James Morgan tells us about a recent photographic assignment that had him braving the bitter cold on the Arctic Ocean.
You can’t always tell when an assignment will turn into an adventure but my latest brief had all the right ingredients. I was set to be joining an Arctic research ship on a trip around Svalbard.
When the first day of my shoot arrives, we set off from Longyerbyen, heading north. The ship we’re on is an old prawn trawler, but it’s been kitted out for science. The landscape is incredible, I stay on deck until I can’t take the cold any more, then I go inside until I can’t take the sea sickness.
The purpose of the trip is to conduct research trawls and sampling to monitor how climate change is affecting fisheries ecosystems. With ice retreating and the potential for new fishing grounds moving further north, the Norwegian government are keen to inform their policies with as much hard science as possible.
A few days later we arrive at Ny Alesund. With claims to be the most northerly settlement on the planet, Ny Alesund was established originally as a whaling station, then later a coal mining town. It’s now an international research centre run by the Norwegian Polar Institute. A lot of the world’s leading climate scientists do stints up here.
Across the bay a network of glaciers are slowly melting. The next morning we head out by rib to get a closer look. On the way we pass an iceberg the size of a small house and as cyan blue as a chewing gum advert. Travelling over mirror flat ocean, there’s a strange optical illusion; the glacier seems to retreat further and further away until about a kilometre out where the size of it suddenly becomes apparent.
We arrive just in time to see a large shelving take place. This is where the glacier collapses into the ocean, sending waves for miles out across the fjord. It’s become the de facto image for climate change (along with the one of the polar bear stranded on the iceberg).
That afternoon we fly over the glacier to get a full sense of its size and, comparing with old data maps, the full extent of its retreat.
Later that night, the coastguard pick us up for a demonstration of how they’re policing these waters. We get in the ribs and head out to sea. We pull up alongside a navy ship, a hook is winched down from above, attached to the rib and we shoot fifty feet out of the water up to deck level.
The bridge is dark and shady figures hang around consoles. The entire ship is run off LNG as opposed to diesel and so the ocean outside glides by in an eerie silence. It feels like the future. We get a quick briefing and then we’re taken below deck to put on orange survival suits and helmets for the operation.
Then we’re back in the ribs, winched back into the ocean and blasting across the night time sea to run an inspection of a shrimp trawler. There’s no winch this end to lift the rib out of the water, instead a rope ladder is hung down. The fisheries inspectors get off first. I pack my camera into a Peli case and walk to the front of the boat. The rib pulls up alongside the trawler and I’m told to ‘commit’. I grab the ladder as the swell lifts the rib up to the ladder. The rib backs away and I’m left clinging to the ladder, the Arctic Ocean churning beneath me and a long climb up the side of the trawler.
On board, the trawler crew are bringing up the net. The fisheries inspectors tell me that the trawl would equate to about £500 for every member of crew. They’ve done four that size today. They make good money but I don’t envy them – when the excitement wears off the sea sickness will be back. And winter is coming….
You can see more of James Morgan’s work from Svalbard on his website
Unless you’ve been avoiding the photographic press for the last few months, it probably hasn’t escaped your notice that Nikon are celebrating their 100th anniversary on July 25th.
A Miniature Nikon F Camera has been produced to commemorate the 100th anniversary
Our relationship with Nikon goes way back; back to 1988 in fact, when former Nikon UK Service Manager Mike Allen started Fixation and we became an official Nikon Service Centre, looking after many of the professional photographers Mike had known from his years in the industry.
Around the same time, Jeremy Gilbert was also starting off beginning his career at Nikon, starting off in sales before moving into product management and then marketing. Today he is the Northern Europe Marketing Director for Nikon Imaging. We caught up with Jeremy to talk about Nikon and his thoughts on the industry today.
Hi Jeremy, thanks for taking the time to talk to us. Can you tell us a bit about yourself?
Thanks Tim, always a challenging question for an introvert!
As you know I’ve spent a lifetime in the photographic industry, literally starting off as a Saturday boy at Photomarkets to supplement my grant whilst at college. Following this I had a brief spell at Fox Talbot in The Strand and my final stint within retail was at City Camera Exchange managing their Bishopsgate branch before moving to Croydon. It was there that I was inspired to seek employment with a manufacturer. Nikon was already my camera brand of choice, so I wrote to their Sales Manager. My first day at Nikon was 1st September 1986 and the rest as they say is history.
Jeremy Gilbert receiving a Which? award in 2015
So when you started at Nikon, it was before digital cameras had become mainstream and the F4 was the flagship film camera. How do you think the takeover of digital has shaped photography?
When I first started the F3 was actually still the flagship Pro Camera and Nikon was about to release its first consumer Autofocus camera the F-501, so you could say I joined pre AF as well as pre digital. Digital cameras weren’t even a dream at that time, although perhaps the first indication of what the future could be were evident in a product we launched in 1988 the QV-1000c, a monochrome electronic still video camera. By today’s standards the quality of its 380,000-pixel monochrome CCD recording onto a video floppy disc was less than perfect, but it did open people’s minds to a potential future without the cost and time limitations of film. It wasn’t until seven years later we launched the £10,000+ 1.3MP Nikon E2 into the pro market, but personally I think it was the launch of the COOLPIX 900 in 1998 that convinced me it was game over for film (although I distinctly remember we all thought the transition would take much longer than it did).
The last roll of film I used was in 1999. To be frank, once the D1 was launched there wasn’t any need; the digital takeover was assured, if not complete. How’s this shaped photography? is a hard question; it certainly made photography more accessible to a much wider audience and I think it’s fair to say improved the workflow process for the majority, but what we mustn’t forget is that ‘good photography’ isn’t just about the equipment, it’s about the photographers skills behind the camera. If you consider the really iconic images taken over the last 50 years the majority were probably taken on vastly inferior equipment than we have today – what digital has done has inspired a new breed of photographers to enter the industry, helping them to push the boundaries of the art form.
We now live in an age when a single digital image can circulate the world in just a few seconds, having an immediate impact on people’s opinions and emotions – it’s been a privilege to have played a small part in that transition.
Nikon’s D1, released in 1999 was a game-changer for professional photographers
I understand you’re a keen photographer yourself; we’ve actually got one of your prints on the wall in our showroom! You must feel like a kid in a candy shop, being surrounded every day by all this amazing equipment?
Yes I do enjoy my photography and yes being able to use whatever I want is amazing, but like everyone else I do tend to stick with my favourite products which right now is the Df with either standard 50mm or the new 300mm ƒ/4, I have to say the little 300mm is probably my favourite lens of all time; simply amazing and if you haven’t used one you must give it a go as it will change your opinion forever.
Do you still shoot film at all?
No not at all…. Although I won’t say never again as, I do miss the thrill of the darkroom from time to time – I’ve actually got an unopened roll of Kodak 120 colour film from late 1930’s that I promised myself I’ll use one day, perhaps it’s time to open it?
Nikon were the first to include video capability on a DSLR with the D90 and it’s now a commonplace feature. Looking back, did you have any inkling that it would be a game changer for videographers?
We definitely knew it would be the start of something big – technologies are continually merging to offer the consumer great functionality and performance and this was one of those occasions.
There seem to be more people with cameras these days, but less people shooting professionally. Do you think digital is the reason for this?
No I don’t think this is because of digital photography per se, it’s more to do with the way we consume images and the price people are willing to pay to use an image online – sadly the price of photographs has been driven down in the market, making it harder for some to make the living they once did. Having said that, the cream will always rise to the top and we shouldn’t forget there are still a huge number of very successful photographers.
Mirrorless cameras are becoming more and more popular, and you seem to do well with the Nikon 1 system. Do you think there’s room for professional cameras to explore this route, as Sony have done with the A7 & A9 systems?
It’s always good to see new technologies enter the market; competition is what drives us to maximise our product offering.
Is there room in the market for professional mirrorless? – Yes, but as proven in the past we need to ensure that new technologies really do improve the performance, workflow and reliability for the professional. It can be some time before this becomes apparent, in the meantime as recently reported by senior Nikon executives we will concentrate our resources on medium to high-end cameras and lenses but sorry, I can’t comment on future products.
Thinking back to all the product releases you’ve been involved in, are there any products that stand out?
This award would go to two cameras the D1 and the D3.
The D1 because it was really the first true digital DSLR (not a bolt on solution); it changed the pro market forever.
The D3 because Nikon managed to break totally new grounds with low light performance. High ISO performance was significantly better than anything else on the market, it was a dream camera to work with.
If you could only use one Nikon product, which would it be and why?
Definitely the Df – it’s a product you buy with your heart, and on occasion is a challenge to use, but because of this it makes you think and take a little bit more time taking pictures, for me this helps me take a more considered photograph (I’ve never been a fan of the machine gun approach to picture taking). The cameras processing is very sympathetic creating a very natural looking file and at launch it was at the top of the DXO ratings for low light performance.
It might not be everyone’s choice, but it is mine.
Jeremy’s choice of camera, the Df is a respectful nod to old film cameras such as the FE & FM
Obviously you can’t give too much away, but can we look forward to some exciting announcements this year?
Probably the question I get asked the most, and one everyone knows I can’t answer, but consider this… Nikon is a camera manufacturer with a hundred years of experience in optics, it’s therefore fairly safe to say we will be announcing new products at some point in the near future – be patient we won’t disappoint.
To commemorate the anniversary, Nikon have produced strictly limited editions of the flagship D5 & D500 along with special versions of the popular ƒ/2.8 zooms.
A limited edition pin badge set, featuring key products from the last 100 years has also been released
To learn more about Nikon and their anniversary products, see the official website here
What’s the advantage of backing up your camera settings? Modern cameras offer more customisation than ever, and if you spend a lot of time using yours, you’ll likely fiddle with things to get them the way you want them.
Whether it’s to do with picture modes, white-balance settings, Fn keys, exposure compensation or whatever else, you’ll likely find ways to get your camera working exactly how you want it to for a streamlined shoot. However, if you reset your camera without saving these settings in some way, you may boot it up to find everything permanently restored to defaults. If you’ve spent months or even years working with your camera and can’t necessarily remember everything you set up, this could be a major pain!
Fortunately, many camera manufacturers include in their products the option to save and load settings. With a few taps through the menu, you can access the option to save settings to an SD card, or load them from one. This is a great thing to do with an old card that you don’t use too much anymore – indeed if your camera has multiple card slots, you can quickly accomplish this without even taking a break from your shoot!
Backing up camera settings has never been easier, and takes just a few minutes. While it’s always going to vary from model to model, we’ll run through where you’ll likely find the option for each major manufacturer.
Save camera settings for Nikon
With most Nikon DSLRs, the option is found under the Setup menu. Simply select the option and then choose to either Save or Load your settings.
Save camera settings for Canon
With most Canon DSLRs, the option is also found under the Setup menu. Simply select the option and then choose to either Save or Load your settings.
Save camera settings for Sony
Once your camera is set up the way you want it, hit the Menu button. On the camera tab, select “Memory”. From here you can press the left and right buttons to select the location to save your settings. You can select 1, 2, or 3 for your camera’s internal memory, but if you really want to be safe, select M1, M2, M3, or M4 to save on your memory card.
Bear in mind that this will only save settings for the mode you’re in – Program, Manual, Aperture Priority etc. If you habitually shoot in multiple modes, you’ll want to save profiles for each one.
Save camera settings for Fujifilm
Modern Fujifilm cameras let you create up to seven different shooting profiles of saved settings. Press the MENU OK button, and navigate to IMAGE QUALITY SETTING. Select EDIT/SAVE CUSTOM SETTING and press MENU OK – this will bring up the seven custom settings.
The next step varies depending on your model of camera, but you should be able to select one of these profiles and hit SAVE CURRENT SETTINGS to record your camera’s current status.
However, this will only save the profile internally. If you want a backup of your camera settings, the best thing to do is download the Fujifilm X Acquire software for Windows or Mac. Download and install the software, then plug in your camera via USB.
Click the Fujifilm X Acquire icon in the menu bar (Mac) or taskbar (Windows), and you should see options to BACKUP CAMERA SETTINGS or RESTORE CAMERA SETTINGS.
Save camera settings for Panasonic
Panasonic cameras have a useful function that lets you use the Bluetooth connection to save your camera settings to a smartphone.
Connect the camera to your smartphone via Bluetooth. Tap Home, and then the wrench icon to get to Camera Settings Copy. Tap Save Setting – you may get a confirmation box at this point. Tap the Yes icon, and you’ll be good to go.
This mode also lets you transfer settings from one camera to another, which can be especially useful if you’re on a video shoot with multiple cameras and want to ensure things remain consistent.
Save camera settings for Olympus
Olympus cameras do not currently offer an easy, straightforward way to externally save your camera settings. There is a CUSTOM RESET function that lets you save profiles in-camera, which can be found in the first tab of the menu (camera icon).
In this section, you’ll see RESET 1 and RESET 2 options – these are custom reset profiles, which allow you to save specific settings and call them up at a moment’s notice.
IF your camera unexpectedly dies, a trip to a repair shop can be a lifesaver. At Fixation’s centres in London and Manchester we will always endeavour to diagnose the problem and fix it quickly to get your camera working again.
However, some issues with digital cameras will necessitate a full factory reset. If that happens, it pays to have your preferred settings backed up, whether to a memory card, a smartphone or the cloud. Taking the time to understand how to externally save and load your camera settings could pay dividends in the long run, and save you a major headache!
Alternatively, if your camera proves to be truly beyond repair, then it may be time to get a new one. Having your settings saved and ready to be restored can be a great way to hit the ground running with your new machine. While this will be easiest if you buy an identical body, settings can also potentially be imported between different models from the same manufacturer. Either way, it’s best to always be safe and back up your preferred settings regularly, ensuring that the latest versions of your settings are saved.
NB.If you update your camera’s firmware, you generally can’t restore your settings, as new features may have been added to your camera, so useful as it is, it’s not unfortunately foolproof!
Also, bear in mind that any firmware update will generally reset your customisation options.
For over forty five years, Nikon Professional Services (NPS) has supported working professional photographers and videographers who earn their living using Nikon equipment.
It’s a truly global service, with representation in over 31 countries and thousands upon thousands of members who rely on the NPS for support with priority servicing and loan equipment if repairs take longer than a few days.
Fixation has been supporting Nikon professionals since we started in 1988. In fact, until 1996, Nikon was the only brand we repaired, so you could say we have a bit of a soft spot for the brand.
Rob MacNeice has been with Nikon UK for 12 years and for the last four years has overseen the NPS scheme in the UK with his dedicated team.
We recently cornered Rob to find out more about NPS.
Thanks for taking the time to chat with us Rob. Can you tell us a bit about yourself and how you got involved in NPS?
I’d always been interested in photography from a young age and actually started my career as a baby portrait photographer! I worked at Jessops for 10 years, ultimately becoming a store manager, and then I came to Nikon, starting as a customer support agent. I used to handle all calls from end users; technical enquiries, repair questions – pretty much everything! A couple of years later the NPS division broke away from customer support and I’ve been with them ever since.
Nikon technicians backstage at the Champions League Final
Are you a keen photographer yourself, or do you prefer to leave cameras well alone when you’re not working?
My Dad put a camera in my hands when I was about three years old and I’ve loved photography ever since, but (laughing) sometimes I don’t want to see a camera when I get home! Saying that, it’s still – and will probably always be – one of my life’s passions and I think once it’s in your blood it’s there for good. I do take a lot of personal images but these days it’s mainly family shots.
NPS attends major sporting events throughout the year, but is there a particularly busy period?
We’re pretty busy all year round to be honest, but the really hectic period starts now! We’re at Wimbledon until the finals weekend when we have to race over to Silverstone to cover the Formula One, followed by the Open Golf at Royal Birkdale. It’s very tiring but good fun and extremely rewarding.
Photographers get their hands on some long Nikkor lenses at The Photography Show
Can you describe a typical day at Wimbledon?
We’re set up in the Photo workroom helping photographers with any issues they might have with their kit. We have a team of technicians that can carry out on-the-spot repairs, such as replacing grip rubbers, or even just helping with any settings issues such as setting up their network profiles. We also keep a wide range of back up equipment that the photographers can borrow if we need to carry out more in-depth repairs and it’s also a good opportunity for these guys to try equipment before they buy. Overall it’s about us being there for the photographers and helping in any way we can.
Do you have any memorable experiences from an event?
I’ve had so many wonderful experiences over the years, but one funny moment springs to mind. I was fortunate enough to work at the world cup in South Africa in 2010 and we were loaning out equipment at the stadium in Rustenburg. A photographer came up and asked if he could borrow some gear, as he didn’t have much equipment himself. All we had at the time was the D3s, so I lent him a body and lens and he went away very happy. Five minutes later he came back and innocently asked “where do I put the film?”!
You must have met some highly regarded photographers over the years. Are there any that particularly stand out?
Goodness me, that’s a tough question. I’ve met so many fantastic photographers out there using Nikon gear that it’s hard to name names, but I’d have to say I feel very lucky to have worked very closely with wildlife photographer David Yarrow recently. We had a meeting with him a couple of years ago and he showed us his book ‘Encounter’, which blew us away with the quality of images and within a few days we’d signed him up as a Nikon Ambassador! He has a different approach to his photography; most wildlife shooters will be 100 yards away from their subject and shoot with a 600mm lens, whereas David will be up close and personal with a 35mm.
There must be some Nikon photographers out there, who own the necessary kit to join the scheme, but haven’t as yet. What benefits are these photographers missing out on?
There are a number of benefits that NPS members enjoy, from a dedicated freephone technical support helpline, to free loan equipment if your kit is away for repair. There’s also the Nikon Pro magazine which is free to NPS members and features work from some of the best photographers in the world. We also host exclusive NPS roadshows which members are invited to. With regards to repairs, I know a lot of NPS members rely on Fixation for their servicing and sensor cleans, and we offer this level of service too, but at the end of the day, as long as our members are being looked after, we’re happy.
Since its inception almost 20 years ago, Canon Professional Services has proved to be a valuable source of information, inspiration and support for people who rely on Canon equipment for their livelihood.
CPS is a huge operation, with representation in over 16 countries. The services offered range from free loan equipment, access to CPS support teams at major international and local events and a priority repair service – something that Fixation have been offering since 1996.
With Canon’s increased presence in the Pro Video market, cinematographers can also benefit from CPS support.
We caught up with Frankie Jim, Head of Canon Professional Services, Canon UK & Ireland to find out more about the scheme.
Thanks for taking the time to chat with us Frankie. Can you tell us a bit about yourself and how you got involved in CPS?
I joined Canon 9 years ago and have looked after CPS from day one. I was aware of CPS before I joined Canon but back then, the benefits were mainly faster repairs. Once I got the job, I immersed myself in the program and challenged what it was. What do we do for our loyal users who have invested but have never needed a priority repair?
My role at Canon allows me to interact with many different customers with varying needs which has helped evolve CPS into a program that focuses on three key aspects: Service, Training and Experiences. Having owned a significant amount of professional Canon equipment myself, I am acutely aware of the investment and loyalty our customers have in the brand and the support we offer which is why we will always strive to improve and develop the CPS offering.
To be involved in CPS, you need a range of attributes, my background in photography, past roles developing loyalty programmes, planning and executing events as well as customer training has helped develop a program where membership is growing year on year.
Are you a keen photographer yourself, or do you prefer to leave cameras well alone when you’re not working?
I’ve had an interest in photography for a long time. I developed, processed and made my own prints before moving onto commercial mini labs a short time after. My first camera was a Canon EOS 100 film camera which was Canon’s quietest SLR at that time which suited my reportage style of shooting.
A large part of my role at Canon is talking and engaging with some of the best photographers on the planet so I am always inspired to shoot but time doesn’t always allow. It does however enable me to share their experiences so others can learn even if they come from different genres.
CPS attends all the major events throughout the year, but is there a particularly busy period?
To be honest, it’s busy most of the time! The events themselves are fantastic touchpoints to see some of the best photographers in action. It allows us to offer our technical support, get their cameras checked and cleaned as well as provide equipment trial loans for those who are thinking of upgrading.
The busiest periods are always the weeks leading up to the event, the logistics, planning, accreditation, staffing, training, last minute changes etc. We are meticulous in our planning and our attention to detail. We always put together a strong support team for the events themselves to ensure the support we offer is the very best it can be.
Do you have any memorable experiences from an event?
I feel very fortunate to have supported many events as although the hours are always long; the occasion, experience and atmosphere at some of these is not to be missed. I have many highlights but if I was to name three, I would say my first season at London Fashion Week, the Federer vs Nadal final at Wimbledon and lastly, the World Athletics Championships in Berlin when Usain Bolt broke the world record in the 100m Men’s sprint final.
You must have met some highly regarded photographers over the years. Are there any that particularly stand out?
I’ve met many talented photographers over the years from many different genres and it wouldn’t be fair to single out a few without mentioning the others. I will mention one however as he is someone whose images highlighted for me at an early age the power of photography. I think he is one of the greatest living photographers ever and a boyhood hero of mine, I’m talking about Sir Don McCullin who I was fortunate to meet at the Photography Show a few years ago. It was such an incredibly humbling experience to meet someone who I’ve admired for a long time but never thought I would ever meet.
There must be some Canon photographers out there, who own the necessary kit to join the scheme, but haven’t as yet. What benefits are these photographers missing out on?
CPS benefits include priority service, technical support, a dedicated helpline and onsite support at many major events. In addition, we offer training, inspiration and experience days such as our popular CPS+ Experience days, opportunity to attend amazing talks such as Sebastião Salgado at the Photography Show, chance to attend a special session at the World Press Photo Exhibition in Edinburgh as well as opportunities to be one of the first to get hands on with the latest Canon pro products days after the announcements.
Frankie was talking to Tim Stavrinou.
For more information on CPS visit the website here
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept”, you consent to the use of all the cookies.
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience. We log visitor IP addresses and cookie preferences for due diligence reporting.
Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
