Lake Inari in Lapland, Finland has long been a popular spot for cold weather enthusiasts eager for some outdoor winter fun. People flock to this arctic resort from all over the world, especially during the Christmas season, usually with kids in tow. After all, it’s no secret that Lapland is also home to Santa Claus, his reindeer and merry helping elf’s, too.
Throughout the winter months, tour operators offer a “full on” package here with wooden cabins to sleep in, saunas to relax in, reindeer farms, snow mobiles, and of course a chance to witness the northern lights in all their green luminescent splendour. For many this lasts attraction is the greatest of all.
So, taken by striking web pictures and keen to try some snowmobiling as well, I set off in late February for some Aurora magic. I packed my Nikon D7200, a Sigma 18-35 Art lens, a sturdy tripod, a few other essentials and boarded a Finnair flight from Gatwick to the great North.
In Ivalo, once landed, I found a world of ice, snow and temperatures well below zero to greet me. The border formalities took very time to sort out and once through, a driver escorted me and a small party to our lodges.
The Nellim guest house was comfortable and cosy. The food served was good (especially breakfast) and the day activities for guests had something for everyone to enjoy in the snow. Amongst the favourites were dog sledging, ice fishing and cross country skiing.
The snow mobiles provided transport and were easy to ride, albeit bumpy. I discovered they offered the same sort of thrills an off road motorbike does. As a result, I promised myself I’d find time to investigate these machines a little more some time in the future. It was picture taking that I had come for though on this trip and a chance to take some snaps of the Aurora Borealis most of all.
What set up did I use on my camera? What worked best? Was it easy? Here are the essentials.
1. It’s best to have a DSLR or equivalent with manual settings.
The manual settings available on a DSLR camera, along with a decent lens, permit easy vibrant, detailed images. When set up correctly a modern DSLR yields instant results that require little post processing on a computer.
A smartphone will also work, but image quality might not quite be the same as that of a DSLR. A lower quality smart phone camera might simply be disappointing.
2. A “full frame” machine is preferable.
A 35mm “full frame” format camera has a bigger sensor, bigger than most consumer grade machines. This allows for shorter exposures, lower ISO settings and consequently comparatively less grainy, noisy pictures.
3. Use the fastest wide angle lens available.
Use the best quality, biggest aperture lens you have available. An aperture of maybe 2.8 or bigger still is ideal for low exposure times.
4. A tripod is a must!
It’s cold out there, in the snow and ice in the middle of the night and exposure times in the dark can be several seconds long. Consequently a tripod is the only way to avoid camera shake and blurry pictures both for cameras and smartphones.
Set the lens to the widest angle available (18mm or even less). Aperture at maximum or just under maximum, wherever image quality is best. Focus needs to be on “infinity”. This can be achieved by focussing the lens in auto mode on a bright subject 30m to 40m away (or more). The lens will set itself to infinity this way. Then, disengage auto focus mode, flip to manual and do not touch the lens again.
Exposure times should be around ten seconds at the most. Any longer than that will produce images with noticeably blurred stars due to the Earth’s rotation.
ISO settings depend on the combination of the camera’s sensor and lens. A compromise is necessary (while shooting) for bright enough images and the exposure times mentioned above. I found that ISO 800 to ISO 1250 worked well for me without too much noise in any of my pictures.
6. Shoot raw
Raw images allow greater post processing flexibility.
7. Have a spare battery!
The cold will run down batteries faster than normal. It’s best to have an extra ready to go. Keep the spare warm in a pocket until needed.
8. You need luck.
A combination of clear skies and good solar activity is essential to see the aurora. It’s no use standing around with camera in hand on a cloudy night. Furthermore, it’s always good to be creative. It seems like the better pictures of the lights are all about telling a story and creating an atmosphere. The lights work well when used as a detail (albeit a big one) in the background. Glowing camp fires, tents, snow mobiles or people are effective props to “anchor” pictures in the foreground.
I spent three hours on lake Inari, at minus fifteen degrees with my nose pointing to the heavens. The lights were one of the most captivating spectacles I have ever seen. At first, they darted around in the sky, twisting, coiling and turning, Sometimes they appeared suddenly as if by the flick of a switch. Other times they would take shape slowly in a warm glow. Similarly, they would then dissolve and reappear elsewhere above the horizon.
Colours changed from green to green-blu with occasional streaks of red. Sometimes the lights were sharp and bright, more often they were a misty blur. Many times shafts and beams of green seemed to drop from the heavens and bounce low on the clouds above the tree line in a yellow glow. It felt all a bit mystical.
I had two batteries with me for my shoot and used one up entirely in the space of just over an hour. I remember brushing off some frost from my camera to change the battery out. Finally I made my way back to the guest house in the early hours of the morning when the cold on my feet became unbearable. It would have been good to have had more time to experiment with composition and maybe a change in location, too.
All in all Inari was a great, worthwhile experience and lucky one as well. The best time of the year to see the lights is autumn and early spring. There are apps available that can accurately predict times and places for the best sightings that work very well. “My Aurora Forecast and Alerts” is one of the most popular.
“You need to watch your step, but everyone makes it across easily” my guide whispered to me in encouragement as I gazed a little perplexed at the hazel coloured water that stirred, foamed and crested in front of me. “Ok, it’s fine, I’ll do it”, I said.
Stripped down to my swimwear with action camera and selfie stick in hand, I felt vulnerable, exposed to the Sumatran sun and the rough forest around me. I told myself I was just getting ready for the far side of the river where there were hot spring water pools waiting to be enjoyed, the thought of which had brought me by the bank in the first place. I simply had to get across.
The sharp, angular pebbles pinched my bare feet and challenged my balance at every step as I hobbled to the water’s edge. “Everyone makes it across easily” I reminded myself as I held my breath and splashed into the fresh flow. Slowly I waded ahead into deeper, mirky cold running water and quickly I lost view of my feet. They were always in pain though, gripping to the edge of some slimy surface with all toes. The water got deeper and crept up to my chest, the current got stronger as well. “Good thing I can sling my action camera on my shoulder with the monopole strap. Yeah, and how cool that my action camera has water proof casing” I thought.
I must have looked pathetic as I attempted to thread my arm through the selfie stick strap. I could hardly stand on my own two feet let alone juggle camera equipment as well. Then the inevitable happened, I slipped and fell face forward into the flow. Like driftwood the current swept me away and rushed me downstream in its clench. I had no choice, I had to swim and powerfully too if I wished to reach the safety of the nearest bank and avoid painful knocks with rocks and debris. A few brisk strokes from my arms and I was in shallower water once more, out of trouble but to my dumbstruck dismay my precious Sony action camera and monopole stick were gone, nowhere to be seen, lost in the silty water along with two gigabyte of unsaved videos and pictures.
Losing camera equipment is always regrettably costly, but losing hard earned pictures and video footage as well is gut wrenching to say the least.
But what to do? After all, adventure cameras are meant for use in pretty wild environments where the risk of loss is always a real issue!
Here is a list of hints that might be handy for the GoPro enthusiast. I certainly wish I had known about these before that fateful afternoon in Sumatra. Maybe they are nothing new to the avid video maker but I am sure they’re worth remembering all the same.
A) Take the time to write your contact details on a piece of paper and stick this appropriately to the camera body or at least include it in the water tight casing of your camera. ALSO save a “READ ME file” containing the same contact details on the camera’s SD memory card. This way if your device is ever lost and found by someone conscientious enough, all the information needed to get in touch is available.
B) If using your camera next to water, always use a floatation accessory. It can be self adapted piece of sponge cut out and added to your selfie stick, or a specially purchased add on. There are several products available.
C) Hugely useful, but hard to come by, are floating monopoles. Keep in mind though that a wooden stick is definitely a cheaper option and can work just as well if not better!
D) Make sure the your camera and/or stick have a robust enough tether. Reinforce the stock attachments with sturdy metal rings and good quality cord. Hold on tight!
So…..sunk to the bottom of the sea, dropped from paragliding heights, knocked from racing motorbikes or cars it would be good to hear of other action camera disasters experienced first hand. I know there are many. Occasionally some lost cameras are found on hiking trails, by the side of the road and by scuba divers too. All hope need not be lost…..at least for those who have taken some precautions?
There is an unspoken truth that most newbies to travel photography are generally unaware of. It’s a secret camera stores avoid mentioning when fresh faced photo enthusiast consider the purchase of their first “serious machine”. Size (and weight of a camera) matters when taking pictures. It matters especially when travelling, too.
Blinded by the promise of great dynamic range, high ISO settings, amazing pixel count, focus speed and more, budding photographers often walk away from camera shops with a new, entry to mid range DSLR dangling from neck or shoulder.
However, extended travel, has the ability of making one come to terms with a minimalist and low key approach to many things. For example, it forces one to accept and deal with the limited space of back pack, a suitcase or a pair of motorcycle saddle bags (panniers). The space available must be managed wisely with convenience and comfort in mind.
The learning curve here can be harsh. Throwing away grandmas hand knitted socks while on the road is heart breaking and so is trashing costly “good to have” but never used gear. There’s no room for extras in a rug sack and that includes souvenirs, books and laptops.
Experienced travelers want light, small, tough, versatile as adjectives for their travel stuff. From clothes to sleeping bags to tents the mantra never changes. It makes sense then to go by the same rules when selecting camera equipment to carry around the globe. Light, small, tough does the job and it’s here that the flaws of the capable but cumbersome DSLR camera become clear.
DSLR cameras are bulky, to say the least, especially with any lens greater than a 50mm prime. DSLRs are also loathe knocks, drops, dust, sand, water and moisture. They’re often heavy as well, especially when extra lenses are part of the kit. Furthernore, DSLRs are also perceived as expensive desirable items that can draw the wrong sort of attention occasionally.
DSLR cameras and their accessories are a burden. They’re such a burden that sometimes they’re willfully left in hotel rooms, or car trunks rather than carried around like bricks on a strap.
But, technology comes to the rescue. Over the last seven or eight years the photo industry has delivered a new line of smaller cameras known as CSCs (Compact System Cameras) or simply “mirrorless” cameras.
With comparable picture quality, many mirrorless devices offer the advantage of notable reduction in size and weight compared to their DSLR counterparts. Mirrorless also machines offer the advantage of “shoot as you see” technology that does away with histograms, chimping and reduces the number of repeat shots, to get an image “just right”.
Is it all good? No, in reality, as with all things newish, there are flaws in the new system to overcome. The availability of lenses, has hindered the appeal of CSC systems at large (as of 2017). Also, image quality, some argue, is still better in an old style machine than a CSC, but not by much and hardly noticeable to the untrained eye.
Regardless, size when traveling is paramount and small, packable cameras trump bigger and bulkier ones even at the price of lower image quality. Six mega pixels is all the National Geographic require to publish a picture. This is way below what most entry level cameras are capable of today and certainly any CSC.
When you’re “out there” in the field with all things being acceptably equal, the most important feature of your camera will be whether you can carry it comfortably all day or not