommend the Fjord 26 to anyone ranging from photographers, adventure seekers, or someone who is looking for a solution to a backpack system that can attend to a wide variety of needs.
Below is some of his insight.
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It’s funny – we spend so long choosing a camera based on our own specific requirements; months searching for that “perfect tripod” for our shooting style; hours trying on shoes and clothes to make sure they’re “the right fit”; years experimenting with filter makers to find that “best” piece of glass……and then, when it comes to the thing we have on our backs for days at a time, on every single trip – we do a 10 second search the internet to find, essentially, the most popular one.
And that’s how it had been, for me, for years. I think I’ve bought into all of the previous “cool kid” buys – all the names you’ll know, but there were always compromises.
As someone who’s never bought in to the “better products through better marketing” principle, looking back, I’ve wasted so much time, money, frustration and (literal) pain – purely because I didn’t really know what I really needed in a bag that was right for me, and where to find those things.
You see, with camera bags, it really is personal.
Where a tripod is a tool that can be put away between locations, your bag is on your back that whole time.
We wouldn’t buy a storm jacket that didn’t fit, or leaked, or didn’t have pockets in the right place – so why do we compromise with another item that we wear on every trip?
In that respect, my frustrations at the failings of the better known brands had been steadily growing over the past 10 years.
Asking me to be an ambassador for them was great – but it was on the basis of publicity, not product development, and that is a pointless use of my time.
I want to truly believe in a product I’m endorsing. It doesn’t mean that I always think the product is 100% perfect – but it does mean I know the team want to take active feedback onboard and change for the better. That, to me, is the point of having a group of “ambassadors” out there, using a product in the real world. Not just sticker-collectors of brand names who give them free products.
On that note, I’ve always made a point of buying my own gear – even when “onboard” with a company – something many brands will never understand.
The reason? Simple. If I’m recommending a product for you to purchase with your hard-earned money, it should be on the basis that I would use my own money to purchase one too! (And then ask yourself why others might not…)
Becoming increasingly frustrated with the lack of real progress out there, and lifestyle marketing being more of a priority than product development - it was by happy coincidence that I was introduced to the team at Nya Evo a few years back.
The team I met were energetic, knowledgeable and active users of their own products.
More importantly, they wanted to LISTEN.
So I did. And I gave them my honest feedback – 4 pages of it. (Sorry guys!)
And they LISTENED.
With shoots happening all around the world (and, indeed, throughout COVID, we’ve still managed to shoot locally on the Jurassic Coast when restrictions allowed) – we’ve continued to put Nya Evo’s bags through their paces.
From that first prototype to the final build – it’s been around 2 years since I got to play with the first “Ghostbuster Pack” in white. While that wasn’t my preferred colour option, the features of the bag made it a much-needed improvement over my previous gear.
And it FITS – WELL.
Whether it’s the 60-C I’m taking out for a long expedition, or the 36 that’s with me for a quick shoot, these bags feel like they’re designed around me - which is the key point when it comes to “off the shelf” backpacks.
Lots of bags claim they’re adjustable and “ergonomic”; that they help distribute weight “correctly”. The problem is, “correctly” for you, is different to correctly for me.
So it’s the level of adjustment that’s important – not the out-of-the-box standard setup. That bag has to work just as well for those of us who are giants, as others who have less distance to fall in an earthquake!
But most importantly, beyond all of those attributes I was looking for, I found a team that wanted to learn how to improve things. Not just for my own use case – but for that of every one of their customer types.
I’ve sat on calls with Jensen for hours, where we’ve talked about “the art of the possible”, the “what if”, the “that could be a really useful feature” discussions – as well as the “nah, that just won’t work, and here’s why” chats too.
I’ve talked to Mario about their plans in the coming weeks, months, years – and the way they approach things is the same way that I do; start from the user, not just the brand.
And THAT is the key for me.
I don’t judge a product or buy-in to a brand purely on the basis of their offer right now.
If that product is great, then wonderful.
But I’m investing my time, my reputation (and my own money for that matter) on brands that I truly believe have the right ethos, the right outlook, the right beliefs and a true desire to innovate in everything they do going forward.
And that’s why I’ve now switched all of our carry-gear to Nya Evo.
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Be sure to check out Paul's instagram and website and watch this amazing video.
]]>Stéphane is currently working on a 30 month long project where he is shooting a documentary capturing life in the Pyrenees mountains where he currently resides.
We recently asked Stéphane 10 questions and here's what he had to say.
In my case it is related to the passion of creating. I thought I was going to become a sculptor or a painter but I ended up finding myself creating images; moving and still ones. Nowadays my house is my photographic studio and it has been this way for the past 20 years or so. I do what I love to do.
Stronger.
Freedom. The ability to do things by yourself if needed. For some time I thought I would become a wood artist or a sculptor, there are parallels between that and photography/videography for me. My photography career started when I was a 22 years old in New-York and brought me to this point where I can do passion projects and have more control of my projects. It has been an amazing journey so far.
This I don’t know. I seem to be always focused on the next favorite shot that is upcoming.
I also get caught up in thinking about how the shot I just took could have been that favorite shot if something was done a bit differently or if the lighting could have been more like this, etc. Does this happen to any other photographers?
One photography that comes to mind and which I will never forget is the underwater photograph I shot of Sir Richard Branson. 20 meters deep, Mr. Branson looking at me without any scuba diving gear while piloting the 'NeckerNymphe' (his own personal submarine) with women dressed up as mermaids swimming around him in the open water. This was great memory!
Often I have better memories about my experience taking the photograph than the actual photograph itself (maybe I shouldn’t say that, haha).
This specific photograph has been published worldwide in: Stern / Paris-match / Stern Magazine / VanityFair / The Independent.
This photograph had no retouch, straight from raw. Took us three days to accomplish it.
My path initially started off vastly different than I imagined. First working as a studio photographer in the New York fashion scene for many years, I then moved to still-life to try and perfect lighting. I still think this is one of the best ways to teach yourself the important aspect of photography and especially lighting.
My heart was and always has been in the outdoors and it kept calling me and pulling me in that direction. I took every opportunity I could to shoot in nature. By pushing myself to do mostly these kinds of projects that were outdoors, I started shooting for luxury magazines which were sending me around the globe on long distance travel assignments.
My path took me to some amazing spots on earth and I met some of the most beautiful animals along the way. Mountain gorillas, elephants, sharks and lions came very close to my lens many times. From these trips I took back with me many landscape photos and a number of them ended up being displayed in galleries.
Living in the Pyrenees, France half of the time and the other half in South-Africa, I am extremely fortunate to live so close to nature and wildlife but I still do not consider myself to be a proper wildlife photographer.
Guhonda, the oldest mountain gorilla living as today into the wilderness of the Virunga mountains, Rwanda. AirFranceMadame / Terres Sauvages / Billionaires magazine. Private owner in lithography as seen into Parisian workshop ANTHESE.
Haha…No idea. For me, the real secret is to continue doing what you love, what is driving you and you are passionate about, that is in a way my secret space that I live by and keep close at heart.
Analogue
Linhof Technica 4x5, large format
Mamiya 7II
(Kodak / Portra & Tri-X)
Digital
Fujifilm GFX100, 50r and 100s
+ Recorder Atomos Ninja V (for video)
+ Cambo Actus / Rodenstock and Mamiya 6x7 lenses
Red Epic (for special need / advert.)
Rodenstock DIGARON HR 70mm.
(Large format lenses adapted to all my bodies as today / mostly mounted on a Cambo Actus)
The location is not so important to me. It is more about how I see the final photograph. Or the final version of a sequence into a film.
Capturing urban and nature landscapes is equally exciting in terms of the experience creating the photograph or a movie sequence but as said, the location is not that important to me. It is more about the way I will use my frame and scene-lighting in an artistic direction that will fit what I want to achieve. Then comes the choice of equipment, lenses, light and the selection of the final settings to create what I want.
Super light. Waterproof. Rugged. Not looking like a photography backpack but more like a classic solid adventurous accessory. To summarize: designed for professional photographers that are looking for the ultimate photo backpack.
I am in the process of directing a documentary across the Pyrenees along a 30 months timeframe so I use both the Fjord 60-C and 36. There are two of us, my assistant and myself so it is great to have both bags. Everything that we need to pack up for the photo and video documentary gear is fitting into these two bags. When I'm alone, I like to travel light and I try to go for the 36.
It does allow me to go further, definitely.
Check out more work of Stéphane here;
www.instagram.com/stephanegautronneau
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I recently had a project to take photographs of a property with multiple chalets. Below I will give you some insight into what the project was about, my approach, my gear and what my process is to try and capture the essence of a place.
Project goal:
The main goal of the job was to capture the winter mood. There is plenty of snow this season and no other guests – so perfect conditions for a photoshoot. Beside this my client asked me to ‘create some epic shit’ – which is my favorite kind of briefing :-)
What gear do you take with you?
Canon 5d MKII
Canon R5
Canon 35mm 1.4
Canon 50mm 1.2
Sigma 85mm
DJI Mavic Pro
Tripod
Most used lens is the 35mm and the 50mm (for detail shoots).
How do you start the process of hotel/interior shoots when you just arrive
there?
First of all, I am trying to speak to my clients, get an impression of their values, the story behind property and their needs. I then start to search for the emotion of the place by walking around, taking the whole property in alone and just being aware of the surroundings and how they are making me feel.
For the chalets I felt the importance of reduction. The architecture is clean and kind of minimalistic which gives the surrounded area (trees / nature) full attention. So after I spoke with the client and walked around a bit I sat in one of the chalets with a coffee, experiencing the presence of the nature and how the outside seeps to the inside. Dancing shadows on the wooden walls and the calming smell of pine were an outstanding highlight I wanted to frame.
This is when I realize the magic moments I want to capture. In this case it was the strong light and shadow game. As it gave me a deep feeling of peace, homecoming and ease, I wanted to share that feeling through my photogprahs with the client, and try to expose that feeling.
Is there a perfect time to shoot- if so what time of the day is that for you?
Yes, I prefer to wake up before the sun rises to get the very first light in the morning. In winter that is not too difficult as it is around 8am. The morning light brings a certain peace which in most cases you feel and see in photos. For this project the sun around 11am was perfect as it created some harsh light, and the shadows were strong.
Interior architectural photos I prefer to stay at least one night at the place to really get a good feeling for the property. Again, going back to trying to capture a feeling in the photos.
While I personally don’t care too much about how a room / hotel / airBnB exactly looks like, I do want to know if it’s a cozy place, or a clean space. For e.g. when I book an apartment in California I’d love to feel that I am actually in "Cali", I want to smell the ocean, feel relaxed and fun when I walk into the apartment. Same when I come to the Chalets, I want to feel like I am in Bavaria, a part of Germany with lots of forests and nature. This is what I want to capture with my photographs.
To check out some of Anna's wonderful work find her on instagram or her website.
]]>Hi, I’m Bartek, a photographer from Poland. I taking photos for living, photographing cars, travelling my Land Rover and enjoying life.
As an automotive photographer one photoshoot is usually done in a number of locations that's why I need be able to carry all of my essentials comfortably. The Fjord 60-C is my backpack of choice, it is large enough and well organised for me to be able to carry all the gear I need with ease.
In my 60-C I pack my Sony A7III along with three prime lenses from Sigma (35mm 1.4, 50mm 1.4 and 85mm 1.4), Mavic 2 Pro with 3 batteries, power bank, additional batteries and a lot of memory cards. This is my go-to everday gear.
Preparations for photo shoot includes; location scouting, shot list creation, and studying the car to find the best angles. Below I breakdown my must-shoot scenarios in 5 categories:
1. Rolling shots - to do this you will need an extra car and thus two drivers. I like to use as natural looking angle as I can so this is usually shot with a 35mm. The main thing to catch the movement of the car in the right shutter speed, usually done at 1/20 of seconds.
2. Static shots - location, location, location. The most important thing here is the right location. It is really important to not deform the shape of the car. I recommend using angles between 28-85 mm.
3. Details/interior - are a great way to complement the automotive photo session. The best way to do this is to use a long or macro lens to show the as much detail as possible. I usually use my 85mm 1.4 sigma lens.
4. Drone shots - are a perfect way to show different perspectives. Create some minimal effects or show stunning surrounding landscapes.
5. Action shots - need a lot of cooperation between photographer and the driver. More sand, water or gravel add great value to these kind of photos.
Remember to charge your batteries, learn the best car angles, pack your backpack and have fun!
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If you would like to see more of Bartek's work please check him out on instagram.
The second prototype of the 26 had arrived and we needed to do some real world situational testing before we move forward with a production sample. The 26, which is our smallest and most lightweight backpack is made to be rugged and agile but most importantly it must not compromise on form or function. A solid test was in order and we took off.
We drove up from Sweden to the middle of Norway where Rondane National Park is located, booked a cabin and trekked out. The amazing thing about the cabin was that the main outer structure is still with its original wood beams when it was constructed 300 years ago, it was incredible. It was a lot of hiking, getting a bit lost, exploring and photography. It is usually good to venture out and just go with the flow without over planning and that is what we did.
Looking back now with most of the year gone and a full blown pandemic raging we can only now think back about what a magnificent trip it was, one that is good for the soul.
We feel that people will want to connect and explore nature in a greater way than they have before. Memorable life experiences are what counts and we are just glad that NYA-EVO can play a small part this movement by being one important tool to help people get out there, explore, and reconnect.
There is a lot about yourself that you will never know unless you go looking for it. Our hope is to design bags that help people get out, go further and find their peace and connection with themselves through nature.
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Felix Gänsicke is an exceptional water photographer/cinematographer and we are proud to have him as a NYA-EVO ambassador. We were curious to see how he uses and sets up his NYA-EVO gear to fit his needs. Check out his set up below and def check out his video at the end of the blog!
What backpack and RCI do you use?
The Fjord 60-C is the camera backpack that finally suits pretty much all my needs since I started filming and photography. I set it up with the M RCI for photography and the L RCI for film jobs.
What gear do you carry on a consistent basis?
How do you organize your RCI unit?
The System is really intuitive. I always have the M and the L RCI loaded with the gear in my storage. I just switch between the two, grab the loaded batteries and I am ready to go.
What extras (clothes, accessories, food etc) do you carry with you and how do you organize them?
I always bring my wetsuit when I am on a trip where I need to get to the water (and I try to plan most of my trips with a connection to water). Besides I always bring a couple of SD Cards and my Heimplanet x Mizu water bottle and depending on where I go a rain jacket and some woolen pullovers to keep me warm.
Do you use the attachment net or compression straps for some items?
I rarely use the attachment net but I really make use of the compression straps for additional items such as my flippers or my gimbal. I also use the side pockets for my small Manfrotto Tripod when I plan to shoot stuff at night or have small interview scenes.
For you, what has been the most useful part of using our backpacks or the system as a whole?
After using the backpack for some months now I can say that the rolltop and the separated top compartment are the most useful parts of the pack for me besides the option for different RCI’s. To adjust the space needed for my camera gear and accordingly change the load that I can bring in the top gives me such flexibility that I don’t need any other bags anymore. Everything in its place - no struggle or muddle in my backpack.
Where is the next trip to?
See more of Felix's work here:
https://www.instagram.com/felixpams/?hl=en
https://www.instagram.com/binsurfen.de/?hl=en
]]>We recently asked Andreas 10 questions and here's what he had to say:
WHATS THE GREATEST THING ABOUT BEING A PHOTOGRAPHER
For me it is about being in the nature as much as possible and observing all those amazing animals in their full glory. I also love the travelling part, exploring new countries, people and animals.
HOW DOES BEING IN NATURE MAKE YOU FEEL?
You forget everything around you. I feel truly free not having to worry about the daily things in life. I can connect with nature in a way that makes me feel at peace.
WHAT GOT YOU INTO INTO PHOTOGRAPHY?
I started doing it after my apprenticeship. I just got sucked in and have been doing nature photography ever since - that was 12 years ago. It's just fun!
YOUR FAVORITE SHOT EVER TAKEN?
I have many favorites. Impossible to say which one is the best. I love to photograph different birds of prey, squirrels and puffins.
WHAT IS YOUR MOST VALUABLE ADVICE TO WILDLIFE PHOTOGRAPHERS STARTING OUT
Be patient! Not every picture works instantly. It often takes several attempts.
YOUR SECRET SPOT THAT NEVER GETS OLD?
I always like to go to my favorite spot in the woods not far from where I am living to photograph foxes. The more you go to the same place and photograph the same animal, the more you learn their ways and the more creative you will get with the pictures.
WHAT DO YOU SHOOT WITH?
I use a Canon 1dxII and a Canon 5dMark4 with different lenses from Tamron like the 150-600g2,70-200,24-70 and the 100-400.
IF YOU COULD ONLY SHOOT WITH ONE LENS FOR THE REST OF YOUR LIFE WHICH ONE WOULD YOU PICK AND WHY?
This is a very good question. Each lens has its advantages and disadvantages. I would say it depends on the circumstances and the animals that I want to photograph.
OTHER GREAT PLACES TO PHOTOGRAPHY ?
I am often out and about in the Netherlands because I live 5 km away from the German / Dutch border and I know many great locations there. But I also do like to travel to England because it is not too far and their countryside is very diverse.
WHAT IS YOUR FAVORITE FEATURE OF THE FJORD 60-C?
The Fjord 60-C is very comfortable. You get a lot of equipment stowed. What I personally find so good that this backpack is completely suitable for hand luggage. You can pack the bag full and it is not noticeable on the flight.
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Check out the links below if you would like to see more of Andreas work. You can find him on Instagram or his website.
https://www.instagram.com/andreas_huetten_tierfotografie/ | https://www.naturfotografie-huetten.de/
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How and why does one take a trip to Antarctica and the Amazon in the same go?
We Will Not Go from Goran Jovic on Vimeo.
Rusarc - Antarctica from Goran Jovic on Vimeo.
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Graine de Photographe is the leader of photography courses in France. Based in Paris they have around 900 students and 50 internships per month. Their mission is to teach to their students how to shoot like pros. Professional photography has its own language, habits and special techniques.
For their recent photo trip they organised a trip to the legendary lake Baikal in Russia. This magnificent lake located in the mountainous region of Siberia just North of Mongolia, is believed to be the deepest continental body of water (1,620 m deep) and oldest lake in the world. It is also considered to be the largest freshwater lake in the world measured by volume. It holds about 20% of the worlds fresh surface water - more water than all of the North American Great Lakes combined. Baikal is home to more than 2,500 species of plants and animals, 2/3 of which can be found nowhere else in the world.
With such an impressive amount of natural beauty, it attracts adventurers and photographers from all corners of the world. For Graine de Photographe second trip this year in March 2020, the goal was to reach the most northern point of the lake at the city Severobaikalsk.
To their big surprise, this time of the year it was the first time in memory of the driver that the lake was not completely covered with snow in all places. This meant that the team had to make a 400 km detour to avoid the areas of the lake where the ice would have a risk of being too thin for supporting the vehicles.
Their journey brought them along the magnificent shores of Lake Baikal. What follows are some impressions of their amazing adventure.
Ogoy Island. Buddhist offerings of colorful ribbons hanging from a tree. The area of Lake Baikal is populated by the Buryats. They are the largest indigenous group of Siberia numbering approx 500,000 with Ulan-Ude as the capital of the Buryat republic, a federal subject of Russia. The Buryats converted to Buddhism in the early eighteenth century under the influence of Tibetan and Mongolian missionaries.
The highest point of Ogoy Island at Lake Baikal, the Buddhist Stupa of Enlightenment dedicated to Dakini Tröma Nagmo was built at the initiative of the Moscow Buddhist Center in 2005.
Eric Legrand, professional photographer and teacher at Graine de Photographe, walking at Yarki island. This is the most northern point of Baikal lake. Yarki island is a narrow strip of land separating the main lake from Angarsk Sor smaller upper lake. In the summer months, this is a popular location to go kayaking and explore the untamed nature of lake Baikal.
Cabin used in the summer for boat rental at Yarki Island.
Severobaykalsk airport with an Antonov An-2. This plane was used in 1974 to transport personnel and equipment for the construction of the BAM Railway. The Baikal-Amur railway is a broad gauge railway line traversing Eastern Siberia. It runs from Tayshet along the north point of Lake Baikal all the way to the east where it finally reaches the Pacific Ocean at Sovetskaya Gavan.
The BAM was built as a strategic alternative route to the Trans-Siberian Railway, especially along the vulnerable sections close to the border with China. The BAM's costs were estimated at $14 billion. Due to climate change, the permafrost on which the tracks are built is at risk of melting which could mean that the railway would cease to be operational.
Cape Kotelnikovsky - famous for the hot springs. Water temperature reaches 81 ° C. This is the hottest spring on Lake Baikal.
Natalya Saprunova professional photographer and Graine de Photographe teacher taking a break at a boat caught in the ice at the port of Ust-Barguzin, a small town on the east shore of Lake Baikal.
For their trip the team was kitted out with the NYA-EVO Fjord 60-C and large RCI. This meant they could carry the below camera gear:
- 1 Nikon pro SLR camera
- 3 Nikon zoom lenses including a 70-200 mm
- 1 Nikon x1.7 focal converter
- 1 SONY hybrid box
- 2 SONY and LEICA lenses
- 1 Profoto A1 flash
- 7 spare batteries (1 profoto, 2 Nikon, 4 Sony)
- 1 Three Legged Thing tripod Billy
Special thanks to the whole team of Graine de Photographe especially Natalya, Eric and Marc.
Also special thanks to Alain Quintin from MMF Pro for his efforts of connecting everyone.
Photos © Natalya Saprunova - Eric Legrand - Marc Lavaud
Graine de Photographe: https://www.grainedephotographe.com/
NYA-EVO distributor in France: https://www.mmf-pro.com/
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An adventure photographer in the true sense of the word, Roman Königshofer takes his audience on a visually inspiring journey hoping his photographs will move others to seek adventure for themselves. What makes Roman such a captivating photographer is his drive to go further than most to capture breathtaking scenes which speak to the authenticity of his work. NYA-EVO is a proud gear supporter of Roman.
We recently asked Roman 10 questions and here's what he had to say:
WHATS THE GREATEST THING ABOUT BEING A PHOTOGRAPHER?
I guess most pro photographers, especially in the landscape/outdoor sports field, would say it is the time we spend outdoors. And yes, I love this too and it is a huge benefit. But for me personally the greatest thing about this job is that I can do it on my own way. I choose who I want to work with, I choose when I work and I choose when it is time to rest. This is a lucky position I am in, I am definitely aware about that. But it wasn’t always like that and took a ton of effort to make it into this position. With all the upsides there are also downsides of course. As a self-employed photographer your are not earning a cent if you are not bringing in new projects or new clients - you take all the risk.
HOW DOES BEING IN NATURE MAKE YOU FEEL?
Happy. Really, being outside by myself or with family and friends brings me joy. I like longer trips (a few days) where you also spend the nights in nature. You can completely disconnect for a while from all the noise online. There is no rush or pressure to post something. This is real freedom! One of the best feelings for sure. This is the best case scenario (with no wifi, no service or just a switched of phone). Then there are these job related trips to nature. They are a bit different. It is still nice to be outside but when I am focused on images I need to get for the client the whole experience becomes a different beast. Sometimes I am not really aware of the stunning nature I am capturing in that moment because I am so focused to get the best possible photo. But thank god it is not always like that ;)
WHAT GOT YOU INTO INTO PHOTOGRAPHY?
Snowboarding and skateboarding got me into it. I started to become more interested with all the magazines I saw. Around that time also the internet came up and I was interested in making a little website for our crew. Of course we needed photos and videos for it. It was all learning by doing. It was fun! It all started with analog SLRs and VHS/miniDV tapes. Years after years one thing led to another and this passion became my job.
YOUR FAVOURITE SHOT EVER TAKEN?
This is not easy to answer. You evolve as a photographer so I guess every year you have another favourite shot. Two I really like are those two. The first one I shot in Northern Norway in the Arctic Ocean. It was my first time in the water with Orcas, definitely a lifetime experience and I can’t wait to be back (hopefully) later this year. The second shot was taken in Nepal in 2016. A photo of one of my favourite mountains - the mighty Ama Dablam. With the last light of the day the clouds wrapped around it perfectly. It was beautiful! I was actually sitting inside a teahouse when I saw this. We just came back from our first 6000m peak climb. I was out there in a second running up a little hill to get a better view and took this photo.
WHAT IS YOUR MOST VALUABLE ADVICE TO ADVENTURE PHOTOGRAPHERS STARTING OUT?
It is hard to give advice when you feel you are still learning more about this field every day. Maybe it is as simple as, go on real adventures. Don’t do all the Insta fame outdoor spots we all have seen over and over again. Grab your buddies, go on a trip, climb a mountain or surf a remote spot and document it. Additionally, try to show the moments in between. Shoot a series of images, shoot a story. Also shoot when the light isn’t perfect because it hardly ever is when the best things happen.
YOUR SECRET SPOT THAT NEVER GETS OLD?
I honestly don’t have one. But climbing up any mountain for me never gets old ;)
WHAT DO YOU SHOOT WITH?
Right now I am working with Sony equipment. A7rIII & a tiny RX100 IV 16-35mm f2.8 GM 24-70mm f2.8 GM 70-200mm f4 100-400mm f4,5-5,6 GM 24mm f1.4 GM 85mm f1.8
IF YOU COULD ONLY SHOOT WITH ONE LENS FOR THE REST OF YOUR LIFE WHICH ONE WOULD YOU PICK AND WHY?
Probably a 24-70 f2.8. Just because it is the most versatile lens.
YOUR FAVOURITE PHOTOGRAPHY TRIP?
Nepal 2016 war pretty amazing. But not just because of the photos. The whole experience was awesome!
WHAT IS YOUR FAVOURITE FEATURE OF THE FJORD 60-C?
I love that all my gear fits into it. But because I rarely take all my gear with me I am happy that there is so much room for other equipment too. I can easily go for overnight missions with it. It is such a huge pack which can be compressed to a small size when needed. That versatility for me is the biggest bonus.
Connect If you would like to see more of Roman’s work you can find him on Instagram or his website.
https://www.instagram.com/rawmeyn/ | http://www.romankoenigshofer.com/
]]>Imaging yourself driving in the middle of nowhere. In Nevada (USA) on a state route between Battle Mountain and Austin. Suddenly there is a road block. A couple of hundred meters further you see some futuristic vehicles coming your way (they are actually bicycles!). You couldn't have known but you were actually witnessing the finish of a cyclist who rode over 120 km per hour (80 miles per hour). Science fiction, you think? Actually not, it’s the finish of the World Human Powered Speed Challenge.
For eight years I have been covering this amazing event. And it is always challenging. For myself and my equipment. It’s not only because of the conditions. The race itself is hard to cover. But before I’ll explain how I handle these challenges, let me first tell you about the event itself and why it’s so exciting to be there.
As you may have guessed, the World Human Powered Speed Challenge (WHPSC) is all about going as fast as possible on a bicycle using only pure human power. The only engine allowed is the human. If you ride on a normal bike you may hit speeds like 30 km/h, top sprinters in the Tour de France reach to 80 km/h. The fastest man at the WHPSC, the Canadian Todd Reichert, did an amazing 144 km/h. Sure, Denise Korenek went faster, she went just over 269 km/h. But she was riding behind a car. All Reichert had were his legs and some aerodynamics. In order to get to the high speeds the competitors at the WHPSC ride in streamlined recumbent bicycles. Most of them with a camera to see the road, instead of a window. And this brings me to my first challenge: I can’t see the athletes during the record attempts, only the outside of the bike.
For the competition the organisation found a nearly perfect flat road, about 10 km straight. It is part of the SR 305 between two small towns in the remote desert of Nevada. The bikes start southbound and have eight kilometers to speed up. Only the first 15 meters they are allowed to have some support to be stable. Since the bikes are fully closed and the athletes can’t put their feet on the ground, they will fall over if not held. Most of them are two-wheeled, only some are multi-track. After the first eight kilometers, the bikes hit the timing section. Over a distance of 200 meters the time is measured and the average speed in this section results in the final official speed recorded for the race. After the finish the vehicles have around a 1.5 km to slow down before they are caught at the so-called catch area.
The races are in the mornings and evenings due to lower temperatures and the chance for lower wind speeds. To have a ‘legal run’ (a run that is valid for a record) the wind speeds have to be below 6 km/h. In the morning and evenings are when the most heats take place, each with several runs, depending on the time and participating competitors. The time slot between the bikes is two minutes. Since only human power is allowed no vehicles are allowed to ride in front of the bike. The chase vehicle, needed in case of an emergency and for the coaches, has to stay more than 200 meters behind the bicycle.
There are a few photographic challenges for me. I can’t photograph a full run at start, timing and finish in one run. With the speeds achieved, I can’t move myself fast enough to get to the end. The only car allowed is the chase vehicle and even then I am way too far behind for good shots. I have to make a decision on where I will be even though during the whole event and for the story I need photograph all areas. I want some wide shots with the environment as well as some close photos. To make things a bit more complex, I can’t be close to the road when the bikes are running. Meaning that I need a trick to frame my wide shots.
My main focus is on the Dutch team Human Power Team Delft and Amsterdam (HPT). They have a lot of sponsors who support their project and those sponsors want to see the bike with their logo in full view. The problem here is that the team has two kind of fairings: one with logos and one without. The latest being the fastest since there is less disturbance on the surface of the bicycle. Aerodynamics is key! I have to take the photos with the logos normally at the beginning of the week, at all important areas.
The last challenge I have are the conditions. It’s in the desert and it’s normally very dry when we are out there. I have to be careful switching lenses and I have to clean my gear often. The dust gets in everywhere.
During the years I have gained a lot of experience, so I know what I can roughly expect to happen and what I need. My equipment has changed through the years, leaving stuff behind that I didn’t need. I have to also think about taking some gear I was missing or to bring new gear in order to capture something completely different. My goal is to capture something new and original each year so the process of what gear to bring is a challenge as well.
Working on autopilot is something I want to avoid. Since I am the photographer of the Dutch team, I can test some things when the team is training to make sure I am well prepared. A good preparation is not only key for the teams, also for me as photographer and I have to be constantly aware that I am in a remote area. The base town is Battle Mountain, once called the armpit of America and the nearest
bigger town is a couple hours driving and that is why I need to make sure I bring everything with me and have some spares where possible. Last year my USB-C hub broke and that was a big problem. Amazon said it would ship within a day, but it took around five days before it got to my hotel. This time, I’ve ordered two as you may understand.
Roughly my gear consists with the following items: three camera bodies, two wide angle lenses, a telephoto lens, a teleconverter, a standard focal length, a speed-light, Pocket-wizards, a tripod and a gorilla-pod, a laptop, a Wacom tablet, card readers, chargers, spare batteries, lots of memory cards, two external storage drives, GPS, a Mifi-device, a telephone and lots of cables. Last year I’ve also brought a Profoto B10 and an umbrella with me to take the portrait and team photos.
Most of the gear I am carrying with me all the time, so also to and back from the track. The only thing I left behind in the hotel was the B10, since I can’t use it during the races.
Typically I am at the timing section of the actual race the day after. But there is a risk for me standing there. If the team sets a record, I will be at the wrong location because it is at the finish line where I will capture their emotions after setting a speed record.
At timing section, you see the bikes at full speed, which is really exciting to see. At the same time it’s the hardest spot for me to photograph. Not only because of the speed. Of all the shooting locations, this one gives me no space to manoeuvre. You don’t want a rider to scare when you suddenly pop up next to the road at those speeds! At the same time I’ve got the busiest backgrounds. Since I can’t do much with a wide angle from my standing point, I am using two remotes with a wide angle set up near the road pointing in different directions. With the telephoto I can make panning shots, while the remotes fire more surrounding photos.
For the rest of the week I’ll be spending my time at the finish area. Although I always try to sneak a run or two in the chase vehicle, capturing the emotions of the trainer and other team members in the chase vehicle is great. They are an important part of the team effort!
At the finish is where you can see a lot of different scenes. I can photograph the bikes passing by, panning and with a wide angle on remote. I can capture how the bikes are caught and most important the emotions of the athletes and the team members when the run is over. I set up my remote around a hundred meters from the catching point and hang around that point with my other two cameras on my neck. This allows me to take all kind of photos. As soon as the bike is near the catchers it’s time for me to run and be next to the bike when they take of the fairing. Sometimes you’ll see the steam coming out of the bike. Photographing all kinds of expressions on the athletes faces when they come out of the bike is fantastic: from exhausted to happy and from angry to nervous. It’s all about the emotions and it’s the only place I can get a glimpse what an effort they put in the bikes.
Yes! This year the Human Power Team Delft and Amsterdam set a world record!!! AND luckily for me I was at the right spot! What a relief!!!
Even after eight years photographing, the World Human Powered Challenge is still addictive. It’s always amazing to see what one can achieve on purely human power. I’ve seen Sebastiaan Bowier riding in harsh conditions and setting a world record in 2013 and a few years later Todd Reichert setting that record to an amazing 144 km/h and that’s something I’ll never forget. The nervousness of Rosa Bas in 2019 when she thought she had broken the nine year old women’s world record and the joy at the meeting when it came to be true was a once in a lifetime experience. As the photographer of the Dutch team I enjoy seeing the team grow from rookies to experienced engineers. I’ve seen the most amazing bikes one can ever think of. There is a lot of competition, still everyone there wants only one thing: to set a new world record. Teams are helping each other. The organisation and the other volunteers are supporting everyone. It’s just one big family who gather every September in that little town.
Great people, great bikes, interesting technology and a stunning environment, what more can I ask for? I am sure I’ll be back there!
Except for the tripod and the umbrella for the Profoto B10, I want everything with me as carry-on luggage. All the gear is way too expensive and fragile to hand over to the people throwing with bags. I also have only one hard drive in my carry-on, the other one is checked in. If they steal my bag, I still have a copy in my checked in luggage.
Until recently I’ve used a roller suitcase to pack all the camera gear. It was small enough to be allowed for carry-on but it still gave me trouble to check in. They always wanted to weigh my suitcase and with all that equipment it is definitely more than allowed (most of the time my carry-on luggage was even heavier than my checked-in luggage).
I have been extremely please with the Nya-Evo Fjord 36. I though it would not be big enough for my trip the USA but to my surprise I’ve got everything I wanted into the bag. There was even room for a book to read in the plane and my headphones! It was a tight fit, but it worked. I had no problems getting in the plane since the Fjord 36 looks really slim.
Another very nice bonus is that the backpack weights less than most camera backpacks and certainly less than a roller case. Even with all my gear inside weighting 17 kg in total, it was still comfortable. That said, I will get the Fjord 60-C next time in order to have a little bit more space yet still a compact bag
This article was written by Bas de Meijer and edited by the NYA-EVO team.
Special congrats to the Human Power Team of Delft & Amsterdam team for their amazing performance!
- Instagram: @hptdelft
Photography by Bas de Meijer
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Helgoland is a small archipelago in the North Sea and a part of the German state of Schleswig-Holstein since 1890. Helgoland is the furthest island from land located in the North Sea. It is around 50 kilometer offshore from the German mainland (all other German islands are very close to the coast). It takes around 2 hours by boat to do the 50 kilometers.
Every year Andreas goes several times to visit Helgoland and if you are lucky enough to secure a place you can join him for his next workshop as he usually only brings four participants to make sure he leaves enough time for one on one time. You can find more info on his tours at the bottom of this article.
Helgoland offers great photo opportunities all year round in any season. In the spring the Northern Gannets arrive and stay until fall to breed and raise their young. Also, Guillemots and other sea birds are around to photograph from "Bird Rock" located in Lange Anna part of the island.
But according to Andreas, the most exciting time to visit Helgoland is in the beginning of December when the gray seals give birth to their young in the dunes. During the year 2016/2017 a record birth of 350 baby seals was recorded! Many grey seals are literally scattered all over the island. In some places you have to take care not to accidentally trip over one (can you imagine!). The white fur cubs and their moms offer an amazing spectacle to observe and photograph. This is mother nature at is best!
In addition to the baby seals being born and nurtured by their mothers, occasionally you can witness the first territorial fights among the male seals. Who thinks these animals are just lazing around is wrong! It is therefore important to keep a safe distance of around 30 meters from the animals and all times not to disturb or scare them.
During Andreas' workshop, you will learn about various techniques of animal photography. Which perspective makes sense? Which camera setting is required for which photo? These and other questions will be answered with Andreas in practice as well as an in-depth discussions at the end of the shooting day.
When to get there?
The best time of the year is from spring to fall for photographing the Northern Gannets breeding and bring up their young. In the beginning of December the seal birth is in full swing. Be reminded that starting fall and into winter the weather can get quite stormy and rough so be prepared.
How to get to Helgoland?
There are numerous there are multiple connections with the Reederei Cassen Eils. You can travel from Hamburg, Cuxhaven and Büsum. Andreas takes the boat from Cuxhaven. The ferry takes about 2 hours to reach Helgoland from Cuxhaven.
Which animals can be seen?
Two species of seal can be photographed:
There are many birds of which the most popular are the Northern Jannet and the Guillemots.
Best location from where to photograph the wildlife on Helgoland?
Andreas finds the bird rock, also called Lange Anna, the most beautiful. Especially in the evening the light up there is very good for photographing.
Necessity camera gear and other gear to bring?
SLR camera, a large tele lens, a 150-600 lens as well as a smaller one such as a 70-200 to capture the smaller birds. Important for photographing the seals is to have a lens with at least 500 mm focal length. And a tripod is also a must of course.
Weatherproof clothing and footwear.
Tips for photographing the seals on Helgoland?
If I want good pictures of the seals I find it's important to find a low spot since as with most animals they tend to photograph better from eye-level.
Andreas his full camera gear list carried in his NYA-EVO Fjord 60-C:
- Canon 5D4
- Canon 90D
- 150-600 G2 from Tamron
- 70-200 G2 from Tamron
- 24-70 G2 from Tamron
- Tripod Rollei Lion Rock 30 Mark2
What to expect from Andreas his Helgoland workshop?
- Intensive photographic support and guidance to the photographic hot spots of the island
- Fully elaborated workshop documents
- Image processing with Lightroom CC
- Free rental lenses from Tamron for Nikon and Canon. You can choose between 3 different lenses: 150-600 G2, 70-200 G2, 100-400.
- 10% discount on the complete range of the Rollei company including rental stands.
- 10% discount on the complete range of NYA-EVO backpacks and RCI's.
For any further information about the workshops of Andreas please contact him.
Web: www.naturfotografie-huetten.de
Facebook: https://www.facebook.com/
Instagram: https://www.
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FJORD36 Review
I’ve been using the FJORD 36 from NYA-EVO for a few months as of now and had fair amount of time to get to know the bag while using it on all my adventures. With its use, I no longer have a desire to look for any other camera bag or backpack for that matter. Although this is a review, I won’t be covering how to set up the bag with the RCI’s as I found the information on the website quite easy to follow. Instead, I’m going to be going over the bag, what I like about it, and how I use it personally.
Overview
When I first received the pack, I was surprised how small it packs down when there’s nothing in it. It’s so flat! So if you don’t have gear in there and you need to store it, the pack itself and the RCI can be compressed down to take up less space. When set up with the RCI in the pack, the bag retains its rigid, boxy shape. I really like this because unlike my last camera bag, it stands or lays flat and won’t tip over. It also feels very lightweight including its aluminum frame for better support. I find the pack to be very comfortable to wear - even weighed down with all my gear (which I’ll list below).
Quality
The quality of this pack is phenomenal. Everything from the zipper pulls, to the material of the straps and the bag itself. I definitely feel like it’s going to last me a long time. Again, the pack is super lightweight, but doesn’t feel like it’s made out of cheap material. The outer material of the bag is thin, light, and water resistant. Though it does come with an actual waterproof rain cover, I’m confident that unless it’s a torrential downpour, my gear is going to stay dry. The buckles and clasps are made of plastic, not metal. However, they do feel solid and durable and fits with the pack as it’s meant to be lightweight. I don’t see how metal buckles would make much any significant difference here. The bottom of the pack has a somewhat grippy material. It feels quite strong and will resist dirt and moisture when placing it down. Another little feature I like over my previous bag.
Customizable For Camera Gear
The FJORD 36 is such a versatile pack - especially with the RCI (removable camera insert) units available. With the RCI’s you can customize the bag to meet your needs. In mine, I have the large one, which is more than enough to hold all my camera gear and more. The RCI is quite deep -almost too deep, at least for smaller camera systems. I shoot on the Fuji mirrorless system and the lenses I have are quite small so it would be nice if there were padded inserts to stack lenses. The good part about deep compartments is that I can easily fit my Fuji XT2 vertically, or with the battery grip on it with no problems. The best part about the RCI is how many extra padded inserts there are (aside from ones to allow you to stack lenses). You can truly customize the configuration of the bag in so many ways to fit any gear and make it work the way you want. For me, I shoot several different cameras and many different types of film cameras so I really enjoy being able to make the compartments fit my gear perfectly.
One thing that I found to a bit of a nuisance was the shoulder and waist straps getting in the way when opening the back paned to access the camera gear. When opening the pack to reveal the RCI compartment, I lay the bag down and actually pull the shoulder straps up so they are out of the way. It makes it much easier for me to get gear in and out of the bag without the straps in the way. If I don’t do this, I did find that the straps would always get in the way all the time so I always have to lift the straps up. When open, the back flap has two extra zippered compartments. In here I carry extra rolls of film, memory cards, and filters. Below is what I typically always have in my bag when on a photo adventure.
Gear
The front of the bag opens up for extra storage. Here is where I would typically put my notebook and charger for my MacBook. It is the perfect size to even fit a 15” MacBook, but I actually put mine in the other main compartment behind the RCI. In the zippered mesh pocket I’d put my external hard drives when needed. There is also a slot for a hydration pack, which would come in super handy for longer hikes. However, there are two stretchy water bottle pouches on the outer sides of the pack and personally I just prefer carrying my water that way. It’s nice to know that the hydration feature is there but doesn’t take up any extra space.
Moving to the top of the bag, this is where you can unzip the main compartment above the RCI. With the large RCI, I have a bit of extra space to put spare socks, gloves and a toque (or beanie). There is another zippered mesh pocket inside as well which is where the rain cover goes and I also put some extra hand warmers in there too. I like to make sure I have extra gear to keep warm during the Canadian winters. Now, behind the RCI is where I actually place the lid for it. I do this so make a protective sleeve and this is where I put my 15” MacBook Pro when I need to take it with me. The reason I put my MacBook here is because I feel that it brings the bulk of the weight closer to my body, making it much easier to carry.
Additional Features
I don’t often shoot with a tripod, but when I do need to carry it with me, I did find it easy to use one of the two water bottle holders on either side to work fine, putting the bottom of the legs in it and then using the upper strap to hold the top of the tripod in place.
Another feature I like about the pack is the waist straps. They’re usually tucked and wrapped back around the front of the bag and out of the way. But on other occasions where my bag is heavier or if I’m wearing it for extended periods of time, it’s so easy to unbuckle it and have it right there available when needed.
(Waist straps clipped in the front, out of the way)
The last thing I wanted to go over is the helmet holder. I haven’t had a reason to use it yet, but I imagine it would come in very handy in the spring, fall, or colder summer days. Rather than using it for a helmet, I’d probably go ahead and use it as an easy way to hold a jacket or sweater if I need to shed a layer. That way it won’t take up any extra space on the inside of the bag and it’ll be easier to access if I need to put it back on.
Conclusion and Final Thoughts
Now I definitely did not cover everything there is to know about this bag. This is just specifically how I use it and what I like about it. So hopefully if you read though it, you were able to get some insight on it. This bag is jam packed with so many features; it’s fit for so many different people yet- it doesn’t seem like the “jack of all trades, master of none” type feel. It does a lot of things and it does them all very well. The best part about it for me is that I can use the features I need, and some of the other features that I may not use as often, doesn’t interfere with the rest of the bag as if it wasn’t even there at all. That’s probably the best way I can explain it. One suggestion I hadn’t mentioned yet would be to have a quick way to access your camera. I did see a way to use the waist straps to access your camera gear without having to set down the bag, but the majority of the time, I’m not using the waist straps. It would be great to have a solution for easy camera access at all times. Overall, I’m super hyped about the pack. It is of extremely high quality and will be with me on all future adventures.
]]>Everyone struggles with life at some point. It doesn’t always pan out the way you plan. You hit speed bumps, and zig-zag your way towards a goal which you hope to eventually reach.. Or, things happen to you which simply make you feel as if a curtain is pulled down and your life is hopeless. All of us have our own ways of dealing with these kinds of situations and challenges.
For me, learning that my daughter had leukemia was the one thing that pulled the curtain down, hard. And to make matters even worse, my dad died and I got divorced all during this same period. Needless to say, I was in a dark place.
But as for most of us, the will to live is strong, and so it was for me too. I needed to get through it all somehow, and without even thinking about it, I turned to the one comfort I’ve always known; Nature. Being in nature has always had some sort of healing effect on me, and I needed that now more than ever before. So I did the things I love to do in nature. I grabbed my snowboard and went cruising on a silent mountain which didn’t care what my troubles were. It just stood there, let me be a part of it and helped me bring me peace and happiness out once again.
I went back to find nature it was there waiting for me. I brought my crashpad and went out into the dark woods, I climbed some boulders, and I raced my mountain bike down a winding forest trail. Nature was all around me, yet silent. And I think that’s why I love being there so much; the fact that nature is balanced, it's just there existing, a support system for human life. In nature I found my inner peace and if you need to find yours, go to nature. It is ready to heal you, always.
It took a long time to get our trip sorted. A destination like Patagonia requires a lot of planning. Planning for flights, accommodation, food, clothes, equipment and many other little things. We flew to Santiago de Chile, from there 3 hrs to Punta Arena where we rented a car and headed towards Torres del Paine National Park.
Yes. It is a whole other world in its own right. It is difficult to describe the beauty, I believe no one comes back from Patagonia feeling the same as they have done before. The sights are just breathtaking.
The most memorable experience was when a sudden turn of weather caught us off guard. We left camp Agostini towards camp Poincenot with beautiful weather. The distance we had to cover was 8km which is around a 3 hr hike. A third of the way there a strong rain and wind started seemingly out of nowhere. The wind was so strong that we just had to stop and make sure we had good balance and could not move forward.
One of our main priorities was to keep our sleeping bags dry as if they get wet the amount of time they take to dry is very long. Drenched from head to toe the sky finally cleared as we had eye contact with camp Poincenot.
Your favourite picture of the trip and why?Hard to pick one favourite as there are so many different motifs one can capture there. Two that are memorable are one being right under Cerro Torre one morning with my NYA-EVO Fjord 36 backpack, as there were 2 days straight of clouds and mist and it was awesome to see it open up. The other one was when we did a hike through the night to watch the sunrise near the top of the mountain. The granite tops seemed to glow while it was still dark, I took a pic of this beautiful autumn red trees with mountains in the background.
What you shoot with and if you could only use one lens what would that be?
I shoot with a Sony Alpha 7 III. If I had to take one lens only it would be the 16-35 f4 ili f 2.8. I have to say that I get a lot of great shots with the 70-200.
For people that are photographers and are planning to go to Patagonia I would recommend to spend a lot of time planning. The more you plan the more comfortable and relaxed your stay will be. A rental car came in handy for us in Chile but was not necessary in Argentina. If you know someone that has been there before get some advice. Be serious about your gear and a variety of clothing as the weather changes. I would say to plan for 3 weeks for a good adventure and study the areas and maps before arrival. Last thing to do is to get packed and set off on one of the greatest and most beautiful adventures you will ever have!